Bosna Quilts

St. Gallen (CH) > 09.05. - 29.06.2025

Am Bodensee entworfen. An der Drina übernäht. Textilkunst über Grenzen hinweg. Seit über 30 Jahren.
Ihren Anfang nahm die Bosna Quilt Werkstatt im Flüchtlingsheim Galina in Frastanz nahe der vorarlbergischen Stadt Feldkirch. Hier hatten einige der fast 90’000 Flüchtlinge, die in Österreich Schutz vor dem Bosnien-Krieg (1992-95) suchten, eine Bleibe gefunden. Aus der Idee, Künstlerinnen mit Flüchtlingsfrauen zusammenzubringen, entstand 1993 ein Beschäftigungsprojekt, für das sich auch die Malerin Lucia Lienhard-Giesinger engagierte. Wider aller anfänglichen Erwartungen sollte die Zusammenarbeit der Frauen Kriegsende und Heimkehr überdauern.
In Bregenz (A) entworfen von der Initiantin und künstlerischen Leitung der Bosna Quilt Werkstatt, Lucia Lienhard-Giesinger. Und übernäht von einer von elf bosnischen Frauen aus der Stadt Goražde. Jede von ihnen hat ihre eigene Handschrift, die sie in kunstvolle Nähte übersetzt. So entsteht ein Bosna Quilt – aus der Zusammenarbeit zweier Frauen aus unterschiedlichen Welten. Ausgewählte Bosna Quilts werden vom 09.05.-29.06.2025 in der Lounge des Textilmuseum St.Gallen präsentiert. Die Schau eröffnet am Donnerstag, den 08.05.2025 um 18.00 Uhr mit einer Präsentation der Bosna Quilt Werkstatt von Lucia Lienhard-Giesinger. Im Anschluss offerieren wir einen Apéro, der Gelegenheit zu Betrachtung und Austausch bietet.

Text - und Bildquelle: Museumswebsite

Veranstalter/ Ort
Textilmuseum St. Gallen
Vadianstrasse 2
9000 St.Gallen
Schweiz

weitere Infos: www.textilmuseum.ch/bosna-quilts/

Mode & Interieur. A Gendered Affair.

Antwerpen (B)>29.03.2025 - 03.08.2025

In der Haushaltsideologie des 19. Jahrhunderts spielte die Frau eine wichtige Rolle als „Verschönerin” ihrer selbst und ihres Hauses. Um Gemütlichkeit und Komfort zu erzeugen, dekorierte sie die Einrichtung mit weichen Kissen, allerlei Textilien, drapierten Stoffen, Handarbeiten und Schmuckgegenstände. Auch ihren Körper überlud sie mit vielen Stoffschichten und Posamenten. Sie ging völlig in ihrer Einrichtung auf und drohte manchmal sogar darin zu verschwinden.

Diese visuelle Verschmelzung wurde etwas durchdachter konzipiert, als einige männliche Designer wie u. a. Henry van de Velde begannen, Damenkleidung zu entwerfen. Sie strebten nach Harmonie, stimmten zu diesem Zweck Architektur, Möbel, Dekoration, Kleidung und Accessoires aufeinander ab und schufen so ein Gesamtkunstwerk.

MoMu
Nationalestraat 28
2000 Antwerpen
Belgien

weitere Infos: www.momu.be/de/exhibitions/mode-interieur?ct=t%28email_newsletter_alg_04_2025_en%29&mc_cid=7f1c7c2023&mc_eid=f7cff48d5e

Woven Histories Textiles and Modern Abstraction

New York (USA)>15.04.2025 - 13.09.2025

Textiles touch every aspect of our lives and connect us to history. “Threads were among the earliest transmitters of meaning,” the artist Anni Albers wrote in 1965. Woven Histories: Textiles and Modern Abstraction reveals the links between this art form and abstraction. Incorporating basketry, apparel, and more than a century of other textile works that challenge accepted divisions between fine art and craft, this exhibition broadens the story of abstraction, suggesting that not only ideas but materials—like woven, knotted, and braided fabric—are crucial to its understanding and success.

