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Notes
1. From video link http://www.lesartsdecoratifs.fr (accessed March 10, 2014), an interview, structured by a series of questions, between the curator and the designer. When asked “How was it working with Dries?,” Pamela Golbin replied: “Dries is very hands on.”
2. By contrast, in “The Glamour of Italian Fashion 1945–2014” at the V&A Museum, April 5 to July 27, 2014, there were around 100 ensembles and accessories. In “The Fashion World of Jean Paul Gaultier: From Sidewalk to Catwalk” at the Barbican, April 9–August 25, 2014, London, 165 items were exhibited.
3. See Golbin and Debo (Citation2014: 303, note) for the source of the image Dress. China 1800–1850, V&A Museum (also Golbin and Debo Citation2014: 217); see also http://www.style.com/fashionshows/review/F-2012-RTW-DVNOTEN. My grateful thanks to Oriole Cullen, Fashion Curator, V&A Museum, for drawing my attention to this review in an email to the author April 2, 2014.
4. In www.lesartsdecoratifs.fr the curator and designer speak of “sharing a cohesive story” in this exhibition.
5. In Golbin and Debo (Citation2014: 135), the jacket is identified as “Paul Poiret men’s beachwear” c. 1912, Paul Boycé Technologies, France, manufacturers of personal protective equipment.
6. “And that is because when Dries refers to travel, it is ‘travel of the mind’—‘I don’t have to actually visit a place to be inspired by it’” (Golbin and Debo, Citation2014: 33).
7. Painted by Angelo Bronzino between 1545 and 1555, the work is also known as Portrait of a Man Holding a Statuette, 99 cms by 79 cms, oil on wood transferred to canvas. Louvre Museum, Paris.
8. Tate Britain exhibition Francis Bacon: September 11, 2008–January 4, 2009, London.
9. On May 23, 2001, Bacon’s reconstructed studio was opened to the public at the Hugh Lane Gallery in Dublin.
10. “Fashion’s Famous Belgian,” Financial Times Weekend, February 22/23, 2014, p. 3: Dries Van Noten interviewed by Vanessa Friedman. “It [the exhibition] will embrace the complications that fashion usually shies away from” and “the often confusing steps that are actually involved in design.”
11. Photograph by Gordon Anthony Cecil Beaton in Costume, January 1, 1937. National Portrait Gallery, London.
12. See Clark and de la Haye with Horseley (Citation2014: 8): “revealing the complexity of allusion and composition of this landmark exhibition—an exhibition that is significant as much for what it omits as for what it includes.”
13. Pamela Golbin states that the exhibition is “about the creative process, … the mystery of what goes on behind the scenes” (http://www.lesartsdecoratifs.fr).
14. “When seeking to articulate a moment of shift in fashion curatorship, we would often agree that Fashion: An Anthology by Cecil Beaton (1971) was seminal” (Clark and de la Haye with Horsley Citation2014: 6).
15. This is a more carefully developed and extended interview than the online video interview at http://www.lesartsdecoratifs.fr. The video interview can now be accessed at https://www.youtube.com/watch?v=WiZCZwV0hqo.
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Mary Frances Gormally
Mary Frances Gormally is an art historian and contributing author of The New Art History (1986, Camden Press). She has been a university lecturer in the history and theory of art and visual culture for over 20 years. She is currently a research fellow in visual culture and academic advisor on the BA hons fashion course in the Faculty of Arts, Creative Industries and Education, the University of the West of England, Bristol.