aktuelle Ausstellungen

“Helveticana – Vintage Clothing and Gear Made in Switzerland”

Zürich ( Ch) >21.11. 2025 – 28. 03.2026

Souvenir Sport präsentiert die Ausstellung „Helveticana – Vintage Clothing and Gear Made in Switzerland“

Zum ersten Mal öffnet Souvenir Sport sein Helveticana Archiv für die Öffentlichkeit. In Zusammenarbeit mit der Grafikerin und Fotografin Laura Kneisel, die ihre Bachelorarbeit dem Archiv widmete, erkundet die Ausstellung alltägliche Schweizer Kleidung auf haptische und visuelle Weise.

Kuratiert von Caspar Schweizer werden 100 einzigartige Stücke aus den 1930er- bis 1990er-Jahren gezeigt und veranschaulichen die Vielfalt der Schweizer Textilproduktion im 20. Jahrhundert. Historische und neu inszenierte Fotografien, Bücher, Magazine, Kataloge und weitere Materialien bieten zusätzlichen Kontext und können vor Ort eingesehen werden.

Die Kleidungsstücke zeigen, wie der Alltag in der Schweiz von Landschaft, Arbeit und Freizeit geprägt war. Anhand von Alpin-, Arbeits- und Sportbekleidung lässt sich nachvollziehen, wie sich Schweizer Identität in Material, Funktion und Gestaltung herausbildete. Gemeinsam eröffnen sie einen Einblick in die Beziehung zwischen Kleidung, Kultur und Ort.

Besucher:innen sind eingeladen, sich durch verschiedene Epochen und Sammlungen des Archivs zu bewegen sowie die Kleidungsstücke und Objekte, die das Schweizer Handwerk und Designerbe prägen, zu berühren, zu betrachten und zu erforschen.

Text - und Bildquelle : Website

Souvenir Sport
Turnerstrasse 37
CH-8006 Zürich
Schweiz

weitere Infos: souvenirsport.ch/

Einsichten () saftey first

Stuttgart (D) >16.01. 2026 - 05.03 2026

Das Design Center Baden-Württemberg lädt Sie am 15. Januar 2026 sehr herzlich zur Vernissage der EINSICHTEN Ausstellung „Safety First“ ein.

Es werden Arbeiten der Textildesign-Klasse Prof. Veronika Aumann der Staatlichen Akademie der Bildenden Künste Stuttgart präsentiert. Das Event findet im Rahmen des Neujahrsempfangs 2026 des Design Center statt.

Das Entwurfsprojekt „Safety First“ der Staatlichen Akademie der Bildenden Künste Stuttgart befasst sich mit der gestaltungsgeleiteten Auseinandersetzung mit Textilien und textilen Anwendungsszenarien im Bereich der Arbeitsschutzbekleidung. Die zentrale Idee war es, spezifische Aspekte und Funktionen von Schutzkleidung in unterschiedlichen Einsatzbereichen thematisch aufzugreifen, gestalterisch zu hinterfragen und sowohl textiltechnisch als auch funktional neu zu interpretieren.

Folgende Fragestellungen begleiteten das Projekt: Wie beeinflusst ein textilgestalterischer Ansatz die Entwicklung und Ausführung von Arbeitsschutzbekleidung? Welche neuen Formen und Konzeptionen für Textilien im Kontext der persönlichen Schutzausrüstung entstehen? Welche Potentiale und Inspirationsmöglichkeiten bieten textiltechno- logische Standards, Prüfkriterien oder arbeitsschutzrechtliche Standards für die gestalterische Auseinandersetzung?

Neben außergewöhnlichen Studien und nachhaltigen, klimarelevanten Ansätzen entstanden sieben unkonventionelle Ergebnisse, die innovative Impulse für neue Perspektiven im Bereich der Arbeitsschutzbekleidung liefern. 