Spanning early-20th-century works by Sonia Delaunay, Hannah Hoch, and Sophie Taeuber-Arp, whose textile practices parallel their painting and drawing, mid-century works by Albers and Ed Rossbach, and contemporary works by Rosemarie Trockel, Andrea Zittel, and Igshaan Adams, this exhibition brings together more than 150 diverse, interdisciplinary objects. Highlighting issues of labor and identity that are intertwined with modern textile production, Woven Histories argues that weaving and textiles are the quintessential link between lived experience and art.

Text - und Bildquelle : Museumswebsite

MOMA
11 West 53 Street,
Manhattan
New York
USA

weitere Infos: www.moma.org/magazine/articles/1210

Fashion on the Move #3

Paris (F)>08.02.2025 - 12.10.2025

From 8 February to 12 October 2025, the Palais Galliera is presenting the third and final part of its collections exhibition Fashion on the Move. With more than 180 new items from the museum's collections on display, the exhibition retraces the history of fashion from the eighteenth century to the present day, exploring the way in which fashion has adapted to the body in movement. The focus of this installation is winter sports.
Garments designed for physical activity and sport through the ages are compared with clothes that people wore in everyday life. It is a dialogue that takes in the concept of specialised sportswear, from the adaptation of women's outfits for sporting activities in the late 19th century to the masculinisation of women's clothing and the introduction of sportswear in the modern wardrobe.

Swimming costumes, cycling outfits and riding habits, motoring coats and accessories, tennis wear and sneakers are just some of the silhouettes used to illustrate three centuries of fashion history. Fashion on the Move #3 is more than just a chronological review of the history of clothing; it offers insights into how the liberation of the body led to changes in attitudes and standards of beauty.

A large section of this last instalment of the exhibition is devoted to winter sports, tracing the emergence of high-altitude resorts and the development of new winter sports such as skiing, tobogganing, ice hockey, ice skating and sledding, as well as the gradual emergence of specially adapted outfits and accessories from specialist equipment manufacturers (including Rossignol, Tunmer and Mavest), fashion houses (including Hermès, Jean Patou and Madeline de Rauch) as well as collaborations between the two. This section is also an opportunity to discover the museum's extensive collection of down jackets, ski suits, stirrup ski pants and knitted accessories.

The exhibition has benefited from exceptional loans from CHANEL, the Musée National du Sport (Nice), the Bibliothèque Forney, the Bibliothèque historique de la Ville de Paris, the Musée Carnavalet - Histoire de Paris, the Fondation Azzedine Alaïa, the Émile Hermès collection, Patrimoine Hermès, the Balenciaga Archives, Jean-Charles de Castelbajac, Fusalp and Le Coq Sportif. These guest items bring added perspective to the Palais Galliera's own pieces that bear witness to exercise and sports activities through the ages, whether competitive or for leisure.

Text - und Bildquelle : Museumswebsite

Palais Galliera
10 av. Pierre 1er de Serbie
75116 Paris
Frankreich

weitere Infos: www.palaisgalliera.paris.fr/en/exhibitions/fashion-move-3

40 + years of STIJL

Brüssel (B) >18.04.2025 - 11.01.2026

An intimate look at four decades of Belgian fashion history

We are in the Dansaert district of Brussels. It is the 1980s. The forerunners of Belgian fashion are opening stores here. Sonja Noël is the first. For 40 years, through her STIJL boutique, Sonja has been translating contemporary Belgian fashion into everyday fashion wear. By supporting new brands and young designers, STIJL has played a part in writing the story of fashion in the city, the region and throughout the country.

40 + years of STIJL is more than just the story of a boutique. Both inspired and inspirational, the central role of this woman is revealed through 68 silhouettes created by 46 designers. It highlights the link she created between designers and customers, between high fashion and people’s everyday lives, between a boutique and a whole neighbourhood.

