NODEM 2014 Proceedings

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Exhibiting Fashion: Museums as Myth in Contemporary Branding and Media Culture It’s on the small side. It has a tight thesis, comparing and contrasting work by two designers of different generations. And it carries that idea through with the careful, even wonkish earnestness of an end-of-year term paper. However, as the brand Prada is constructed around Miuccia Prada’s intellectual and artistic cultural preferences (Ryan 2005), her presence at the MET as an intellectual consolidates her position at the center of the fashion elite. The core values of the brand are thus exhibited. As the exhibition was not designed as a spectacular department store window, this did perhaps disarm critics. However, as the exhibition not only exhibited Prada’s designs, but the very essence of the brand, critics should perhaps have been more alert. Looking at the multivalent communication practices of Prada, we may start to see the branding of this fashion house as catching up with a “new” museology paradigm, one, as Rielgels Melchior (2014), sees a “…program for reflective museology, a critical approach to museum practices, and a constant focus on the democratic duty to interact with visitors, especially new ones”. (p.12). Museums as fashion media: exhibiting brands In her influential essay, Fiona Anderson (2000) links the development of fashion exhibitions to an adoption of a corporate marked-oriented logic, as well as to a shift in museal practices and scholarly debate about what modern museums should be and do. She argues that fashion is not about garments but about its associated imagery. What then, we may ask distinguishes a museum exhibition like “Impossible Conversations” from advanced branding? “New” museology, where a reflexive, and non-authoritative approach to the “truth” is replaced by participative reflection, meaning making and critique, now aligns with sophisticated high fashion branding, as high fashion brands are already cultural producers. The museum is modelled in fashion branding, and becomes a medium for fashion’s sophisticated branding techniques, turning museums and shops into what Church Gibson recognises as the real metropolitan salons of the new millennium. Acknowledgements Thanks to Westerdals: Oslo School of Arts, Communication and Technology for funding and support, and to Unni Tanberg and Sam Bannister for valuable comments. References Anderson, F. (2000). “Museums as fashion Media”. In Bruzzi, S & Church Gibson, P. (Eds). Fashion Cultures: Theories, Exploration and Analysis. London: Routledge. Barnard, M. (2002). Fashion as culture. (Second edition). London: Routledge. Barthes, R. (2000). Mythologies. Selected and translated from the French Mythologies. Paris: Editions du Seuil). London: Vintage Breward, C. (2003, October 18). Shock the Frock. (The Guardian). Retrieved from http://www.theguardian.com/artanddesign/2003/ oct/18/art.museums Cairns, G. (2010). Dechiphering Art, Advertising and Architecture: New Persuasion Techniques for Sophisticated Consumers. Oxfordshire: Libri Publishing. Church Gibson, p. (2012). Fashion and Celebrity Culture. New York: Berg. Cotter, H. (2012, May 10). Speaking Fashion: Schiaparelli and Prada: Impossible Conversations at the Met. (The New York Times). Retrieved from http://www.nytimes.com/2012/05/11/arts/design/schiaparelli-and-prada-impossible-conversations-at-met. html?pagewanted=all&_r=0 NODEM 2014 Conference & Expo 142
Exhibiting Fashion: Museums as Myth in Contemporary Branding and Media Culture Evans, C (2013). “Yesterday’s emblems and tomorrows commodities: The return of the repressed in fashion imagery today”. In Bruzzi, S. and Church Gibson, P. (Eds.). Fashion cultures revisited (77-103). London: Routledge. Frankel, S. (2011) Introduction. Alexander McQueen Savage beauty. Catalogue, The Metropolitan Museum of Art. (p.17-30) Huyssen, A. (1995) Twilight Memories: Marking time in a Culture of Amnesia. London: Routledge. Kilcooley-O´Halloran, S. (2014, April 30). The Pradasphere is Unveiled. (Vogue). Retrieved from http://www.vogue.co.uk/ news/2014/04/30/pradasphere-harrods-prada-history-exhibition-london-open Khan, N. (2013). Fashion as Mythology: Considering the Legacy of Alexander McQueen. In Bruzzi, S., & Church Gibson, P., (Eds.). Fashion Cultures Revisited. London: Routledge. (p. 261-273) Mesher, Lynne. (2010). Retail Design. Lausanne: Ava Publishers. Klingmann, A. (2007). Brandscapes: Architecture in the experience economy. Cambridge, MA: