Search results: "ma fashion curation" (Page 1 of 17)

MA18 – MA Fashion Curation Course graduate show

The work of MA Fashion Curation graduates is being exhibited at the Bargehouse Gallery, behind the Oxo Tower on London’s South Bank. For their final project, students were asked to produce a hypothetical exhibition which were displayed alongside a collection of the work by the Centre for Fashion Curation. The show is open daily 15 – 18 February, 2018. Well done MA FC!

MA Fashion Curation display, MA18, The Bargehouse, London, February 2018.

 

MA Fashion Curation display, MA18, The Bargehouse, London, February 2018.

 

Model of hypothetical exhibition. By Susannah Shubin. MA Fashion Curation display, MA18, The Bargehouse, London, February 2018.

 

Model of hypothetical exhibition. Conventionality Is Deadness: Art and Performance in the Wardrobe of Lady Ottoline Morrell, By Gill MacGregor. MA Fashion Curation display, MA18, The Bargehouse, London, February 2018.

MA Fashion Curation display, MA18, The Bargehouse, London, February 2018.

 

MA Fashion Curation display, MA18, The Bargehouse, London, February 2018.

MA Fashion Curation display. The Bargehouse, London, February 2018.

 

MA Fashion Curation display, MA18, The Bargehouse, London, February 2018.

 

Interested in studying Fashion Curation at London College of Fashion? Find out more about applying here.

Find out more more about Gill MacGregor’s work here in LCF’s  Graduate Spotlight post

 

Scott Schiavone, MA Fashion Curation alumni

Interview by Ben Whyman

Tell me about your time studying the MA Fashion Curation (what years did you study and graduate?). What skills and insight did you gain from the course?

I studied the MA Fashion Curation from 2008-2010.  My time studying at LCF was intense as I was self-funded and therefore had to both work and study full time.   The course was a fantastic insight into the theory and practice of curation.  What I found fascinating was deconstructing the practice of curation and what it means to be a curator, in the typical sense.  The idea of the curator has definitely seen a shift over the past few years, especially within the realms of fashion and the museum.  Another aspect of the course I particularly enjoyed was the guest practitioners that came to talk to us about their personal research projects with regards to fashion and its place and future not only within the museum context but also within the fashion industry itself.

Scott Schiavone

What led you to study towards an MA in Fashion Curation?

I completed my undergraduate course in History of Art at the University of Glasgow in 2004, since at the time there was no option at Glasgow to study dress history as an undergraduate degree. After graduation, I took a few years out to think about my future and worked as Cabin Crew for an international airline.  On one particular trip to New York, by sheer chance, I stumbled upon the Fashion in Colors exhibition at the Cooper-Hewitt Design Museum and had a bit of a break through! Everything became clear, this was what I wanted to do! On my return the UK I immediately began to search for a course that could combine both my love for fashion and the art of curation, ultimately leading to LCF and the MA Fashion Curation course.

Describe your work as a volunteer curatorial assistant in the Art and Design Department, Fashion and Textiles Team at National Museums Scotland (NMS). What does your average day involve?

There are two aspects to my work at NMS, one is working with the Jean Muir archive and the other is the Charles Stewart collection.  Working between the two gives me the opportunity to work with both modern and historic fashion and textiles.  The Charles Stewart collection is an eclectic mix of objects spanning across 3 centuries of fashion and textile history and the Jean Muir archive is made up of approximately 18,000 objects.  As a volunteer, I assist with ongoing documentation, as well as carrying out an inventory and location audit of the collections.  The training I have received thus far from NMS is incredible and includes museum database (ADLIB) training, object labelling and social media which lead to my regular contribution to the NMS blog page.

Scott at work in the National Museums of Scotland Collection

My placement is split between two days, one at the collection centre and another at the departmental office.  A typical day in the collections centre includes locating objects within the store, providing detailed descriptions, checking object measurements and photographing objects for record files. Additionally, I get the opportunity to handle objects, register and re-pack a selection of unregistered material and assist with registration of new acquisitions and donations where appropriate. Finally, I have the opportunity to assist with research enquiries and research visits to the Collection Centre for individuals and groups such as The Costume Society of Scotland.

During my day at the office, I process the work that is generated the previous day whilst undertaking research to enhance the collections, improve documentation and locate object files.  I also use this day to document any changes made in the store on the ADLIB records, change locations and add any additional information onto the database.

My placement also gives me the opportunity to assist with other research and administrative collections-related tasks, including working cross-departmentally with Science & Technology department on upcoming projects for NMS.

Tell us about the recent re-display of fashion and textiles at NMS. What part did you play in this, and what is the aim of the redisplay?

The new fashion and style galleries at NMS were part of a major re-development plan for the museum and forms one of four award winning Art & Design galleries. I joined the team at NMS after the opening of the new galleries however, they have become my new favourite place to hang out and gain inspiration for personal research projects.  The work I have been doing as a volunteer has contributed towards the rotation schedule for the new galleries so it’s great that I am involved in some capacity.  The new galleries are stunning and show off treasures from one of the UK’s largest costume collections.  With the growing importance of fashion exhibitions and costume collections and with the closure of the costume museum at Shambellie in 2013, it was only a matter of time before NMS dedicated a new space to their amazing collection.