At first glance, the story of STIJL is not particularly different from that of any other fashion boutique. What sets it apart, though, is its unique selection of designers. STIJL is the place where collections move from the conceptualised and image-based world of fashion to the experience of everyday life.

Fashion and Lace Museum
Rue de la Violette 12
1000 Brussels
Belgien

weitere Infos: www.fashionandlacemuseum.brussels/en/triplex/18-04-25-18-01-26-40-years-of-stijl-the-fashion-boutique

Rococo Reboot! Fashion 1750 - 183

Hasselt (B) >04.04.2025 - 22.02.2026

A Fresh Look at the Rococo Fashion World

Eighteenth- and early nineteenth-century fashion inevitably evokes images of lavish ball gowns in macaron colors, extravagant jewelry, and towering hairstyles adorned with feathers. But does this cinematic image align with historical reality? Rococo Reboot! answers this question and takes you on a fascinating journey through fashion from 1750 to 1830.

Through a thematic journey, the exhibition reveals the role of fashion in daily life. Did you know that dressing was a ritual, from lacing a corset to carefully arranging bows and ribbons? That clothing not only served as a status symbol but also contributed to hygiene? Or that city fashion was an entire universe, with specialized luxury boutiques and a love for strolling in parks and salons?

Rococo Reboot! – A Reinterpretation

This exhibition offers a critical reinterpretation of the Rococo era and its fashion history. Rococo Reboot! breaks through common stereotypes and shows that fashion history is not a series of neatly defined periods but a continuous evolution in which styles and trends are constantly being reinvented. With contemporary insights and sensory experiences, you will discover how fashion from this period continues to influence today.

What to Expect?

Anatomy of an Outfit – Discover the layers and structures that shaped fashion: from corsets and wide petticoats to refined accessories.
From Court to City – Prints and magazines show how fashion trends spread without digital communication.
Spotlight on Menswear – Designers and filmmakers Dylan Eno and Finn van Tol bring men’s clothing from this period to life with innovative AI reconstructions.
Humor and Satire – Caricatures provide a playful and critical perspective on fashion and societal changes.
More than Appearance – Fashion was not only a way to display status but also reflected social changes in a turbulent period.

In addition, Rococo Reboot! immerses you in a unique, all-encompassing experience. Feel the texture of rustling silk and natural wool, smell the scent of historical sachets, and listen to the fashion gossip of the streets.
Contemporary Influences

Modern designers continue to draw inspiration from Rococo fashion. Rococo Reboot! showcases creations by Meryll Rogge, Ester Manas, Dries Van Noten, Raf Simons, Simone Rocha, Molly Goddard, Elena Velez, Comme des Garçons, and Manolo Blahnik.

Experience the Rococo and be surprised by its versatility!

Modemuseum Hasselt
Gasthuisstraat 11, 3500 Hasselt, Belgien

weitere Infos: www.modemuseumhasselt.be/77077-77076-Rococo-Reboot.html

DIOR, JARDINS ENCHANTEURS

Granville (F)>12.04.2025 - 02.11.2025

Depuis 1997, année d’ouverture du Musée Christian Dior au public dans la maison d’enfance du couturier, l’association Présence de Christian Dior organise des expositions thématiques mettant en valeur ses créations et celles de ses successeurs. Plus de vingt ans après l’exposition « Dior côté jardins » en 2001, les jardins sont à nouveau à l’honneur. Essentiels dans la vie de Christian Dior, ils ont aussi été une source d’influence majeure pour le couturier tant en matière de mode qu’en matière de parfums.

A leur tour, les directeurs artistiques de la maison Dior aujourd’hui, Maria Grazia Chiuri directrice artistique des collections femmes, Kim Jones, directeur artistique des collections masculines, Francis Kurkdjian, directeur de la Création Parfums, ainsi que les créateurs des accessoires, de la joaillerie ou encore des arts de la table, toutes et tous s’emparent des jardins qu’ils déclinent avec talent, élégance et fantaisie.

