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The Fabric of Fashion: How To Make A Museum Show Sing

印度古吉拉特邦输出西方市场的棉贴花工艺壁挂毯（局部细节），公元1700年图片来源：伦敦V&A博物馆“印度织物”展一件装饰着乙烯树脂蝴蝶、生动艳丽、风格现代的衣裙陈列在一块来自印度大君（Maharajah）宫殿的火红布料前；嵌入白水晶之中的刻面祖母绿宝石，将现代设计与莫卧儿王朝（Mughal Empire）的传统祖母绿雕刻工艺熔于一炉。这就是我在对2015年所有以时装为主题的博物馆展览中，判定哪些在视觉艺术方面获得成功而哪些不尽如人意时，脑海中浮现出的两个画面。正在伦敦维多利亚和阿尔伯特博物馆（以下简称V&A）进行的“印度织物”展（The Fabric of India）收官在即，但距正式结束（2016年1月10日）尚有几日，大家还有时间出动私人专机或是立即跳上伦敦市内巴士，抓紧去观看过去一年中最值得一看、最令人难忘的展览。我一直坚信，在21世纪，关注点太过单一、尤其是由时尚品牌编选（或通常是提供资金支持）的博物馆展览正渐入陈腔滥调之势。值得注意的是，纵观2015年全年，那些影响力巨大的展览大多是态度认真严肃的策展人在利用博物馆现有馆藏内容作为阐释和展现当代理念的工具与手段。V&A博物馆“印度织物”展厅入口图片来源：伦敦V&A博物馆“印度织物”展在纽约大都会博物馆举办的“中国：镜花水月”展就是一个将博物馆馆藏亚洲艺术品与受远东地区影响设计的品牌服饰进行混搭的绝佳例子。从其展出结果上看，其营造的效果既发人深省，又极具视觉冲击力，成功吸引了破纪录级别的大批观众前往观摩。前往坐落在英格兰北部法式庄园城堡内的波维斯博物馆（The Bowes Museum）观看“Yves Saint Laurent：风格永生”回顾展（Yves Saint Laurent: Style is Eternal）的观众多达70,000名，这无疑昭示了这场展览的巨大成功。Pierre Bergé先生将其收藏在YSL基金会中的Yves Saint Laurent作品慷慨出借，而策展人Joanna Hashagen将这些大作分别点缀在博物馆现存馆藏的古董衣裙之中。我早已亲眼见过YSL的所有经典成衣款式，从刺绣着米老鼠的棒球夹克、到受Mondrian绘画启发的迷你裙，我都一一浏览。然而波维斯博物馆的这场回顾展，通过将YSL作品与博物馆馆藏中饱蘸着历史烟云的服装藏品一起展示的方式，令它们焕发出崭新的生机与活力。使用珍贵珠宝装点、风格强烈的发饰与头饰，约公元1850-1910年来源：珠宝珍品：阿勒萨尼家族藏品展，Servette Overseas Limited 2014，V&A博物馆。PhotographPrudence Cuming Associates Ltd另有一场刚刚结束的展览由于其出众的深度与广度，在我脑海中留下了难以磨灭的记忆，那就是在巴黎装饰艺术博物馆举行的“韩国当代设计展”（Korea Now!）。其中对笔锋激烈、高度现代的书法作品的展示，与家具用品展示区所呈现出的宁静与和缓构成了极其鲜明的对比。但我还能在时装类展区中看到这对立的两种元素的巧妙融合。一场优秀的时装展（例子不胜枚举）其实与其他博物馆展览一样，仰仗于策展人功力之深浅。比如当我看到巴黎时装博物馆馆长Olivier Saillard先生的名号，就知道这场展览一定是发人深思的。地毯，约1630年，棉布绘染，印东南科罗曼德海岸图片来源：伦敦V&A博物馆“印度织物”展我已经三度前往V&A观看这场“印度织物”展。其关于物质世界的概念并不是最吸引人之处，然而我必须为两位联合策展人Rosemary Crill和DiviaPatel击节赞叹，是他们的巧思使得这些古董织物活灵活现起来。展示从渲染色彩的力量入手：炽烈大红、灿烂金黄和深沉靛蓝做出了最生动的陈述。随后的另一方面则突出了织物纹理质感的细致入微：从大胆粗放的披肩上的编织、刺绣和印花，到为统治者家族的皇室幼童所做的纤巧至极的华贵小外套，丰富的层次感逐层递进。这几乎可算是“为一场时装展赋予生命力”的教科书级范本。策展人在手工艺品之中穿插布置了荧光屏，这样观众在观展时便可同时观看展品的诞生过程，从用桑叶喂食蚕虫、到印度手工业者漫步田间，一一呈现在眼前。或可让苍翠葱郁的自然景观与精工织就的披肩形成鲜明的对照：那些披肩看起来是如此精致洁白，仿若天上漂浮的半透明云朵。20年前，这块诞生于二十世纪初的古吉拉特邦棉贴花壁挂毯被人发现丢弃在纽约布鲁克林的人行道旁，如今成为此次展览的重要展品图片来源：伦敦V&A博物馆“印度织物”展前往博物馆的参观者络绎不绝，这些影片也吸引了大量的注意力，多到我都开始怀疑是否这些屏幕应该被分开单独展示要更好些。但我依然可以这种从把传统工艺与其作品布置在一起的方式中，看到其中鲜明的布展逻辑。如果说包含了祈祷跪垫和驱邪衬衣的第一部分宗教织物太过平和慰藉、宛如一阵拂面轻风，那么这次印度织物之旅的下一站则是庄严威仪的皇室主题。使用木版印刷的鲜红花朵图案作为装饰的迈索尔（Mysore）统治者Tipu Sultan的大帐篷是一件来自18世纪的珍贵展品，活灵活现地展示着莫卧儿王朝时期的富丽与繁华。将这座巨大的移动宫殿展示出来的效果便是向观众生动展现了那一时期在印度毯子与长袍上常见的纹样与手工技巧。随后的展示偏重于服装，将那些颇为时髦的细节展露无遗，正如当年印度纺织品随着航海贸易行销全球、影响了英伦淑女的着装和日本男士和服的设计一样。为了帮助观者更好地理解印度纺织品所及范围之广，展览的一个区域专门追溯了印度织物贸易商遍及世界各地的足迹。Manish Arora 2015春/夏系列中的这套造型出现在此次展出中，作为将原始印度刺绣工艺用于现代时装设计的典范图片来源：Manish Arora /伦敦V&A博物馆“印度织物”展但这场展览最具震撼力的部分，事实上也许是将纺织品的悠久历史与20世纪的服装有机结合的展示。展览以现代设计师Manish Arora设计的蝴蝶裙装开篇，而在最后，同样由Manish Arora打造的彩色毛衫和花朵贴花纹样短裙收尾，首尾完美呼应。几个展示不同纱丽穿搭方法的范例图片来源：伦敦V&A博物馆“印度织物”展这一部分不仅展示了西方的创意力量如何使用印度织物元素，还堪称一场引人注目的纱丽秀。这种美丽的印度服装由传统印度裹裙发展为一种现代时装，既具备垂褶效果，又包含西式剪裁风格。最具视觉冲击力的要算街头风格摄影师Manou镜头下的当代印度时装，这也是使得这场展览活力十足，同时也是让印度传统织物变为时装元素的众多举措之一。珠宝珍品：阿勒萨尼家族藏品展（Bejewelled Treasures: The Al ThaniCollection，展期至2016年3月28日）也许是博物馆展出的最富魅力也最具冲击力的珠宝类展览之一。印度美学的神髓通过大君时期惹眼的钻石头巾装饰呈现无遗，而其中引人注目的焦点是一枚孔雀胸针。事实上，这是一枚巴黎珠宝商Mellerio dits Meller二十世纪早期的作品。为庆祝赞助商、英国珠宝品牌Wartski的150岁生日，这些华美无比、精心打造的印度珠宝单品均是藏品系列的拥有者Sheikh Hamad bin Abdullah Al-Thani与V&A亚洲艺术部策展人SusanStronge审美趣味的结晶。为Nawanagar王公打造的钻石头饰，1907；1935年在印度重新塑形。来源：珠宝珍品：阿勒萨尼家族藏品展，Servette Overseas Limited 2014，V&A博物馆。