Collection, Exhibition

Working with the UA Study Collection: Conservation of Shoes

 

Pumps/court-shoes (ca. 1900)

Inventory number: 81074

Materials and techniques: Silk; Cotton; Linen; Leather

The conservation treatment of shoes can be challenging for different reasons: shoes are small objects which hampers manipulations during conservation treatment; they consist of a diverse range of materials which are sometimes invisible and unreachable (therefore cleaning possibilities are limited); they are three-dimensional objects, ect. In this case, most of the weft of the silk satin weave was lost, leaving the cotton warp visible and loose.

To stabilize the damage, the warp was fixed upon the lining by couching, a common conservation stitch. To maintain their shape, soft silk cushions were made which easily slide in and out of the shoes. A box was made out of acid free cardboard, to preserve the shoes in storage. They are supported by cushions to prevent them from moving and falling.

Words by Bernice Brigou and Natalie Ortega, University of Antwerp, Faculty of Design Sciences, research group Heritage & Sustainability. Project supported by the Flemish Government.

 

Collection, Exhibition

Nina Ricci through the eyes of Olivier Theyskens. History, dance and a romantic view on femininity.

Photo by Stany Dederen

Nina Ricci by Oliver Theyskens, Summer 2009. Photo by Stany Dederen

The MoMu collection has more than doubled since its opening in 2002 due to donations or long term loans. Within the wide variety of new acquisitions, a returning theme caught the attention: the references to haute couture in the ready-to-wear collections. The MoMu Gallery provides a unique insight in the ready-to-wear silhouettes with a reference to haute couture made by Belgian designers including Olivier Theyskens who has made quite the impact on the fashion industry.

Olivier Theyskens’s tenure at Nina Ricci may have been short, he only had the chance to create five main collections, but it left no one in the fashion world untouched. After making the iconic fashion house of Marcel Rochas interesting again, he did the same for Nina Ricci. He reinterprets the tailored suits and romantic dresses of Nina Ricci, two types of silhouettes at which he excelled both at his own label and at Rochas, and transports them into the 21st-century. He does this without losing the essence of Nina Ricci’s personal style of being a highly romanticised form of femininity and takes this to the extreme, where his Nina Ricci women become fantastical creatures drenched in melancholy.

Nina Ricci and Olivier Theyskens share a mutual love for dance. Ricci expressed this in her designs by making her dresses extra light for women to be able to dance in them. But Theyskens goes one step further by already incorporating the movement in his designs. In his early Nina Ricci collections, this results in a certain asymmetry by transporting the spiralling lines of the iconic bottle of Ricci’s famous perfume, l’Air du Temps, on to the clothes. In his later collections, especially in the spring 2009 collection, he uses movement to contemplate on transiency by showing us an idea of a dress.

The dresses are thought of as short, but they all have a long train in the back because they each evolve their own shape. Theyskens slows time, and by doing so, he is able to show us movement in space. In his creations for Nina Ricci, Theyskens explores the fashion of the 1930s and early 1940s with its long and slender silhouette accompanied by slightly pronounced shoulders. This was a period in which Ricci was very active, and it feels only natural for Theyskens to explore this part of the house’s heritage. In his spring 2009 collection, he even goes further back in time. He revisits the historical inspiration for the 1930s and early 1940s fashion, being the fashion of the last decade of the 19th-century, with its slim skirts that fall wide open on the floor, and its gigantic leg-of-mutton sleeves.

It is only suitable for an exhibition on demi-couture to exhibit creations by Olivier Theyskens. His impeccable craftsmanship and eye for detail give his creations an aura and quality of haute couture. The fashion press labelled him a precursor of demi-couture in 2003, when he showed his first collection for the house of Rochas, but he has always been using techniques from haute couture in his creations, starting from his very first collection, the one for the spring 1998 season. His creations are only being denied the label of haute couture because he doesn’t want to be limited by a set of rules, which for him, mean stripping away of the magic and creativity of the art form.

Words by Frederik Vercammen who was an intern at the MoMu Collection Department from February until April 2014, and wrote his master’s thesis on the collected works of Olivier Theyskens during his studies of Art History at the Ghent University.