The notion and practice of ‘curation’ is rapidly and increasingly taking on new meanings – the process of curating is morphing and changing before our eyes. Where do you see the practice of fashion curation in general going? How do you see your own practice evolving?

Let’s not beat around the bush, jobs within this industry are scarce and so it is up to us as practitioners to create work and projects to keep us busy and expand our experience.  Personally, I think this will be done by way of social media, virtual exhibitions and through research and writing, etc., whether that is through something as simple as blog posts or more academic like conferences.  The trick is not to be too disheartened by rejection. The industry is fiercely competitive and there are a lot of experienced people out there and not a lot of jobs. However, it’s not just about finding a job… it’s about finding the right job, for you.  Through my experience, I have learnt that I am very much an object-based curator.  I love working with collections, material culture and the stories objects tell or don’t tell us.  Currently my plan is to continue with the hands-on object- and research-based work and continue my blog for NMS whilst I search for the perfect position. As I look to the future I am confident that I will find the right place for me within the industry.

Find out more about the MA Fashion Curation course

 

Flower Power and the Diesel Takeover by MA Fashion Curation student Maxime Laprade

This summer saw students at London College of Fashion working collaboratively with Diesel to takeover their flagship Covent Garden store with a unique concept spread across three floors.  The takeover, which ran from Thursday 11 August until 12 September celebrates Covent Garden’s floral tradition.

LCF Diesel takeover Maxime Laprade

Photo 11: Diesel Floral Logo. Credit: Maxime Laprade

The winning group comprising Eshaan Dhingra, Griselda Ibarra, Irene Rodriguez, Laksamee Jong, and Maxime Laprade were selected by the company following their work with several groups.  The students are from courses spanning fashion curation to fashion entrepreneurship and innovation, fashion media production and strategic fashion marketing. Here, Maxime Laprade from the MA Fashion Curation course reflects on the experience:

“Back in December, one of the students who has been in my team since then approached me to be part of the Diesel project. Coming from an business MA, she was looking for students with a more creative approach. I said yes.  At the beginning, the approach used –  very marketing and industry focused, even the vocabulary – was not something I was used to. It was a little bit overwhelming at first. As a fashion curation student, I did not know what to bring to the project. However, after a while, I realized that I shouldn’t try to use their methods and approaches, but I should work my way and apply my own particular practice to the project. As a result, I studied the displays, the store, the history of the neighbourhood and connected it to images and visuals.

While doing our research, we discovered the story of the flower girls. That is when I began to be passionate about the project. I continued to look into the history, worked on the window displays and tried to think the store as an exhibition but which would have to be about the customer. The difficulty and novelty for me was that the objective was to increase sales. Therefore, everything needed to be directed to the customer and the merchandising. It was not an exhibition! I needed to think about the product more than anything else and about how to sell it.

LCF Diesel takeover Maxime Laprade


The Gentlemen’s Club in the basement of the store. Credit: Maxime Laprade

 

LCF Diesel takeover Maxime Laprade

Ground Floor just before the launch night. Credit: Maxime Laprade

 

The project is done, and from a fashion curation point of view, it has been an incredible experience. I have collaborated with a brand whose goals are very different from the ones of a museum or an archive. It has helped me thinking of ways to apply curatorial skills to new contexts.

We need to be versatile in our jobs. I stepped out of my comfort zone, learnt new skills, a new vocabulary and I am now more aware of the industry approaches and methods. Moreover, I have learn more about how to present and sell an idea.”

Maxime Laprade, MA Fashion Curation Student, August 2016

Read more: About the student Fashion Takeover on the LCF blog

Diesel, London College of Fashion Say It With Flowers in Covent Garden

Find out about MA Fashion Curation courses at LCF

Utopian Bodies – MA Fashion Curation Alumni wins exhibition of the year

Utopian Bodies – Fashion Looks Forward at Liljevalchs Museum in Stockholm has won Exhibition of the Year 2015.  Co-Curated by Sofia Hedman who studied MA Fashion Curation at London College of Fashion, and Serge Martynov, the exhibition was one of 27 exhibitions in Sweden which went before the judges.

Utopian Bodies Best Exhibition 2015

 

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Zero Gravity – MA Fashion Curation students reflect

This year, the MA Graduates were asked to respond to the concept of Zero Gravity as their final exhibition theme.  Here, a few students from the MA Fashion Curation course reflect on how they responded.

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Requiem: Material/Memory

Torn. Moth-eaten. Tarnished. Degraded. Discarded. From the infinite potential of a pair of unworn shoes to a tweed jacket crumbling from years of use, our clothing resonates with memories of our lives. Displaying garments from The Contemporary Wardrobe Collection spanning the last two centuries, Requiem: Material/Memory explores the intimacies and contradictions of memory as embedded in fabric.

Close up of brown woollen clothing unravelling

Requiem: Material/Memory

Presented by curator and archivist, MA Fashion Curation alumni Cyana Madsen with support from The Horse Hospital, Requiem: Material/Memory features works by artist and material culture researcher Ellen Sampson and sound designer and composer Jonah Falco.

The exhibition is at Horse Hospital, Colonnade, Bloomsbury London, WC1N 1JD

Saturday 4 May – Saturday 25 May

Read more about the MA Fashion Curation course

Read more posts from MA Fashion Curation students and alumni

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