The MIT Press. Koda, H, & Glasscock, J. (2014). The Costume Institute at the Metroplitan Museum of Art: An evolving history. In Riegels Melchior, M, & Svensson, B (Eds.), Fashion and Museums: Theory and Practice (19-33). London: Bloomsbury. Koolhaas, R. (2001). Projects for Prada: Part 1. Milano: Fondazione Prada Edizioni. Kress, G. ,& vanLeeuwen, T. Multimodal discourse: The modes and media of cotemporary communication. London: Arnold. Lash,S, & Lury, C. (2007) Global Culture Industry. Cambridge: Polity Press. Newhouse, V. (1998) Towards a new museum. New York: The Monacelli Press. Oakley Smith, Mitchell, & Kubler, A. (2013). Art/Fashion in the 21 st Century. London: Thames & Hudson. Pierroux, P. and Skjulstad, S. (2011) Composing a public image online: Art museums and narratives of architecture in Web mediation, Computers & Composition, 28: 205-214. Riegels Melchior, M. (2014). Introduction: Understanding Fashion and dress museology. In Riegels Melchior, Marie, & Svensson, Birgitta (Eds.), Fashion and Museums: Theory and Practice (1-18). London: Bloomsbury. Sherman, Daniel J., & Rogoff, Irit (Eds.). (1994). Museum culture: Histories, discourses, spectacles. Minneapolis, MN: University of Minnesota Press. Steele, V. (2008) “Museum quality: The rise of the fashion exhibition”. Fashion Theory. Vol. 12, NO.1, pp 7-30. Steele, Valery. (2012) Fashion. In Geczy, Adam and Karaminas, Vicky (Eds.). Fashion and Art. London: Berg. Steiner, Dietmar M. (2000). “Is it a Cathedral, a Museum, or a Shop?” Architectural Design. Vol. 70. No. 6. Pp. 20-23. Taylor, M. (2005). “Culture Transition: Fashion’s Cultural Dialogue between Commerce and Art”. Fashion Theory. Volume 9. Issue 4. pp. 445-460. Witcomb, A. (1997) The End of the Mausoleum: Museums in the Age of Electronic Communication. Proceedings of Museums and the Web: An International Conference. Los Angeles, CA, March 16-19. 1997. NODEM 2014 Conference & Expo 143
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Engaging Spaces Interpretation, Des
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Welcome to the NODEM 2014 Conferenc
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Editorial board Andrea Nanetti, Sha
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Parallel Exhibits: Combining Physic
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TACTEC, Transforming Art and Cultur
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Restaging a Garden Party: Sharing S
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Proactive Spaces. An Insight on the
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Archives as New Spaces for Engaging
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Seen/Unseen. Dancing Art Inside and
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Seen/Unseen. Dancing Art Inside and
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Cross Cutting Concepts for Change:
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ArtMaps: Framing Public Engagement
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Thresholds of Technological Remembe
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The Rotterdam Heritage Coalition: C
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Domus: An On-Gallery Digital Museum
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Innovative Museum Exhibits: Telling
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Materials Story of Sir John Soane
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Materials Story of Sir John Soane
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A Case Study to Make Use of Cross-c
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The Luostarinmäki Adventure - An A
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Service Design for a Unique Experie
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Multi-narrative Serious Game Design
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Developing Awareness in Contemporar
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Novel Interface Design for Augmente
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Evaluation of an Interactive Multim
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Literary Museums as Part of Traditi
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Affective and Rhythmic Engagement w
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NODEM 2014 Conference & Expo Engagi
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NODEM 2014 Proceedings

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