Latest news with #fashionexhibition
The Sun
22-07-2025
- Entertainment
- The Sun
Queen Elizabeth II's gowns including her wedding dress go on display to mark her 100th birthday
QUEEN Elizabeth II's wedding dress forms part of a majestic display of her outfits to mark the late monarch's 100th birthday. In the largest exhibition ever of her clothing, 200 items will go on show at Buckingham Palace — many for the first time. 4 4 It will include dresses worn in every decade of her life before she died aged 96 in 2022. As well as the one from her 1947 marriage to Philip, key pieces will be a bridesmaid outfit she wore at eight, her 1953 coronation dress and a range of evening gowns. Caroline de Guitaut, exhibition curator and Surveyor of The King's Works of Art has also written an accompanying book, Queen Elizabeth II: Fashion and Style. She said: "Over the course of Queen Elizabeth II's remarkably long reign, her distinctive style became instantly recognisable around the world, bolstering the British fashion industry and influencing generations of designers and couturiers. "Only now, as the late Queen's fashion archive comes under the care of Royal Collection Trust, can we tell the story of a lifetime of thoughtful style choices - from her hands-on role and understanding of the soft power behind her clothing, to the exceptional craftsmanship behind each garment." "In the year that she would have turned 100-years-old, this exhibition will be a celebration of Queen Elizabeth's uniquely British style and her enduring fashion legacy." The Royal Collection cited evening wear as a "vital component of the Queen's wardrobe", with members of the public able to see "stunning examples that reflect the evolution of fashion trends throughout the Queen's long reign". Queen Elizabeth II: Her Life in Style is at The King's Gallery from spring to autumn 2026, with tickets on sale this November.
ABC News
01-07-2025
- Entertainment
- ABC News
National Gallery of Victoria to host Vivienne Westwood and Rei Kawakubo exhibition for summer
The National Gallery of Victoria (NGV) are hoping their just-announced summer exhibition will live up to the success of last summer's Yayoi Kusama, which this year became the most visited art exhibition in Australian history. Westwood | Kawakubo, which opens in December, will showcase the innovative work of two of the most celebrated names in fashion: the late British designer Vivienne Westwood (1941-2022), and Japanese designer and Comme des Garçons founder Rei Kawakubo (born 1942). "We can only try to exceed those numbers, right?" NGV's curator of fashion and textiles, Dani Whitfield, says with a laugh. "What you're hoping for with these exhibitions is that people that maybe don't know these designers come along and learn something and walk away feeling inspired." Westwood | Kawakubo features more than 140 designs by Westwood and Kawakubo, including more than 100 from the NGV's own collection, as well as works from the Metropolitan Museum in New York, the Victoria and Albert Museum in London, and Palais Galliera in Paris. They'll be accompanied by archival material, photography, film and runway footage. Through five themes — Punk and Provocation; Rupture; Reinvention; The Body: Freedom and Restraint; and The Power of Clothes — the exhibition charts Westwood and Kawakubo's careers: from Westwood's early work in London's punk scene, dressing the likes of the Sex Pistols and Siouxsie Sioux; to the latter work of Kawakubo, whose designs inspired the theme for the 2017 Met Gala. "We look at two designers who were born in a similar historical moment in different places, but who had this incredible desire to change fashion and to work within the system, but also critique it," Whitfield says. Both Westwood and Kawakubo shaped and reshaped the rules of women's fashion in the late 20th century. With her then-partner, Sex Pistols manager Malcolm McLaren, Westwood — who was also a teacher — opened the shop Let It Rock (later renamed SEX) in London in 1971. Their collaboration shaped the style of 70s punk