Wednesday 26 January 2011
Tuesday 25 January 2011
Dress for Dinner
from trendland.net
Dressed for Dinner Ceramics by Marianne Van Ooij
By Mini Boss 25 Jan 2011 @ 10:44 am | Categorized DESIGN | 
Marianne van Ooij [oy] is a Brooklyn based Dutch designer who works in a variety of disciplines, including textiles, furniture design and ceramics. Marianne is trained as an industrial designer at the Royal Academy of Arts in The Hague in The Netherlands and at Pratt Institute in Brooklyn. She also holds a Master’s Degree in psychology.
I am absolutely captivated by this series, “Dressed for Dinner”. Seems like such a simple idea, but I have never seen it before.
I am absolutely captivated by this series, “Dressed for Dinner”. Seems like such a simple idea, but I have never seen it before.
Wednesday 19 January 2011
News: Met NY making room for costume!
I was delighted to read on BoF that the Metropolitan Museum, New York are investing muchos dollar in their Costume Institute. As an area that recieves much scorn from 'more serious' museum subjects, it's great to hear that the Met are leading the way again and expanding the building so that over 35,000 costume pieces can be put to better use than in stores. I hope that this leads to the subject of dress history in museums and visual culture history and theory being taken more seriously.
Face-Lift for Met’s Costume Institute
Face-Lift for Met’s Costume Institute
By CAROL VOGEL
Published: January 11, 2011
Metropolitan Museum of Art
An Yves Saint Laurent dress from 1965-66, is among the Met’s holdings.
Brooklyn Museum Costume Collection/Metropolitan Museum of Art
Charles James’s “Butterfly” ball gown, from 1955, is part of the Brooklyn Museum’s collection. The two institutions recently combined their holdings, estimated at more than 35,000 costumes and accessories.
Don Pollard/Metropolitan Museum of Art.
Jonathan and Lizzie Tisch donated $10 million for a new gallery within the institute.
Jonathan M. Tisch, the chairman and chief executive of Loews Hotels, and his wife, Lizzie, are giving $10 million specifically to create a new gallery space within the Costume Institute, the museum announced late Tuesday afternoon.
The renovation, whose total cost has not been determined, follows two other major building projects under way at the museum: the new Islamic galleries, scheduled to open on Nov. 1, and the third and final phase of the refurbishing of the American Wing, which will be completed next January. Still, the Met’s director, Thomas P. Campbell, said he wasn’t stopping there. “No one should think that the Met is about to go to sleep,” Mr. Campbell said in a telephone interview. “We have several other major projects planned, of which the Costume Institute is the first.”
Space has been a challenge for the Costume Institute for some years now. But when the Brooklyn Museum transferred its historic collection of American and European costumes and accessories to the Met two years ago, “it brought the issue to a head,” Mr. Campbell explained. After combining both institutions’ holdings, Met officials estimate they now have more than 35,000 costumes and accessories spanning five continents and as many centuries.
Kevin Roche, John Dinkeloo and Associates, the architectural firm that has masterminded and overseen the Met’s expansions for more than 30 years, will redesign the Costume Institute’s existing footprint, nearly 23,000 square feet, a ground-floor space on the north side of the museum’s rambling building. That space will be reconfigured to increase its galleries and include better facilities for its study collection, an updated conservation center and an onsite storage area large enough to properly house the combined collections from the Met and Brooklyn Museum.
Although construction will start next year, museum officials said they had no intention of closing the Costume Institute. Nor will the Met stop presenting some of its more lavish exhibitions in its main galleries. (Last year, for instance, it presented “American Woman: Fashioning a National Identity,” a show drawn primarily from the Brooklyn Museum’s costume collection, in the Met’s second-floor galleries, spaces generally reserved for its grand art exhibitions.)
Fund-raising for this project began several years, Mr. Campbell said, helped in large part by Anna Wintour, the editor in chief of Vogue, who is an honorary trustee of the Met and who organizes the annual Gala Benefit in May. Called the “Party of the Year,” it attracts fashion industry leaders as well as top models, television personalities, rock stars and Academy Award-winning actors. Last year’s party raised about $9 million, museum officials said, much of which will go toward the renovation.