Cent vingt ans après la naissance de Christian Dior à Granville, relire le jardin de son enfance par le prisme de ses créations et celles de ses successeurs, grâce aux prêts généreux de la maison Dior et de prêteurs publics et privés, est une excellente occasion de célébrer un créateur qui se disait autant parfumeur que couturier.

Le jardin des origines

Le premier jardin qui marque Christian Dior est celui de Granville où il fit ses premiers pas. Il est intimement associé dans son esprit à Madeleine Dior, sa mère, qui met un soin tout particulier à son aménagement et fait ajouter à la villa un jardin d’hiver qui lui permet de profiter de son amour des plantes toute l’année. Elle est secondée par son fils qui dessinera le bassin à poisson cerné de la pergola, ainsi que le mobilier. Christian Dior enfant n’éprouve en revanche qu’aversion pour l’univers industriel qu’incarne son père, qui dirige avec son cousin Lucien des usines de fabrication d’engrais.

Lorsque la famille Dior décide de s’installer à Paris en 1911, Christian Dior est marqué par le parfum des femmes, tel celui d’une étrange marquise qui hantait l’hôtel particulier de ses parents à Paris et ceux, tenaces, des élégantes portraiturées par les peintres Giovanni Boldini, Antonio de La Gandara ou encore Henry Caro-Delvaille. L’éveil des sens du futur couturier n’est-il né dans le jardin de Granville où se mêlaient les fragrances des fleurs et l’odeur iodée des embruns ?

En référence aux jeunes années du couturier, ses successeurs imaginent des modèles d’inspiration Belle Epoque, dont Christian Dior garde « l’image d’un temps heureux, empanaché, tranquille, où tout n’était fait que pour le bonheur de vivre ».

Les parfums de Monsieur Dior

Intimement lié au jardin et ses senteurs, l’univers des parfums Dior est aussi étroitement associé à celui de la couture. La passion de Christian Dior pour les jardins, sa relation au sud de la France, ses amitiés fraternelles le distinguent des autres couturiers parfumeurs. L’aventure des parfums historiques de Christian Dior s’appuie sur celle des quatre parfums fondateurs et iconiques : Miss Dior (1947), Diorama (1948), Eau de Cologne Fraîche (1955) et Diorissimo (1956).

Miss Dior, créé dès 1947 par Paul Vacher, est d’abord une histoire familiale et amicale qui associe Serge Heftler-Louiche, l’ami de Granville et président fondateur de Christian Dior Parfums, et Catherine Dior, la sœur chérie de Christian Dior. Le parfum Miss Dior rassemble un répertoire de formes et de motifs comme le pied-de-poule, le nœud Fontanges ou le médaillon néo-Louis XVI devenus des « codes » distinctifs de la maison Dior.

Le parfum Diorissimo, créé par Edmond Roudnitska en 1956, est associé à la couleur rose de la villa Les Rhumbs et fait référence aux souvenirs d’enfance de Christian Dior.

Parfum personnel du couturier, Eau de Cologne Fraîche créée par Edmond Roudnitska en 1955, ravive l’esprit balnéaire qu’il appréciait en famille chaque été à Granville.

Enfin Diorama, second parfum créé en 1949 par Edmond Roudnitska pour Christian Dior Parfums, évoque les dioramas de la Belle Epoque, premiers spectacles cinématographiques du début du vingtième siècle. Dispositif de présentation privilégié dans les musées d’histoire naturelle à partir du dix-neuvième siècle, le diorama se fait naturellement écrin pour les accessoires, bijoux, flacons, souliers ou encore arts de la table aux références botaniques et horticoles.

Le jardin secret des créateurs

Sous les combles, au dernier étage, le préféré de Christian Dior quand il était enfant, les directeurs artistiques actuels de la maison Dior sont à l’honneur. Chacun cultive son jardin à sa façon en intégrant la nature dans ses créations.