AUSSTELLENDE UND IHRE PROJEKTE

Jisol Lee „Haenyeo“
Mary-Lou Herkommer „Rooftop Rodeo“
Seohee Kim „Silent Veil“
Haejin Kim „Thermosoma“
Charlotte Wahl „Zum Niederknien“
Lotta Bühler und Leonie Walter „Schafe zählen Modulare Arbeitsschutzkleidung aus Wolle“
Luis Hering „Cool Cut 11393-2“

Text - und Bildquelle : Website

Design Center Baden-Württemberg Haus der Wirtschaft Baden-Württemberg
Heinrich-Meidinger-Saal, 1. OG
Willi-Bleicher-Straße 19,
70174 Stuttgart
Deutschland

weitere Infos: design-center.de/de/EINSICHTEN-2026-SAFETY-FIRST-1957.html

WEAVING, EMBROIDERING, EMBELLISHING. The Crafts and Trades of Fashion

Paris ( F ) > 13.12.2025 - 18.10.2026

In December 2025, the Palais Galliera is launching a series of exhibitions devoted to the skills and crafts involved in Parisian fashions. The three successive exhibitions will explore the specialised jobs and techniques in the fashion industry from different angles, showcasing items from the museum's stunning collections and offering a fresh perspective on the history of fashion from the 18th century to the present day.

This first exhibition is devoted to the decorative crafts used to embellish and decorate garments and accessories: weaving, printing, embroidering, lacemaking and artificial flowers. The theme chosen to explore these techniques is the flower, a motif which has featured prominently in textile art and fashion since the 18th century. The many variations on the theme reveal the interplay of textures, the treatment of colours and volumes and details inspired by the changing seasons. From the brocade fabric of an 18th century waistcoat to the laser prints of a Balenciaga ensemble; a piece of Chantilly lacework to Gabrielle Chanel's famous camellia, the exhibition highlights the wide variety of techniques involved, while at the same time exploring their symbolism and applications.

With over 350 pieces (garments, accessories, photographs, graphic art, samples, tools, etc.), the exhibition features creations from haute couture houses as well as pieces by young designers, some of which have been made especially for the exhibition. Textile samples and tables equipped with magnifying glasses have been provided in order for the public to examine the pieces and, by studying them, to appreciate the complexity of the craftsmanship involved in each design. It is a unique opportunity to gain an insight into the very special skills and know-how of those who work in the fashion industry.

The Palais Galliera is also paying tribute to the people behind these skills, who are often forgotten or lesser known by the prestigious name of a couturier. Whether they are traditional Maisons such as Lesage or Hurel, or newer, contemporary players like Baqué Molinié or Aurélia Leblanc, the exhibition reviews these often unsung craftspeople of fashion: the textile designers, embroiderers, feather workers, and floral makers, who have made Paris the cosmopolitan capital and prime location for their exceptional skills, which they maintain in a constant state of innovation and renewal.

Text - und Bildquelle : Museumswebsite

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

weitere Infos: www.palaisgalliera.paris.fr/en/exhibitions/weaving-embroidering-embellishing-crafts-and-trades-fashion

DIOR KOLLEKTION VON AZZEDINE ALAÏA

Paris ( F ) > 20.11.2025 - 03.05.2026

In diesem Herbst präsentieren La Galerie Dior und die Azzedine Alaïa Foundation eine einzigartige Doppelausstellung, die Azzedine Alaïa – Sammler und Bewunderer von Christian Dior – in den Mittelpunkt rückt.

Azzedine Alaïa begann schon sehr früh und unter strengster Geheimhaltung mit dem Aufbau einer bedeutenden Sammlung, die die Kunst der größten Couturiers widerspiegelt. Dior nimmt darin einen besonderen Platz ein, mit rund 600 Designs, die heute von der Azzedine Alaïa Foundation sorgfältig aufbewahrt werden. Mehr als hundert davon werden zum ersten Mal in La Galerie Dior gezeigt und unterstreichen die Bewunderung des Designers für Christian Dior und seine Nachfolger, von Yves Saint Laurent bis John Galliano.

„Die Dior Modelle lassen erkennen, wie entschlossen Azzedine Alaïa sein Ziel verfolgte. Auf der Suche danach, wie Kleider aufgebaut sind und wie die feinen Schichten darunter einen luftigen Unterrock in Form halten, führte er all jene Elemente zusammen, die ihn schon als Jugendlichen fasziniert hatten.“ Olivier Saillard, Direktor der Azzedine Alaïa Foundation.

