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1914 Now

“1914 Now. Four perspectives on fashion curation” is a film installation and collaboration between four fashion curators and filmmakers to express a moment in fashion from 1914.

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  • 12 November 2014
  • Venice

“1914 Now. Four perspectives on fashion curation” is a film installation and collaboration between fashion curators and filmmakers.

Four curators, Walter Van Beirendonck, Amy de la Haye, Judith Clark and Kaat Debo were invited by London College of Fashion’s Alison Moloney (Curator, International Exhibitions Programme) to express a moment in fashion or dress from 1914.

Rather than working in familiar museum contexts, they explored the potential of film as a medium. This project simultaneously reveals multiple perspectives on one year of fashion and on fashion curation, with each curator displaying their distinctive approach towards their discipline.

Top: Still from the film Crossed Crocodiles Growl, Walter van Beirendonck and Bart Hess. Above: Still from the film Il Vestito Antineutrale, Judith Clark and James Norton

One film focuses upon the cusp of modernity by exploring a surviving tea gown, whilst another takes the Futurist Manifesto of Balla to launch an exploration of contexts and display props. The protective headgear of war – a helmet from 1914 – forms commentary on the political landscape of today, and a newly commissioned dress represents the tension between the desire for ornament and the search for the Modern.

Still from the film The Violet Hour, Amy de la Haye and Katerina Athanasopoulou

The curators have collabored with filmmakers including Bart Hess, James Norton, Katerina Athanasopoulou and Marie Schuller. This project was inspired by Rem Koolhaas’s brief to the national pavilions in the Giardini of the Venice Architecture Biennale Absorbing Modernity 1914 to 2014. Alongside the films is a catalogue, available on the UAL e-store, containing essays from the curators and responses from architectural historians and practitioners and critics of the avant-gardes, which explore how moments of modernity in fashion collide with those of other disciplines.

After the launch of the films on SHOWstudio on the 6 November 2014, there is now a live installation of the films in Venice at Spazio Punch, until 14 December and an international tour of fashion film festivals, gallery installations and evening screenings including RIBA on 9 December.

Still from the film <i>Crossed Crocodiles Growl</i>, Walter van Beirendonck and Bart Hess
Still from the film <i>Crossed Crocodiles Growl</i>, Walter van Beirendonck and Bart Hess
Still from the film <i>Crossed Crocodiles Growl</i>, Walter van Beirendonck and Bart Hess
Still from the film <i>Il Vestito Antineutrale</i>, Judith Clark and James Norton
Still from the film <i>Il Vestito Antineutrale</i>, Judith Clark and James Norton
Still from the film <i>Il Vestito Antineutrale</i>, Judith Clark and James Norton
Still from the film <i>The Violet Hour</i>, Amy de la Haye and Katerina Athanasopoulou
Still from the film <i>The Violet Hour</i>, Amy de la Haye and Katerina Athanasopoulou
Still from the film <i>The Violet Hour</i>, Amy de la Haye and Katerina Athanasopoulou
Still from the film <i>The Violet Hour</i>, Amy de la Haye and Katerina Athanasopoulou


until December 14, 2014
1914 Now
Four perspectives on fashion curation
curated by Alison Moloney (London College of Fashion)
Spazio Punch
Giudecca 800/o
Venezia

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