Maria Grazia Chiuri, directrice artistique des collections femmes, Kim Jones, directeur artistique des collections masculines, Francis Kurkdjian directeur de la Création Parfums, Stephen Jones, chapelier de Dior, Victoire de Castellane, directrice artistique de Dior Joaillerie, Cordelia de Castelane, directrice artistique de Baby Dior et de Dior Maison, et Peter Philips, directeur de la Création et de l’Image du maquillage : les créateurs d’aujourd’hui revisitent inlassablement les jardins de Christian Dior, de Granville à Montauroux en passant par Milly la Forêt. Ils ont souvent fait le voyage à Granville pour y ressentir l’atmosphère du jardin et de la villa Les Rhumbs, pour s’imprégner du cadre de l’enfance du fondateur dont ils s’inspirent de multiples manières.

Ils habitent ainsi cette maison familiale le temps d’une exposition et lui redonnent vie, illustrant les propos de Christian Dior au sujet de ses collaborateurs : « Avec les années, une amitié fidèle nous a rassemblés en une sorte de famille ».

Text - und Bildquelle: Museumswebsite

MUSÉE CHRISTIAN DIOR - GRANVILLE
Villa les Rhumbs
Rue d'Estouteville
50400 Granville
Frankreich

weitere Infos: musee-dior-granville.com/fr/expositions/dior-images-de-legende/

Azzedine Alaïa, Thierry Mugler

Paris ( F) >02.0.2025 - 29.06.2025

Established in Paris in 1956, Azzedine Alaïa owes his training more to his female friends and customers than to any training school. He accompanies them in their desire for a demanding yet discreet wardrobe. A great couturier who has lost none of the closeness that a fitting or cutting session imposes, Azzedine has acquired the reputation of a great cutter heir to an academic tradition that places him in the direct line of Cristóbal Balenciaga or Madeleine Vionnet.

His expertise and technical virtuosity are coveted not only by the elegant women of the moment. Couturiers and fashion designers know they can count on him to refine certain complex designs or lend a hand on a collection that needs finishing. This was the case for Yves Saint Laurent. It was also the case with Thierry Mugler, whom Alaïa met in 1979 and with whom he forged a real friendship.

For his autumn-winter 1979-80 collection, Mugler invited Alaïa to design the series of tuxedos for his fashion show, and in the press kit that accompanied the presentation of his creations that season, he thanked him publicly. In the hands of the man who never wanted to transgress the laws of cut, powder-grain and satin trouser suits acquired a form of notability and fluidity that was much appreciated. This collaboration encouraged Alaïa to become a designer himself. Thierry Mugler strongly encouraged him, and his support proved both vital and unfailing. On Rue de Bellechasse, where Azzedine has set up his workshops, Mugler, always flanked by his bicycle, brings in the top fashion journalists. In 1982, at the request of the American department store Bergdorf Goodman, Alaïa presented a show in New York. It was Mugler who persuaded him to do so, Alaïa imagining that the invitation was a joke! The designer, friend and admirer, accompanied him, organized and built the show himself, answered and translated interviews, and supported his comrade in the smallest tasks, for which he was eternally grateful. In the summer, they spend their vacations together in Tunisia at the home of lifelong friend Latifa and Leila Menchari.

Companions for a decade that they preempted stylistically, Alaïa and Mugler freely let their influences influence each other's creations. In the 1980s, both divinized the woman, proclaiming the return of glamour in glory and Hollywood as their inspiration, a world away from the folkloric fashions of the 1970s. They shared a common silhouette where majestic shoulders contrasted with choked waists and blossoming hips, memories and fantasies of the fashions of the 1930s and 1950s and the couturiers Adrian, Jacques Fath, Christian Dior and Cristóbal Balenciaga in the lead.

If Mugler had a flair for showmanship, orchestrating the biggest ever parade of his creations and fantasies at Zenith in 1984, Alaïa had a taste for intimacy and perfection. But it's with a shared spirit that their collections respond to each other. Since our meeting,” says Thierry Mugler of his friend, ‘my clothes are less abstract, more in touch with reality, the body feels more at ease in them, and his are something more striking (...) I think that with me, Azzedine Alaïa has been able to free himself, let's say, to move towards suits with more ergonomic, sinuous lines’.