Parallel dazu präsentiert die Azzedine Alaïa Foundation in ihren Räumlichkeiten in Paris eine einzigartige Ausstellung mit Werken dieser beiden „Meister der Couture“. Azzedine Alaïa, der 1956 für einige Tage bei Dior beschäftigt war, hatte gute Erinnerungen an die anspruchsvollen Ateliers in der Avenue Montaigne. Rund dreißig von Azzedine Alaïa gesammelte Dior Entwürfe, die zusammen mit einer ähnlich großen Auswahl seiner eigenen Kreationen gezeigt werden, machen sichtbar, wie stark sich der Erfinder des New Look im Werk des französischen Couturiers tunesischer Herkunft widerspiegelt.

Die von Olivier Saillard in Zusammenarbeit mit Gaël Mamine kuratierte Doppelausstellung zeigt eine neue Interpretation der Geschichte der Maison Dior aus der Sicht eines anspruchsvollen Sammlers und enthüllt gleichzeitig eine Reihe faszinierender Korrespondenzen zwischen Christian Dior und Azzedine Alaïa.

Text - und Bildquelle : Museumswebsite

La galerie Dior
11 Rue François-Ier,
Paris 75008
Frankreich

weitere Infos: www.galeriedior.com/de/veranstaltungen/die-azzedine-alaia-dior-kollektion

Embroidering Palastine

Antwerpen ( B ) > 13.12.2025 - 7.06.2026

Diese Ausstellung beleuchtet palästinensische Stickerei und Kleidung anhand von vier Themen: Natur, Pracht, Kraft und Wandel. Tatreez entstand in einem ländlichen Kontext und spiegelte die enge Verbindung zwischen Frauen und ihrer Umgebung wider – von floralen Motiven bis zu mit Galiläischem Indigo gefärbten Stoffen. Gleichzeitig stand Stickerei auch für Status und Wohlstand – besonders rund um die Hochzeit, einem wichtigen Übergangsritus, wurde mit festlicher Kleidung groß aufgewartet. Goldfäden, Perlmutt-Schuhe und kunstvoll verzierte Kopfbedeckungen zeugen von der Raffinesse des Handwerks. Silberne Schmuckstücke und bestimmte Stickmotive hatten zudem eine schützende, fast magische Bedeutung und zeigen, wie Kleidung den Körper stärken oder bewahren konnte.

Stickerei – Tatreez auf Arabisch – ist eine der bedeutendsten kulturellen Praktiken Palästinas. Die traditionelle palästinensische Kleidung war lange Zeit durch regionale Vielfalt geprägt: Jede Region war erkennbar an spezifischen Stoffarten, Farben, Mustern und Sticktechniken. Im 19. und frühen 20. Jahrhundert war Tatreez mehr als ein Handwerk – es war eine visuelle Sprache, die Frauen miteinander teilten. Jedes Stickstück erzählte etwas über Herkunft und Identität der Trägerin.

Heute liegt die Kraft der Stickerei vor allem in ihrer symbolischen Bedeutung: Sie ist ein greifbarer Ausdruck palästinensischer Identität und kollektiven Widerstands. Seit der Nakba („Katastrophe“) von 1948, bei der Hunderttausende Palästinenser:innen vertrieben wurden, entwickelte sich Tatreez zu einer Form kulturellen Widerstands. Die Ausstellung zeigt die Politisierung dieses Handwerks, die Rolle von Textilien bei der Identitätsbildung und wie Tatreez bis heute eine Inspirationsquelle für zeitgenössische palästinensische Designer*innen ist.

Text - und Bildquelle : Museumswebsite

MOMU
Nationale Straat 28
2000 Antwerpen
Belgien

weitere Infos: www.momu.be/de/exhibitions/embroidering-palestine?utm_medium=email&utm_source=mailchimp&utm_campaign=nieuwsbrief_januari_2026

1925: Fashion in the Age of Art Deco

Bruessels ( BE) >07.11.2025 - 02.02.2026

A Stylistic Revolution

During the interwar period, fashion underwent a profound transformation. Silhouettes broke free from the constraints of the 19th century, adopting simpler, more geometric lines in harmony with the Art Deco aesthetic. Straight-cut dresses, simple by day and adorned with refined embroidery and luxurious fabrics by night, reflected a new way of life where elegance met modernity. Straight-cut dresses, simple by day and adorned with refined embroidery and luxurious fabrics by night, reflected a new way of life where elegance met modernity.