PhotographPrudence Cuming Associates Ltd这些叫人惊掉下巴的珠宝最令人惊叹的就是其美轮美奂的用色，诸如那些被莫卧儿王朝视作比红宝石地位更高的半透明尖晶石。祖母绿同样倍受万千宠爱，尤其在西班牙对南美洲进行海上殖民后，这生动明艳的哥伦比亚绿石头闯入了欧洲人的视野。莫卧儿王朝时期的雕刻祖母绿珠不仅因其手工技艺的高超令人震惊，也因其对宝石使用的极大铺张而惊人：如迈索尔的Tipu Sultan宝座上装饰着红宝石与祖母绿的金色虎头。点缀钻石与蓝宝石的雕刻祖母绿胸针，Paul Iribe设计，RobertLinzeler制造，巴黎，1910年。来源：珠宝珍品：阿勒萨尼家族藏品展，Servette Overseas Limited 2014，V&A博物馆。PhotographPrudence Cuming Associates Ltd印度珠宝单品的来历相当广，从早期的珠宝工艺作品到1920年代装饰艺术时期由大珠宝品牌对宝石的诠释，其中包括巴黎品牌Cartier。除了展示吸睛能力极强的阿勒萨尼家族珍藏，此次展览还有从英国皇室藏品中借来的珍品，其中包括传说中的“帖木儿红宝石”（TimurRuby）。蕴含历史意义的展览令人目眩神迷，不仅仅是华美的珠宝本身，也包括那些诞生于英属印度时期的老照片。然而展览还有一个不容忽视的区块：受阿勒萨尼家族委托制造的现代单品。在一枚由Jar于2002年打造的胸针上，可以清晰地看到在精雕细琢的白水晶之上，还“悬停”着一枚小刻面祖母绿宝石。孟买的Bharat使用传统工艺切割钻石生产的其他单品在这次展览中也扮演着重要角色。而正如“印度织物”展览带来的效果那样，在V&A富于想象力的视野关照下，该展览同样将历史的厚重感赋予了紧跟时代的勃勃生气，并让这些冰冷而华美的物品焕发出生机。Wall hanging (detail), cotton appliqué Gujarat for the Western market, ca. 1700Picture credit: Fabric of India Victoria and Albert Museum LondonA modern dress vivid with vinyl butterflies is displayed in front of a flowered red cloth from a Maharajah's palace. A faceted emerald is set in rock crystal - pitting modern design against a carved emerald from the Mughal Empire.Those are the two images that I had in my mind's eye when I was judging what worked and what flopped in the visual arts at the fashion-oriented museum shows of 2015. The Fabric of India at London's Victoria & Albert Museum is about to close. But there are still a few days (until January 10) to borrow a private plane or to take a London bus to see one of the most memorable shows of the departed year. I believe that the single-focus museum show - particularly one edited (and often funded) by a fashion house - is becoming a cliché of the 21st century. Significantly, the powerful exhibitions of 2015 were those where serious curators used a museum's existing content as a means of explaining and exhibiting contemporary ideas. The entrance to the V&A’s Fabric of India exhibition Picture credit: Fabric of India Victoria and Albert Museum LondonThe China Through the Looking Glass show at New York's Metropolitan Museum was a fine example of blending the existing arts of Asia with designer clothes that had been influenced by the Far East. The result was a thought-provoking and visually stunning show that brought in a record-breaking number of visitors. The 70,000 people who went to the Bowes Museum, the French-style chateau in northeastern England, was a triumph for Yves Saint Laurent: Style is Eternal. Pierre Bergéloaned works from the YSL foundation and the curator Joanna Hashagen interspersed them among the existing collection of historic dress. I had seen just about every YSL garment from the mouse-embroidered jacketto the Mondrian-inspired minidress. Yet the Bowes Museum gave it all a new life by exhibiting outfits with historic pieces of clothing from its own archive.Hair and turban ornaments heavily embellished with precious jewels c.1850-1910 Credit: Bejewelled Treasures, The Al Thani Collection, Servette Overseas Limited 2014 Victoria and Albert Museum. Photograph Prudence Cuming Associates LtdAnother exhibition that has just finished stays in my mind because of its depth and variety. That exhibition wasKorea Now! at the Musée des Arts