It is the Tisches’ gift, however, that “provided us with the tipping point to move forward,” Mr. Campbell said.
Mr. Tisch called the donation “a natural fit,” adding that he is aware of the Costume Institute’s historic past and is looking to its future. Mrs. Tisch said that while she was not a costume collector per se, she was interested in the history of fashion. “It’s an art form,” she explained in a telephone interview. “And the collection deserves a proper place.”
And as a former chairman of NYC & Company, the city’s marketing and tourism organization, Mr. Tisch said he was aware not only of the Met’s importance as a cultural force in New York, but also of the “interest of today’s museumgoer.”
The new exhibition space will be named the Lizzie and Jonathan Tisch Gallery. It will be adjacent to the Carl and Iris Barrel Apfel Gallery, named in 2005 for the New Yorkers who are founders of a textile firm, which is also being refurbished and will become an introductory space to the institute’s holdings.
Those are not the only names that visitors to the Costume Institute will eventually see. “We still have some more fund-raising to do,” Mr. Campbell said, adding, “and with it, some significant naming opportunities.”
The renovation, whose total cost has not been determined, follows two other major building projects under way at the museum: the new Islamic galleries, scheduled to open on Nov. 1, and the third and final phase of the refurbishing of the American Wing, which will be completed next January. Still, the Met’s director, Thomas P. Campbell, said he wasn’t stopping there. “No one should think that the Met is about to go to sleep,” Mr. Campbell said in a telephone interview. “We have several other major projects planned, of which the Costume Institute is the first.”
Space has been a challenge for the Costume Institute for some years now. But when the Brooklyn Museum transferred its historic collection of American and European costumes and accessories to the Met two years ago, “it brought the issue to a head,” Mr. Campbell explained. After combining both institutions’ holdings, Met officials estimate they now have more than 35,000 costumes and accessories spanning five continents and as many centuries.
Kevin Roche, John Dinkeloo and Associates, the architectural firm that has masterminded and overseen the Met’s expansions for more than 30 years, will redesign the Costume Institute’s existing footprint, nearly 23,000 square feet, a ground-floor space on the north side of the museum’s rambling building. That space will be reconfigured to increase its galleries and include better facilities for its study collection, an updated conservation center and an onsite storage area large enough to properly house the combined collections from the Met and Brooklyn Museum.
Although construction will start next year, museum officials said they had no intention of closing the Costume Institute. Nor will the Met stop presenting some of its more lavish exhibitions in its main galleries. (Last year, for instance, it presented “American Woman: Fashioning a National Identity,” a show drawn primarily from the Brooklyn Museum’s costume collection, in the Met’s second-floor galleries, spaces generally reserved for its grand art exhibitions.)
Fund-raising for this project began several years, Mr. Campbell said, helped in large part by Anna Wintour, the editor in chief of Vogue, who is an honorary trustee of the Met and who organizes the annual Gala Benefit in May. Called the “Party of the Year,” it attracts fashion industry leaders as well as top models, television personalities, rock stars and Academy Award-winning actors. Last year’s party raised about $9 million, museum officials said, much of which will go toward the renovation.
It is the Tisches’ gift, however, that “provided us with the tipping point to move forward,” Mr. Campbell said.
Mr. Tisch called the donation “a natural fit,” adding that he is aware of the Costume Institute’s historic past and is looking to its future. Mrs. Tisch said that while she was not a costume collector per se, she was interested in the history of fashion. “It’s an art form,” she explained in a telephone interview. “And the collection deserves a proper place.”
And as a former chairman of NYC & Company, the city’s marketing and tourism organization, Mr. Tisch said he was aware not only of the Met’s importance as a cultural force in New York, but also of the “interest of today’s museumgoer.”
The new exhibition space will be named the Lizzie and Jonathan Tisch Gallery. It will be adjacent to the Carl and Iris Barrel Apfel Gallery, named in 2005 for the New Yorkers who are founders of a textile firm, which is also being refurbished and will become an introductory space to the institute’s holdings.
Those are not the only names that visitors to the Costume Institute will eventually see. “We still have some more fund-raising to do,” Mr. Campbell said, adding, “and with it, some significant naming opportunities.”
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