Designers and Influences

The exhibition will highlight iconic creations from this period, showcasing the perfect blend of innovation and sophistication. From Parisian couture houses to Brussels ateliers, visitors will discover how interwar fashion shaped a timeless style that continues to be admired today.

A Dialogue with the van Buuren Museum & Gardens

In this unique setting, the exhibited pieces will engage in a dialogue with the architecture and décor of the Van Buuren Museum, whose interior was designed in the Art Deco spirit after the Van Buuren couple’s visit to the 1925 Exhibition. A true immersion into an era where art, fashion, and design intertwined with boldness and elegance.

Text - und Bildquelle : Museumswebsite

van Buuren Museums& Garden
Avenue Léo Errera,
 41
1180 Brussels

Belgien

weitere Infos: www.museumvanbuuren.be/en/2025-anniversary-year/

Iris van Herpen Sculpting the Senses

Rotterdam ( NL) >2709.2025 - 01.03.2026

This coming autumn, Kunsthal Rotterdam’s HALL 2 will be entirely dedicated to the work of the world-famous Dutch fashion designer Iris van Herpen (1984). Van Herpen is one of the most avant-garde couturiers of her generation. With her pioneering use of innovative techniques in her profession, Van Herpen breaks with fashion conventions while at the same time embracing the traditional craftsmanship of haute couture. The exhibition Sculpting the Senses is a sensory exploration of the designer’s universe and presents an immersive retrospective that brings together fashion, contemporary art, design, and science. The Kunsthal is showcasing over a hundred iconic creations that illustrate how Van Herpen is constantly stretching the boundaries of haute couture.

Sculpting the Senses celebrates Van Herpen’s multidisciplinary approach and offers a spectacular overview of her wide-ranging body of work. Her creations are highlighted through nine themes, a 21st-century cabinet of curiosities, and a replica of her Amsterdam atelier. The dazzling exhibition design guides visitors through immersive spaces, accompanied by a multisensory soundscape by Salvador Breed.

Position of the body

From the tiniest to the biggest scale, the exhibition raises questions about the position of the body in the space, the relationship between clothes and the environment, and the future of the body in our rapidly changing world. In the exhibition, Van Herpen’s haute-couture pieces enter into a dialogue with contemporary artworks by, among others, Collectif Mé, Philip Beesley, Wim Delvoye, Kate MccGwire, Damien Jalet, Kohei Nawa, Casey Curran, Rogan Brown, Jacques Rougerie, and Tomáš Libertíny and with design objects by Neri Oxman, Ren Ri and Ferruccio Laviani.
Iris van Herpen

Iris van Herpen (1984) grew up in the Dutch village of Wamel. She first discovered her passion for fashion in her grandmother’s attic, where she stumbled upon a mini museum of garments and costumes that opened her gaze towards a different era. After graduating from the ArtEZ University of the Arts in Arnhem, she worked for Alexander McQueen in London, and Claudy Jongstra in Amsterdam. In 2007, she established her own label and presented her first collection during Amsterdam Fashion Week. In 2011, at the age of 27, Van Herpen joined the Chambre Syndicale de la Haute Couture in Paris. Her creations are included in a variety of collections, including the Victoria & Albert Museum in London and The Metropolitan Museum of Art in New York.

Publication

The exhibition Iris van Herpen: Sculpting the Senses will be accompanied by an English-language catalogue of the same name, 256 pages, ISBN 9789020987430. This book is available at the Kunsthal Shop and Kunsthal Webshop as of 27 September.

Collaboration

The exhibition Iris van Herpen: Sculpting the Senses is organised by Kunsthal Rotterdam in close collaboration with Musée des Arts Décoratifs, Paris, and Maison Iris van Herpen, based on the original exhibition, designed by Musée des Arts Décoratifs, Paris.