Exhibition

Belgian Shoe Talent In The Picture: Kristel Peters

Kristel Peters

MoMu and Flanders Fashion Institute have joined forces and are putting Belgian shoe talents in the picture! With MoMu’s ‘FootPrint – The Tracks of Shoes in Fashion’ exhibition and FFI’s #ikkoopbelgisch campaign, the collaboration between MoMu and FFI was the perfect match! Each week from 17th November to 14th February, different contemporary Belgian footwear brands will be displayed in the museum hall. Next up: Kristel Peters

Kristel Peters

Kristel Peters is a shoe designer with more than 15 years experience in the international fashion industry where she worked for Dries Van Noten, Bottega Veneta and others. Currently, she is artistic researcher for KASK / School of Arts of Hogent where she works on the research project ‘Rethinking High Fashion Shoes’, which she explores techniques of sustainable shoe design. She is particularly interested in and researches sustainable ways of shoemaking as well as tracing new materials, which have little or no impact. Her work is a combination of craftsmanship and state-of-the-art technology.

Great news for people who are already fascinated with her work because Kristel Peters will be here at MoMu on 7th February to introduce her research project ‘Alice’!

Event, Exhibition

Finissage FootPrint & Valentine’s Day at MoMu!

finissage

14th February will be the last day of our Footprint – The Tracks of Shoes in Fashion exhibition. However, we will end the exhibition in true MoMu style and have a surprise up our sleeves for our lovely visitors! Join us on Valentine’s Day because MoMu will be open until 9pm and organize free guided tours at 6pm and 7pm. Places are very limited! Drop by the museum between 6pm – 9 pm and receive a special Valentine’s treat by Philips’ Biscuits! Let’s end this with a bang!

Stay tuned for our next exhibition Game Changers – Reinventing the 20th Century Silhouette!

Exhibition

MoMu Presents: Game Changers – Reinventing the 20th-Century Silhouette

gamechangerscover

 

The exhibition ‘Game Changers – Reinventing the 20th century silhouette’ looks at the groundbreaking work of fashion designer Cristóbal Balenciaga whose innovations in the middle of the 20th century created a radically new silhouettte, in which the body got freedom of movement and architectural volumes created a space around the body. Along with the pioneers of haute couture in the 1920s and 1930s and later on also the designers of the 1980s and 1990s, Balenciaga provided an alternative for the prevailing constrictive hourglass silhouette. These ‘game changers’ looked at fashion of the 20th century from a new perspective.

Influences from Japan, such as the kimono, liberated women from their tight corsets at the beginning of the 20th century. Fashion designers such as Madeleine Vionnet, Paul Poiret, Coco Chanel en Cristóbal Balenciaga shaped this freedom in the 1920s – 1930s with technical innovations and modern ideas about feminity. At the end of the 20th century, the boundaries of the female silhouette are further explored by Japanese and Belgian designers such as Issey Miyake, Yohji Yamamoto, Comme des Garçons, Ann Demeulemeester and Martin Margiela. They paved the way for new body shapes and abstract silhouettes and gave a new interpretation of what could be considered as fashion.

Cristobal Balenciaga, A/W 1967, Photo: Balenciaga Archives

Cristobal Balenciaga, A/W 1967, Photo: Balenciaga Archives

The central figure in the exhibition is the Basque fashion designer Cristóbal Balenciaga (1895-1972), who is seen as the pivotal figure between the two periods, the architect of innovation. His patterns and work are the central axis of the exhibition. Each of the other designers worked in their own way on similarly innovative ideas and shifted the boundaries of the classic feminine silhouette.
In this way, fashion becomes more than a sequence of trends; fashion is a way to shape the body, space and movement. Rei Kawakubo’s ‘Body Meets Dress, Dress Meets Body‘ collection of SS 1997 shows how these new shapes have become a part of the fashion vocabulary.

“Haute Couture is like an orchestra, whose conductor is Balenciaga. We other couturiers are the musicians and we follow the direction he gives.” Christian Dior

Comme des Garçons, 'Body meets Dress, Dress meets Body', S/S 1997, Photo: Yannis Vlamos

Comme des Garçons, ‘Body meets Dress, Dress meets Body’, S/S 1997, Photo: Yannis Vlamos

 

The exhibition unites 100 unique couture and ready-to-wear silhouettes by Cristóbal Balenciaga, Paul Poiret, Madeleine Vionnet, Gabrielle Chanel, but also Issey Miyake, Ann Demeulemeester, Comme des Garçons, Yohji Yamamoto, Maison Martin Margiela. With loans from prestigious collections of the museum of Fashion Institute of Technology in New York, the V&A, MUDE Lisbon and Musée Galliera.