rock; think tartan, ripped T-shirts and safety pins. "When you think about Westwood's origins in punk, it's really redefining the look of fashion," Whitfield explains. "Fashion can be distressed; it can be ragged; it doesn't have to be beautiful. "It changes the way that we think about gender ideals and what conventional femininity is supposed to look like. Through that challenge, [Westwood] creates [clothing] that feels empowering for the wearer." In the 80s, Westwood subverted expectations, drawing on 18th- and 19th-century women's fashion, including corsetry, bustles and crinolines (stiff, structured petticoats). For example, she was inspired by Stravinsky's ballet Petrushka to create a "mini-crini", combining the restrictiveness of the crinoline with the so-called "liberation" of the miniskirt, popularised by designer Mary Quant in the 60s. "She brings [those garments] to the outer layer and turns them into these empowering items of clothing, which were about celebrating female sexuality," Whitfield says. Meanwhile, Kawakubo, who founded Comme des Garçons in 1969, crafted clothes that were the "complete antithesis" of those seen on Paris runways at the time, which veered towards spectacle and the male gaze. "She really came to fashion with this idea of wiping the slate clean, producing collections that were black and asymmetrical and distressed," Whitfield says. Kawakubo herself has said that she designed her clothes for "self-sufficient" working women; "women who do not need to assure their happiness by looking sexy to men, by emphasising their figures, but who attract them with their minds". "Her clothing was shapeless and androgynous … It was a much more conceptual way of dressing, which was about taking ownership," Whitfield says. Westwood | Kawakubo even features designs from Comme des Garçons's upcoming collection — giving the exhibition a sense of the full scope of Kawukobo's career. "Closer to the present day, the more and more avant-garde she becomes," Whitfield says. "She's somebody who just continues to really push and push." By pairing the two designers, NGV is emphasising their similar concerns — about beauty, taste, the ideal body, and the function and form of clothing. "Fashion should be empowering, fashion should be challenging, it should ask questions," Whitfield says. "[Westwood and Kawakubo's clothing] comes from a place of thinking really deeply about what fashion can mean. "It's not simply just the look of it, but how fashion is used to express an identity … I think everybody's always using fashion to speak about themselves." Westwood | Kawakubo is the third NGV summer blockbuster in the past five years to focus on fashion, following Gabrielle Chanel: Fashion Manifesto in 2021; and Alexander McQueen: Mind, Mythos, Muse in 2022. But it's not the first time a major Australian gallery has turned its focus on Westwood and Kawakubo — following NGV's own Collecting Comme in 2019, and a Westwood retrospective at the National Gallery of Australia in Canberra in 2004. Whitfield says bringing fashion into a gallery context doesn't change the meaning behind the clothes — but instead offers an opportunity to put the designs into a historical and cultural context. "It's about drawing people's attention to the importance of those [cultural] shifts [and] of those designs," Whitfield says. "[It's about] showing not just how [the clothing] looked, but how they were made and how they were constructed, and the innovations [behind them] — aesthetic or material or technical." Designers like Westwood and Kawakubo belong in the gallery because, like all artists, they offer different ways of seeing the world. "There's no one way of doing anything," Whitfield says. "[Westwood and Kawakubo] played with form and function, they've turned [clothing] inside out, they've exaggerated, they've parodied, and they've questioned, and I think that's really appealing. "It is in that kind of spirit that we should all be dressing every day, don't you think?" Westwood | Kawakubo is at NGV International from December 7-April 19.