Text - und Bildquelle : Museumswebsite

Kunsthal Rotterdam
Museumpark
Westzeedijk 341
3015 AA Rotterdam
Niederlande

weitere Infos: www.kunsthal.nl/en/plan-your-visit/exhibitions/iris-van-herpen/

Fong-Leng & Fans - 60 years Fashion & Fame

amstelveen ( NL)> 15.10.2025 - 06.04.2026

Museum JAN will present Fong-Leng & Fans - 60 years of Fashion & Faam, an exhibition on the influence and significance of the colourful, multidisciplinary fashion designer and artist Fong-Leng from 15 October 2025. For 60 years a unique player in the Dutch fashion and design world, who inspires other young makers to this day.

Fans of her extravagant creations
Fong-Leng (1937) is famous at home and abroad for its flamboyant outfits: dresses and jackets made of leather, silk and fur with applications of exotic animals and plants. In the 1970's she became popular with her extravagant creations, which were worn by celebrities such as Mathilde Willink and singer Kate Bush. Her distinctive work and personality have led to a large crowd of 'fans' and - even 60 years later - are still a source of inspiration. In this exhibition, Museum JAN gives these admirers the opportunity to show the strength and uniqueness of her work and its place in the Dutch fashion landscape.

Inspiration for current fashion designers
Fong-Leng has also been an important source of inspiration for contemporary fashion designers such as Ronald van der Kemp (RVDK), Bas Kosters and Mattijs van Bergen, who have indicated that they have been influenced by aspects such as her choice of materials, colors and distinctive style. Among younger couturiers and fashion designers like Tess van Zalinge and David Laport, the love of craftsmanship and folds shows clear parallels with the work of Fong-Leng. Also fashion label Atelier Reservé, which makes fashion for a wide and diverse audience, enters into a beautiful dialogue with the work of Fong-Leng in terms of theme, inspiration and use of color. In this exhibition, designs by all these designers are shown alongside the work of Fong-Leng to visually emphasize the timeless relevance of her exuberant style. This is especially interesting at a time when identity and its expression in clothing is a topical issue in the social debate.

New textile paintings in reconstruction of her living room
To this day, Fong-Leng remains productive and creates wall objects made of materials such as leather, suede, silk and fur. Her signature can be seen clearly, with many exotic animal figures. Her Chinese background plays an important role in this. Especially for the exhibition at Museum JAN, part of her imaginative, colourful world is being reconstructed. Visitors can enter her living room, where new textile paintings will be on display that have not been shown to the public before.

Text - und Bildquelle : Museumswebsite

Museum JAN
50 Village Street
Amstelveen, NH
1182 JE Netherlands
Niederlande

weitere Infos: nl.museumjan.nl/exhibitions/fong-leng-fans-60-jaar-fashion-faam

Azzedine Alaïa, Cristóbal Balenciaga. Sculptors of shape

Prato ( I ) > 25.10.2025 - 10.05.2026

The Museum pays tribute to two iconic figures in French fashion with an exhibition designed by Olivier Saillard.

The Museo del Tessuto Foundation concludes its 50th anniversary exhibition calendar with a major exhibition dedicated to two absolute icons of French fashion. Created in collaboration with the Azzedine Alaïa Foundation in Paris chaired by Carla Sozzani, the exhibition Azzedine Alaïa and Cristóbal Balenciaga. Sculptors of Shape is curated by Olivier Saillard and counts the French Embassy in Italy among its patrons, as well as the extraordinary participation of Balenciaga Archives in Paris, for an exceptional exhibition project coming to Italy for the first time.

The concept for the exhibition dates back to the Azzedine Alaïa Foundation in 2020, at the behest of Hubert de Givenchy. A few months after the passing of Azzedine Alaïa (Tunis 1935 – Paris 2017) and decades after that of Balenciaga (Getaria 1895 – Jávea 1972), as a great admirer of Balenciaga and a key figure in classical fashion, Givenchy shared his wish with the Alaïa Foundation to bring these two great talents together, both skilled experimenters with shapes and volumes that have profoundly marked the history of fashion.

The exhibition

Twenty-five creations by Azzedine Alaïa – considered one of the last couturiers, capable of mastering every stage in a garment’s creation, from design to tailoring – dialogue with as many garments by Cristóbal Balenciaga, in a timeless comparison.

Alongside the garments, the Textile Museum is exhibiting 12 original drawings by Balenciaga dated between 1950 and 1968 from Balenciaga Archives in Paris, shown in Italy for the very first time. The drawings, some of which include technical notes for tailoring and fabric samples, are accompanied by an equal number of original photos of the garments being worn, valuable and extraordinary records of the Spanish designer’s creative process.

