Creativity, corporeality and collaboration: Staging fashion with Giorgio Armani and Robert Wilson

Gindt, Dirk; Potvin, John

doi:10.1386/stap.33.1.3_1

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“…The effect of such display strategies, they argue, is the presentation of Armani's garments as "emblematic of a transhistorical 'style' transcendent of the mere ephemerality of fashion." 61 Returning to Lehamnn's reading of Benjamin, fashion is rendered transitory and transhistorical through the dialectical image. The methodological unit of the labyrinth, therefore, generates its own history and temporality.…”

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confidence: 99%

The Labyrinth: Metaphor and Method

Alaszkiewicz¹

2018

StedStud

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In October 2000 the Solomon R. Guggenheim Museum in New York City debuted a retrospective dedicated to the Italian fashion designer Giorgio Armani. The exhibition was co-curated by Germano Celant, Senior Curator of Contemporary Art at the Guggenheim, and Harold Koda, then Director of the Metropolitan Museum of Art’s Costume Institute, and was designed by the stage director Robert Wilson. Giorgio Armani subsequently embarked on a five-and-a-half-year-long international tour that included stops at the Guggenheim Bilbao, the Neue Nationalgalerie in Berlin, London’s Royal Academy, the National Roman Museum Baths of Diocletian, and the Mori Art Museum in Tokyo, among others. The inaugural exhibition at the Guggenheim was the subject of criticism and controversy regarding a reported $15 million donation to the museum from Giorgio Armani S.p.A. As with other monographic exhibitions of contemporary fashion designers, Giorgio Armani was perceived as an advertisement rather than a retrospective.

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Section: /14mentioning

confidence: 99%

The Labyrinth: Metaphor and Method

Alaszkiewicz¹

2018

StedStud

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Creativity, corporeality and collaboration: Staging fashion with Giorgio Armani and Robert Wilson

Cited by 1 publication

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The Labyrinth: Metaphor and Method

The Labyrinth: Metaphor and Method

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