The Guardian
01-07-2025
- Entertainment
- The Guardian
Vivienne Westwood and Rei Kawakubo paired for the first time in blockbuster exhibition at the NGV
Two era-defining avant garde fashion designers, Vivienne Westwood and Rei Kawakubo, will be brought together in a blockbuster summer exhibition announced on Tuesday by the National Gallery of Victoria. It has been more than 20 years since Westwood's work has been exhibited extensively in Australia, and the NGV show will be the first since the designer's death in December 2023. Curated by the NGV, with works drawn from the museum's extensive fashion collection supplemented by loans from the Metropolitan Museum, the V&A and others, Westwood | Kawakubo will open in Melbourne on 7 December. Sign up for the fun stuff with our rundown of must-reads, pop culture and tips for the weekend, every Saturday morning Westwood came to prominence as the designer behind the tattered, torn and often obscene garments of London's 1970s punk scene, before moving towards irreverent but historically grounded tailoring and corsetry in the early 1980s. Later her climate activism became a critical component of her life and work. After establishing Comme des Garçons in her native Japan, Kawakubo appalled the fashion establishment when she began showing in Paris in 1981. Her deconstructed and distressed designs won her a fervent underground fanbase and, with the hindsight of history, they have gained critical approval too. In 2017 Kawakubo was the subject of a rare standalone exhibition at the Metropolitan Museum; it was only the second time the Costume Institute had run an exhibition of a living designer, the first being Yves Saint Laurent in 1983. Sign up to Saved for Later Catch up on the fun stuff with Guardian Australia's culture and lifestyle rundown of pop culture, trends and tips after newsletter promotion Katie Somerville, the NGV's senior curator of fashion and textiles and the exhibition's co-curator, says while Westwood and Kawakubo's works are aesthetically distinct, there is 'a lovely symmetry' in the designers' lives and practices. Both designers were self-taught and they were born a year apart. They also built businesses in an industry that was, and remains, male-dominated in its upper echelons. When planning the exhibition, Somerville researched whether the pairing had ever been made before, 'and no one had', she says. 'So that's always a really exciting space to be in … when you can present an exhibition concept that does break new ground.' Rather than a chronological retrospective,the exhibition will be curated thematically, with rooms devoted to punk, the designers' engagement with the body and their historical influences. More than 140 works will be on display, including early-career punk ensembles by Westwood, alongside a tartan gown worn by Kate Moss in the designer's 1993-94 Anglomania collection. From Comme des Garçons there will be a custom dress worn by Rihanna to the 2017 Met Gala and 40 garments donated by Kawakubo for the exhibition. The NGV has become known for its double-bill blockbusters, including Warhol | Ai Weiwei and Keith Haring/Jean-Michel Basquiat: Crossing Lines. Westwood | Kawakubo will be the first fashion pairing and the first to feature female artists. 'I think when you bring two individual artists together … [there are] wonderful new ways of seeing their work that come out of that comparison,' Somerville says. 'We're not for a minute saying that they're the same or similar, but there's enough there that connects them to make that sort of back and forth of looking at their work together … really exciting and productive.'
Vogue
24-06-2025
- Entertainment
- Vogue
On the Podcast: 'A Gentler, Tender Show'—Rick Owens Discusses His Upcoming Career Retrospective at the Palais Galliera in Paris
This week, a new exhibition dedicated to the work of Rick Owens, titled 'Rick Owens: Temple of Love,' opens at the Palais Galliera in Paris—the third such retrospective ever given to a living designer, following shows on Azzedine Alaïa in 2013, and Martin Margiela in 2018. On this week's episode of The Run-Through, Owens joins Nicole Phelps from his office in Paris to discuss how the show came together. 'I did a retrospective like 10 or 15 years ago in Milan, and I only did it because they allowed me full control; I did not want to be interpreted by anybody,' he recalled. 'And while I was doing it, I was thinking, Who gets the opportunity to do this? This is like writing your own obituary—you get to define how you want to be represented forever. The show that I did was very bombastic, which is something that I can do; I tend to go there.' He added, 'Afterwards I was thinking, If I ever get the chance to do this kind of thing again, I want to do something more quiet, maybe more delicate, more nuanced.' When the call came from the Palais Galliera, he was happy to 'submit' to what they wanted to do. The pair also discuss the first Rick Owens show to take place during New York Fashion Week, thanks to an impromptu call from none other than André Leon Talley. 'I picked up the phone one day, and there's a voice on the line that goes, 'Hello, this is André Leon Talley. Am I speaking with Rick Owens? And I go, 'Hey,' and he said 'I saw your clothes in the windows at Henri Bendel, and I think you need to meet Anna,'' he recalled. He went on to take part in the famous An American View show sponsored by and Vogue, which took place following 9/11, as part of the fall 2002 collections. Listen below to learn about how Owens conceptualizes his fashion shows, the importance of the community that has coalesced around his work, and the story behind his 'pissing statue.'