As Azzedine recounts, when Maison Balenciaga closed for good in 1968, as a young up-and-coming designer, he was called upon by Mademoiselle Renée – the Maison’s historic deputy general manager – to choose a selection of Master Balenciaga’s creations, because only his hands would be able to rework and renew them without betraying them. The young Alaïa was so amazed by the shapes, the architecture of the cuts and the technical skill of each garment that he marked this encounter with Balenciaga’s work as the starting point for his own, and personally collected his most representative garments.

Both couturiers were passionate about sartorial construction and known for their perfectionism and ability to cut and sew with their own hands. Balenciaga’s research resulted in perfect formal elegance, while Alaïa’s highlighted precise sensuality. Balenciaga was a great innovator of forms and creator of wearable architecture, while Alaia wrapped and sculpted the body as if it were a second skin.

The exhibition is completed by a film on the life and work of Azzedine Alaïa made by Joe McKenna, fashion editor and stylist, and a never-before-seen video featuring the presentations of Balenciaga’s Haute Couture Summer 1960 and 1968 collections from Balenciaga Archives in Paris.

Text - und Bildquelle : Museumswebsite

Museo del Tessuto
Via Puccetti 3
59100 Prato
Italien

weitere Infos: www.museodeltessuto.it/en/exhibitions/azzedine-alaia-cristobal-balenciaga-sculptors-of-shape/

Dirty Looks Desire and Decay in Fashion

London ( GB) > 25.09.2025 - 25.01.2026

Rebel against conventional beauty and take a look at the dirty side of fashion.

From ruined romantic evening gowns to faux-stained jeans, mud-splashed dresses and upcycled outfits, the fashion world has never been dirtier.

But where did this idea of getting dirty come from? Where is it going? And, what does it say about fashion's relationship to the earth and to our bodies?

Dirty Looks explores how dirt and decay have been used to defy beauty standards, and why it's going through a resurgence in young designers' work. As a counterpoint to glossy digital perfection, these artistic practices point us to a new way of thinking about a sustainable fashion future.

Featuring icons like Hussein Chalayan, Alexander McQueen, Vivienne Westwood, Miguel Adrover and Maison Margiela, alongside emerging designers such as Elena Velez, Yuima Nakazato and IAMISIGO, this exhibition explores fashion's past, present and possible future.

The human desire to reconnect with the earth – a romantic longing or ‘nostalgia of mud’ – finds many expressions, as these pairs of rubber wellington boots owned by Her Majesty Queen Elizabeth II and London’s supermodel Kate Moss exemplify. Spending time in nature, whether on horseback or trawling through the muddy fields of Worthy Farm at Glastonbury, is often seen as a welcome antidote to our sanitised and digital lifestyles. 

Fashion has long been characterised by glamorous and perfect surfaces that will not tolerate any form of ‘dirt’, defined by anthro­pologist Mary Douglas as ‘matter out of place’. However, over the past fifty years, forms of both real and fake dirt have infiltrated and decorated fashion, symbolising rebelliousness, romanticism and decay as well as concepts of transience, spirituality and regeneration. 

Dirty Looks explores the many ways in which fashion has embraced ‘dirty’ aesthetics, from the poetic and the political to the subversive and humorous. The exhibition traces an ongoing nostalgia of mud, from ancient landscapes such as the bog to new horizons where a spiritual connection to the earth is expressed through garments. Examining the influence of decolonial attitudes and indigenous perspectives, it also demonstrates what alternative practices – from upcycled materials and repurposed deadstock to regenerated textiles and reinterpretations of natural resources – could offer the industry.

Fashion, as a deeply meaningful cultural practice of adornment, is also the third most polluting industry in the world. By taking a ‘dirty look’ at fashion, we might begin to reckon with what this says about our relationship to the earth, salvaging the connections eroded by industrialisation and colonialism.

Text - und Bildquelle : Museumswebsite Foto :© David Parry

Art Gallery
Barbican Centre
Silk Street, London
EC2Y 8DS
Groß Britannien

weitere Infos: www.barbican.org.uk/whats-on/2025/event/dirty-looks