Décoratifs in Paris. The section on intense, hyper-modern calligraphy was in such contrast to the smooth serenity of the homeware. But I found the two elements appearing together in the fashion section.The good fashion exhibitions - and there are too many to list - are dependent, like any other museum shows, on curatorship. When I see the name of Olivier Saillard, of Paris's Palais Galliera, I know that the work will be thought-provoking. A floorspread, circa 1630, painted and dyed cotton, Coromandel CoastPicture credit: Fabric of India Victoria and Albert Museum, LondonI have been three times to the V&A to see The Fabric of India. The concept of a material world is not the most appealing. But I must congratulate co-curators Rosemary Crill and Divia Patel for making cloth sing. The display starts with the power of colour - fiery red, golden yellow and indigo blue - making a vivid statement. Then another aspect is developed in the subtle textures: weave, embroidery and print from bold shawls to tiny princely coats for royal children of the Raj. This is almost a textbook study of how to bring a fashion exhibition to life. The curators placed video screens among the handwork so that you could immerse yourself in the process, from leaves heaving with silk worms to Indian workers walking through the fields. That might add lush greenery of the landscape to contrast with shawls so fine and pale they look like translucent clouds. Twenty years ago this early 20th century cotton appliqué wall-hanging from Gujarat was found dumped on a New York pavement in Brooklyn and now sits in the Fabric of India ExhibitionPicture credit: Fabric of India Victoria and Albert Museum LondonThe films draw so much attention when the museum is crowded, that I wondered whether the screening should have been shown separately. Yet I can see the logic of setting the craft among the objects it produces.If that first part of the show can feel too full for comfort, the next stage of the journey - after a whizz through Indian religion from temple cloths through prayer mats to Talismanic shirts - is magisterial.The vast tent of Tipu Sultan of Mysore, with its block-printed pattern of scarlet flowers, is an 18th-century treasure that suggests the grandeur of the Mughalera. Its effect is to introduce pattern and handwork which is seen on rugs and robes.The exhibition then focuses on clothing, in all its fashionable detail, as India spread its visual effects to English ladies' dresses and Japanesemale kimonos.To help the viewer understand the reach of Indian textiles, a section shows the distant places that the traders reached.This look from Manish Arora’s Spring/Summer 2015 is on display at Fabric of India using original embroidery techniques on current fashionPicture credit: Manish Arora / Fabric of India Victoria and Albert Museum, LondonBut the power of this show is the fact that it brings history of textiles up to date in a display of 20th-century clothes. The butterfly dress by contemporary designer Manish Arora at the opening of The Fabric of India is followed at the exhibition's end by an iridescent sweater and skirt with appliquéd flowers from the same designer.A few examples illustrating