The new installation of the galleries comes from an invitation from the Cristobal Balenciaga Museum to respond to the new curatorial route through the archive. The exhibition Cristobal Balenciaga Fashion and Heritage collects together moments in the history of the houses Balenciaga established in Spain and in Paris, and each chapter illuminates different modes of display: the aesthetics and romance of the archive, of conservation, of performed museologies that evolve and revolve around these monuments of dress history. The exhibition format allows us to build up associations and conversations across collections, each adding a new perspective. My own conversations and installation pays homage to the new routes through the archive in the way that a new visitor might, finding one’s own associations to the material. The design therefore quotes remembered past exhibitions that have paid homage to Balenciaga bringing another kind of reference to the project. We see the work through the eyes, for example, of Diana Vreeland, Marie- Andrée Jouve, Pamela Golbin, Kaat Debo, Miren Arzullaz, Hamish Bowles or Olivier Saillard, among the many curators, researchers and fashion historians who have sought new approaches to Balenciaga’s legacy, that are shown along the route as props. The architecture is temporary against the fixed vitrines of the museum: the tension between fashion and heritage underlining the questions the exhibition itself raises.
Judith Clark, March 2018
Fig. 3: Left, Hamish Bowles’s exhibition Balenciaga and Spain looked at his roots in traditional dress. His chapter on Dance is populated with images of the models in the salon wearing white gloves. Right, Naomi Filmer’s gesmonite gestures.