On view in this exhibition at Judith Clark Costume, costume designer Adelle Lutz’s surreal costumes were presented in one installation ‘landscape’ designed by Lutz, comprising of highlights including Velvet Burka/Womb, Fir Coat (from the Urban Camouflage Clothing series, 1986), and Venus Twist (2001). Curated and designed by Judith Clark and Adelle Lutz
23 February–6 April 2002
Paris Fashion on Paper 1920-1930
Exhibition highlighting collector Martin Kamer’s archive of fashion works on paper.
13 December 2001 – 16 February 2002
Pablo & Delia
The exhibition was the first to look at Pablo Mesejean and Delia Cancela’s time working as fashion designers in London. The pieces exhibited at Judith Clark Costume gallery came from a rare look into Delia Cancela’s private collection. Her pieces were exhibited with additional garments on loan from private collections in London and New York. This exhibition was an opportunity to view clothes alongside both their inspirational original drawings and their press presentation, illustrating the transition from craft to ‘look’, so important to the fashion system.
24 May – 21 July 2001
This exhibition brought together fifteen rare examples of Madeleine Vionnet’s work from collector Martin Kamer’s extraordinary private collection. The exhibition space was transformed – with dark walls – to mimic a room in a museum; its small proportions creating the allusion of a museum stumbled upon from the street.
15 March – 26 April 2001
An experimental look at elements of dress display. The dramatic Alexander McQueen silhouette (on loan from McQueen’s studio) was exhibited in the gallery and visitors were invited to write captions which were then nailed to the wall opposite the gown.
7 November – 8 December, 2000
Fascia: Garments and Constructions
Fascia was a capsule collection of garments and constructions partly designed through chance processes in which various sections and edits of aircraft were combined and fused together to create new forms and structures.
Simon Thorogood’s second collaboration with the gallery invited the audience to wonder through a ‘forest’ of these structures where they would interact and interplay with the body to propose very simple ‘fashion compositions’.
A complete ‘family’ of 9 Fascia constructions were shown alongside two garments from his S/S 2001 collection. Two mannequins were provided by Adel Rootstein.
22 September – 28 October 2000
Play: Hussein Chalayan
This exhibition presented a rare opportunity to see (and play with) the remote control dress featured in Hussein Chalayan’s Spring/Summer 2000 collection. Designed by Chalayan, the dress was made by Scottish furniture designer Paul Topen. The piece was an important commission by Clark for Zaha Hadid’s Mind Zone within the Millennium Dome, where it was first exhibited. The dress has been featured in travelling exhibitions including: Skin + Bones: Parallel Practices within Fashion and Architecture; and Hussein Chalayan’s retrospective exhibitions. It has been photographed by Mario Testino for Vogue UK’s 90th Anniversary edition and by Nick Knight for ‘Fantasia’ Showstudio, 5 N0vember 2008. Curated and designed by Judith Clark and Hussein Chalayan
20 July – 18 September 2000
Pre-Inca Feather Dress
This exhibition was organized in collaboration with Paul Hughes Fine Art showcasing a collection of 12 Pre Inca Feather tunics dating 300-600 AD. The flat framed tunics hanging in the gallery space drew attention to their block compositions that were so influential within the art world when they came onto the American market during the mid 20th century. Curated and designed by Judith Clark. In association with Paul Hughes Fine Art.
24 November 1999 – 20 January 2000
Be-hind, Be-fore & Be-yond
Filmer’s first solo show exhibited pieces made of glass, ceramic, ice, silver and soap. The materials explored the interaction between the intrinsic preciousness of objects and their attributed value. Some of the pieces were solely for exhibition while others were to be bought and worn. The collection explicitly alluded to the intimacy of the body and its adornment: locating pieces behind the ear, under the chin, under the arm and on the inside of the forearm.
26 October – 13 November 1999
Material Evidence: La Femme 100 Tetes. Martin Grant and Julia Morrison
Clark brought pieces from Morrison and Grant’s work ‘Material Evidence: 100 Headless Women’ from the 1998 Telstra Adelaide Festival, Visual Arts Programme and exhibited them at Judith Clark Costume Gallery and in the Atrium at Selfridges.
Semen of The Gods – Arkadius
Judith Clark Costume Gallery exhibited Arkadiusz Weremczuk’s graduate collection from Central Saint Martin’s College of Art and design. The collection marked the beginning of his short collaboration with the brand Ebel. Curated and designed by Judith Clark. Semen of the Gods. Graduation Collection by Arkadius, London June 1999.
21 July – 11 September 1999
“A mini Paradjanov festival in London celebrated the Maestro’s life and works. A retrospective of his films was screened at the Institute Française, an exhibition of his drawings and collages shown at Leighton House and costumes from the Paradjanov Museum in Yerevan, Armenia (where the visitor ‘is occasionally serenaded by recordings of Maria Callas or honoured by a lavish Caucasian feast’) were displayed at Judith Clark Costume. The gallery showed a series of headresses entitled ‘Hats in Memory of the Unplayed Roles of Nato Vachnadze’ (1984-86), from the film Arabesques on Themes by Pirosmani (1986).