Azzedine Alaïa, the couturier and collector behind a vast and renowned fashion heritage, has preserved over 200 Thierry Mugler-branded creations, some 40 of which are exhibited here in dialogue with his own archives.

Text - und Bildquelle: Museumswebsite ( Foto © Stephane Ait Ouarab)

Fondation Azzedine Alaia
18 Rue de la Verrerie
75004 Paris
Frankreich

weitere Infos: fondationazzedinealaia.org/en/expositions/30826/

Bals costumés Habiller l’Histoire, 1870-1927

Montreal (CA)>14.11.2024 - 17.08.2025

Costume Balls

Dressing Up History, 1870-1927

A century and a half ago, extravagant costume balls and skating carnivals were the pinnacle of society entertainments, bringing forth a kaleidoscopic array of fanciful costumed characters. But, beneath all the anachronistic exuberance, these balls reinforced core myths of colonial destiny and imperial futures.

This exhibition captures the splendour of entertainments where, for just one evening, guests transformed themselves into characters inspired by history or fantasy. The invitation to reimagine oneself as an alter ego was no less than an opportunity of a lifetime, occasioning study, expense, and a trip to the photographer’s studio. Costume Balls: Dressing Up History, 1870-1927 tells an extraordinary story, showcasing some of the most extraordinary objects in the Museum’s collections.

Rarely do visitors get a chance to see so many garments from the nineteenth century —that have survived in spite of being created to last a single evening— in an exhibition space. And rarely do we see captured in photography such a lighthearted side of life from a time where public presentation of the self was a most serious matter. The exhibition fully explores the tremendous scale of the efforts to commemorate these balls, which in itself will surprise visitors, making clever use of digital technology all while taking a critical look at the way these grand events helped reinforce imperialist myths.

Over 40 dazzling outfits worn will be on display as well as photographs of guests in costume, souvenir publications and more —that capture the spirit and prestige of these grand events. This exhibition and the accompanying publication represent the culmination of a research effort which draws on the quintessential strengths of the McCord Stewart Museum’s rich collections. Many remarkable discoveries, unveiled to the public for the first time.

Text - und Bildquelle : Museumswebsite

Musée McCord Steward
600, rue Sherbrooke Ouest
Montreal ( Quebec) H3A 1E9
Kanada

weitere Infos: www.musee-mccord-stewart.ca/en/exhibitions/

Splash! A Century of Swimming and Style

London (GB)>28.03.2025 - 17.08.2025

A major exhibition celebrating our enduring love of the water over the last 100 years. Explore the full spectrum of the design of swimming — from sports performance and fashion, to architecture.

Across three in-depth sections that reflect the three locations in which we swim — the pool, the lido and nature — the exhibition dives into design’s role in shaping our relationship with swimming, both in the water and beside it.

The exhibition’s story starts in the 1920s, when swimwear began to be marketed for swimming rather than the Victorian’s preference for bathing, and when beach holidays exploded in popularity. It explores right up to the present day, and swimming’s role in modern life such as how it influences and subverts our ideas of body autonomy and agency, as well as its link to environmental issues.

Discover over 200 objects, collectively exploring swimming’s evolution in its social, cultural, technological and environmental contexts, including Pamela Anderson's sensational Baywatch swimsuit, the first Olympic solo swimming gold medal won by a British woman, and a selection of eye-catching men’s Speedos from the 1980s. Other objects on view are the banned ‘technical doping’ LZR Racer swimsuit, one of the earliest surviving examples of a bikini, and a detailed architectural model of the Zaha Hadid-designed London 2012 Aquatics Centre.

Splash! is guest-curated by Amber Butchart, a dress and design historian and broadcaster known for her history segments on BBC One’s The Great British Sewing Bee.

Text - und Bildquelle: Museumswebsite

Design Museum
224 – 238 Kensington High Street
London W8 6AG
England

weitere Infos: designmuseum.org/exhibitions/splash-a-century-of-swimming-and-style