different methods of tying sarisPicture credit: Fabric of India Victoria and Albert Museum, LondonThis section shows not only how western creative forces have used Indian cloth, but also an intriguing collection of "saris". They are developed from the iconic Indian wrap to contemporary garments that have the effects of drapes achieved with western-style stitching.Most striking of all are the images from the street-style photographer, Manou, showing Indian clothes today - one of many gestures that bring the show to life and turn the fabric of India into fashionable clothing.Bejewelled Treasures: The Al Thani Collection (until March 28 2016) must be one of the most intriguing and striking jewellery exhibitions as a museum display. It takes the spirit of India from a dramatic diamond turban jewel in the Maharajah-era through a striking peacock brooch. It is actually a hair ornament created in the early 20th-century by Paris jeweller Mellerio dits Meller.Sponsored by Wartski, to celebrate 150 years of the Britishjeweller, the ornate and elaborate Indian pieces are laced by the tastes of Sheikh Hamad bin Abdullah Al-Thani, the collection's owner, and of the curator Susan Stronge from the Asian Department of the V&A.Diamond turban jewel made for the Maharaja of Nawanagar, 1907, remodelled in 1935 India Credit: Bejewelled Treasures, The Al Thani Collection, Servette Overseas Limited 2014 Victoria and Albert Museum. Photograph Prudence Cuming Associates LtdThe jaw-dropping jewels are striking in their colour, such as the translucent spinels that the Mughals held in higher esteem than rubies. Emeralds are also to the fore, especially after the Spanish colonisation of South America introduced to Europe vividly green Colombian stones. A carved emerald bead from the Mughal Empire period is as stunning in its craftsmanship as is the more lavish jewelled finial- a goldtiger's head set with rubies and emeralds from the throne of Tipu Sultan of Mysore.Carved emerald brooch with diamonds and sapphires, designed by Paul Iribe and made by Robert Linzeler, Paris, 1910 Credit: Bejewelled Treasures, The Al Thani Collection, Servette Overseas Limited 2014 Victoria and Albert Museum. Photograph Prudence Cuming Associates LtdThe story of the Indian pieces moves from the early bejewelled creations to the interpretations of the stones by major jewellers of the Arts Décoratifs era in the Twenties, such as the Parisian Cartier.Dramatic additions to the Al Thani display are three loans from the British royal collection, including the so-called "Timur Ruby".The historic display is dazzling, both in the jewels and the pictures and photos taken in the time of the Raj. But there is yet another aspect of the exhibition: modern pieces commissioned by Al Thani.One brooch by Jar in 2002 has a faceted emerald apparently "suspended" in carved rock crystal. Bharat of Mumbai has produced other pieces using traditionally cut diamonds as a centrepiece for modern designs.The result, as with The Fabric of India exhibition, is to bring history up to date and make these pieces breathe new life into old using the V&A's imaginative vision.推荐文章VOGUE

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