Pirosmani was a Georgian painter at the turn of the century whose picturesque landscapes and images of strange animals had a profound influence on Paradjanov’s vision. The hats have a dusty Edwardian opulence, fashioned from painted fans, gloves, embroidery, mole fur and lace. For Paradjanov, the hat lent a distinctive mien to its wearer. He is reported to have given the following strict instructions to a friend for whom he had created one: ‘Whiten your face, paint your mouth bright red and cover your face with a black scarf, tying it so that its ends flap like little wings. With the face thus half masked with black lace with a bitter smile playing on moist scarlet lips and the skin as pale as can be, place the hat on top.’
A selection of costume sketches made in 1967 for The Colour of Pomegranates recall the synthetic Cubism of Braque or Picasso, while their collaging of fabrics overlaid with drawing and mounted on wood veneers – as if they were made in the 20s rather than the late 60s – are reminiscent of Diaghelev or Chagall. The sketches are crude and elegant, but without the Byzantine austerity of the final film.”
Issue 49, November – December 1999
9 June – 3 July 1999
Garden looked at fashion’s continuing love affair with the garden and in particular its precious blooms. Rich and sensual, flowers are not only used as surface decoration on gowns but as their essential metaphor. Both historical and contemporary pieces were shown, and flowers, imaginary and quasi-scientific: from early 18th century kitchen garden embroidered aprons, to a 1950′s prom dress.
Showing its relevance today, current pieces included those by Matthew Williamson, Sybilla, Prada, Moschino, Alexander McQueen and – recently graduated – Arkadius (who showed a piece directly inspired by the orchids he saw at the 1998 Chelsea Flower Show).
29 April – 5 June 1999
To celebrate the first anniversary of the gallery, Judith Clark Costume showed a group exhibition entitled Cape Chic to coincide with London Fashion Week. The exhibition was divided into 4 sections: Evening – Bohemian – Protective – Future. In total a selection of twelve capes were on view. Added to historical (earliest cape dated from 1908-1911) and ethnic examples (Turkestanian head-dress from 1980), contemporary examples to this theme included pieces created by Hussein Chalayan, Issey Miyake and Olivier Theyskens.
20 February – 10 April 1999
Parure de Plumes
Lent from The Centre de Recherche du Costume, in Arles, France, The Peacock Dress dates from the late 1850′s and belonged to a young aristocratic woman in Provence. The exhibition paid homage to James McNeill Whistler through his famous interior, The Peacock Room. The gallery looked at the dress through contemporary eyes, acknowledging the current popularity (and long history) of Orientalism in dress. Dai Rees’ feathered head-dress curled into a wig to complete the late Victorian silhouette. Katherine Clark’s Cherry Blossom Collection of jewellery was taken from Kanxi porcelain, where peacock feathers became at once chrysanthemum petals and intersecting crescent moons. (Whistler via Beardsley).
17 December 1998 – 7 February 1999
C41: Simon Thorogood
Simon Thorogood’s second couture collection C4i was exhibited at the gallery, consisting of four gowns for Spring/Summer 1999. In collaboration with Thorogood, a set of wooden mannequins were constructed based on the collection’s asymmetrical toiles. On the walls, coloured wooden shapes were built from pages of Thorogood’s sketchbooks. A billboard image for the gallery window was photographed by Tim Brett Day. A futuristic soundscape was specially composed for Simon Thorogood’s exhibition by Joseph Gerhardt and Ruth Jarman.
20 September – 1 December 1998
Details From a Private Collection
The gallery showed three iconic examples of late 1950’s and early 1960′s couture, which highlighted aspects of structure, fabric and decoration. The dresses were generously lent by Baroness Fiona Thyssen-Bornemisza (she was also known as Fiona Campbell-Walter, Vogue’s Face of 1954). The dresses by Balenciaga, Givenchy and Madame Grès, were shown on transparent mannequins designed by Clark and hung low to illustrate the importance of the inside of couture (revealing for example the rigid corseted interior to Gres’ flowing gown).
19 May – 28 June 1998
Pampilion: Dai Rees S/S 1998 Couture Collection of Millinery
*Pampilion was a fur used in the 15th and 16th centuries for the trimming of garments and hats; as well as the name of the animal – its identity now unknown – that bore this fur. Clark commissioned a collection of couture millinery for its inaugural exhibition at once placing it as an alternative platform from which to present collections, and draw attention to the sculptural qualities of the headdresses against the white walls of the new space. Rees had recently created the head pieces for Alexander McQueen’s La Poupee S/S 1997 catwalk show, which had been endlessly reproduced in the fashion media as representing the extreme styling that was becoming synonymous with end of the 20th century’s avant-garde fashion. Artist Mat Collishaw was commissioned to photograph the hats not on a model but on the protagonist of one of his videos.
21 February – 29 March 1998