A Shaded View on Fashion Film is a very interesting fashion film festival founded, curated and organised by international fashion icon and celebrated blogger Diane Pernet in cooperation with her co-producers David Herman and Antoine Asseraf. The festival was born in 2008 and back then launched at the Jeu de Paume during the last three days of the Avedon exhibition.
In this travelling festival she combines two of her big passions: film and fashion.
Diane Pernet on the subject:
“I would love fashion films to replace fashion shows but in reality I think a major change like that will take quite some time. Certain designers create spectacular fashion shows like Galliano or McQueen, but for the most part watching male and female models walk up and down the catwalk feels a bit last century to me. I think a fashion film is a new way to express a collection. What interests me is the intersection between fashion and film. For the near future fashion film is an additional way of experiencing fashion.”
A shaded view on fashion film festival 2009 trailer
ASVOFF is a festival including a film selection & competition, documentaries, features and installations. The common thread that binds this diverse program is the use of fashion, beauty and/or style as the principal subject, theme or cinematic aesthetic. The festival is a study in the drama, power and personification that fashion evokes and commands on screen. It tries to shake up the old rules of fashion by putting the focus on the moving image, in an industry long dominated by the “still” photographic medium.
Upcoming Festival tour dates and locations:
New York March 5th 2010 as part of F Scope art fair
Moscow, April 3rd 2010 as part of Russia Fashion Week
Hyères fashion festival, April 30th to May 30th 2010 Villa Noailles, Hyères
Voici Paris: Haute Couture is a major exhibition which showcases the history of haute couture.
The exhibition recounts, on an inspiring way, the story of couture, beginning in the second half of the nineteenth century. This historical story is told by exclusive creations made by top designers, but also design drawings, accessories, fabric samples/swatches, embroideries, moving images and photographic material.
The Gemeentemuseum Den Haag owns one of the largest fashion collections in Europe, in which many of the well known couture houses are represented. It includes early pieces of couturiers like Worth, Poiret and Vionnet who where the forerunners of couturiers but also createurs (designers fashion) like we know them nowadays. The collection also contains famous or iconic items like for example the original pink Givenchy dress that Audrey Hepburn wore in Breakfast at Tiffany’s
Next to the historical showcase of haute couture the exhibition highlights contemporary couture. Renowned fashion houses, such as Dior, Chanel, Christian Lacroix and Jean Paul Gaultier, have loaned exclusive couture creations from their most recent collections.In a parallel to the international history of couture the exhibition features also the history of Dutch couture and shows the work of notable dutch couturiers like Frans Molenaar and Fong Leng but also work from the new generation of Dutch couturiers like Jan Taminiau.
The curator and art director of the exhibition is Maarten Spruyt, who was also responsible for previous fashion exhibitions for the Gemeentemuseum, including Fashion NL: the next generation (2006), Hague Court Fashions (2007) and The Ideal Man (2008). This exhibition is part of Holland Art Cities and it will run untill 6th June 2010.
Photo top by Marc de Groot | Gemeentemuseum The Hague
Warmenhoven & Venderbos invite you to discover the Spring Summer 2010 Collection.
“Some conceptual keywords and key-phrases for the collection are: Imprints of skin , imprints of garments , imprints of sizes. Distortion of or between translation results in distortion between the layers. Meaning and shape are redefined. Shape follows individual body and mind.”
I will not make any more boring Art is an early piece of conceptual text art by John Baldessari but it still has not lost its impact nowadays. It demonstrate his thinking at the time and his developing interest in Conceptual art.
In 1971, Baldessari was commissioned by the Nova Scotia College of Art and Design in Canada to create an original, on-site work. Unable to make the journey himself, he suggested that the students voluntarily write the phrase “I will not make any more boring art” on the gallery walls. Baldessari committed his own version of the piece on videotape. Like an errant schoolboy, he dutifully writes, “I will not make any more boring art” over and over again in a notebook for the duration of the tape. In an ironic disjunction of form and content, Baldessari’s methodical, repetitive exercise deliberately contradicts the point of the lesson to refrain from creating boring art.
I will not make any more boring Art is typical of Baldessari’s work, for not only does it contain humor, but it is also a strategy, a set of conditions, a directive, a paradoxical statement, and a commentary on the art world with which it is involved. Like all his work to date, it addresses, on many complex levels, issues about art, language, games and the world at large.
Photos and video John Baldessari | Sources: Electronic Arts Intermix | MoMA collection | Ubuweb