 

Iris Van Herpen, 'Micro', haute couture S/S 2012, Photo: Ronald Stoops

Iris Van Herpen, ‘Micro’, haute couture S/S 2012, Photo: Ronald Stoops

 

The exhibition will open on 18/03/2016 until 14/08/2016!

 

Event

Poetry Day!

gedichtendag

Today is poetry day! We are surprising our visitors with a poem balloon! Visit MoMu and get inspired!

SPRAAKWATER

Hoe minder woorden stromen

Hoe hoger golven van stilte

Hoe zwijgen tot de lippen stijgt

- Lotte Dodion

Collection, Exhibition

Belgian Shoe Talent In The Picture: Kim Wille!

Kim Wille

MoMu and Flanders Fashion Institute have joined forces and are putting Belgian shoe talents in the picture! With MoMu’s ‘FootPrint – The Tracks of Shoes in Fashion’ exhibition and FFI’s #ikkoopbelgisch campaign, the collaboration between MoMu and FFI was the perfect match! Each week from 17th November to 14th February, different contemporary Belgian footwear brands will be displayed in the museum hall. Next up: Kim Wille

Kim Wille

Designer Kim Wille needs to wear orthotic insoles and therefore knows how hard it is to find beautiful and equally comfortable shoes. With an eye for detail and a weakness for fine materials, Kim launched her first three models in August 2015. She designs accessible shoes for a wide audience – with or without feet problems.

SAMSUNG CSC

Uncategorized

MoMu Gallery: Demi-Couture – Couture techniques in recent ready-to-wear acquisitions

demicouturegif

MoMu collection has more than doubled since its opening in 2002. Due to close ties of the museum with the fashion department of the Royal Academy of Fine Arts, individual designers and collectors of Belgian fashion, MoMu was able to successfully extend its collection. The museum occasionally receives donations or long term loans from private archives but contemporary fashion is mainly acquired through purchases in the showrooms during fashion weeks.

Within the wide variety of new acquisitions, a returning theme caught the attention: The references to haute couture within the ready-to-wear collections. Haute couture distinguishes itself  from ready-to-wear because the collections are not sold in series but are custom tailored. More importantly everything is still made by hand: The use of traditional techniques like pleating, embroidery and attaching special materials such as sequins, strass, lace and valuable weaves.

These silhouettes are now on display at MoMu Gallery including pieces by Olivier Theyskens, Raf Simons, Bruno Pieters and Peter Pilotto!

Exhibition

Belgian Shoe Talent In The Picture: Alex Schrijvers

Alex Schrijvers

MoMu and Flanders Fashion Institute have joined forces and are putting Belgian shoe talents in the picture! With MoMu’s ‘FootPrint – The Tracks of Shoes in Fashion’ exhibition and FFI’s #ikkoopbelgisch campaign, the collaboration between MoMu and FFI was the perfect match! Each week from 17th November to 14th February, different contemporary Belgian footwear brands will be displayed in the museum hall. Next up: Alex Schrijvers

Alex Schrijvers

Alex Schrijvers is a Belgian bag and shoes designer who’s been designing since 2004 and works with exclusive leathers like cod, wolfish and salmon as well as exotic leathers like python or crocodile. All his creations are made in Belgium and custom-made in his Antwerp based store.

Alex Schrijvers

Collection

MoMu Digital Wall receives Henry van de Velde Label!

DigitalWall2

Last Wednesday, the prestigious Henry van de Velde Awards were presented for the 22th time by Design Vlaanderen in Brussels. Nineteen products and services of the past year received the Henry van de Velde 2015 Label, including our very own MoMu Digital Wall.


Design Vlaanderen, an organization promoting high quality and innovative designs in Flanders, has been awarding Henry van de Velde Labels to products since 2006. The Henry van de Velde Label appreciates and promotes innovative, well-developed and technically sophisticated products, objects or projects that stand out from others on the market. More than 200 products participated for the label.

DigitalWall1

With the support of Tourism Flanders , MoMu developed a digital wall of 10 square meters to develop its collection digitally. The digital wall was designed by David Dos Santos. The technical development was in the hands of Lab 101.