MOMU Sunday (continued)

MOMU Sunday (continued)

I was slightly Technically Challenged!

one of the films from the opening section

           Following this breathtaking opening was the chance to see a collection of Balenciaga dresses that one rarely has the opportunity to. The first case was a collection of iconic black dresses. Two of these were revolving to enable the detail front and back to be seen which worked so well. There were definitely two dresses here that I would love to try to recreate. Especially the piece with layered shoulders which had a similar silhouette to my most favourite dress. 

 

           Something that I learned after my visit here and the conversation with  the Collections Manager was the importance of perfect mannequin-age the idea that you just see the clothes, this is the holy grail of fashion exhibitions. At MOMU one has found this.

           The opening of the exhibition begins with the phrase ‘Tiger’s Leap’ taken from the writing of Walter Benjamin, fashion’s reflecting on the past to leap into the future. Balenciaga did this in the 1940’s creating a whole new silhouette for women. Far removed from the New Look from Dior, offering new readings of past shapes and continuing to experiment and push boundaries.  

The kimono always an iconic garment, recreated in many forms by many designers. Can it be challenged? Within the exhibition we see new ways of thinking and how the designers brought together for this exhibition have challenged the form.

I learned from the space between body and fabric from the traditional kimono not the style but the space Issy Miyake

The language brings to mind the context behind clothes and how we studying fashion continue to work with a different narrative.

MOMU Sunday

MOMU Sunday

Antwerp Day 2 - July 3rd 2016

           Remembering past free Sunday exhibitions the aim was to get to MOMU exactly on opening time, I had visions of queuing round the block like in Rome. No need to worry just the 6 of us at 10am. Same welcoming ladies as yesterday, simple system of lockers for leaving bags as in Tilburg and of up to the exhibition GameChangers. 

  

           Once again a good welcome by the entrance staff ticket checked and into an introduction of the premise of the exhibition and films of shows and dance from Balenciaga, Comme des Garcons, and more. To the right the first garments to set the scene of what lies ahead. The perfect juxtaposition of a Balenciaga silk gown and a Rei Kawakebu body dress. Instant lift to the heart, you know that you are in safe hands for the rest of the exhibition.

Rei Kawakebu 

Balenciaga

Finding MOMU

Finding MOMU

Antwerp Day 1 - July 2nd 2016

The old town of Antwerp is a wonderful mix of twisted streets, cobbles and quirky exteriors. Arriving in sunshine then being rained upon is always an interesting introduction to a place. The beginning of finding MOMU was crossing the market place mid market, always a joy of smells, colours, textures and people. A fabulous market. Lunch from the Turkish stand. The most amazing wrap ever of goats cheese, vegetables, olives, dates and honey, washed down with mint tea, all for 5 euros. The mix of families, people of all ages and backgrounds queuing for food and sharing the experience, a perfect Saturday.

lunch

people watching

           On through the high end shops, Chanel, Louis Vuitton, mixed in with local designers. The Antwerp residents a different mix of clothes again to Tilburg. More dresses. Less make up than the UK, a more natural look in quality clothes. There seems an awareness of good quality clothes and footwear. The city was full of shoppers, tourists, day trippers, residents and had a great sense of energy and wanting to see more and explore more. The Cathedral visible from most quarters.

Antwerp Cathedral

Nearly there

great vintage inspired store

80's remembered

           MOMU sits on a triangular shaped block of buildings, near to the Dries Van Noten store. An open entrance way with a wonderful moving wall of images from former exhibitions and current promotion. Right next to it is a seriously fabulous book shop akin to the V&A’s book store. Walking in, the atrium is broad, spacious and light filled, designed in teak coloured wood, imposing, yet contemporary, enticing you in with its sense of spectacle. The two reception ladies were really welcoming and informative and became the key to my visit. Finding out that it was Uniqlo Sunday the next day which meant free entry to the museum rather than the usual entry fee and a free T-Shirt.... Then getting the direct emails of the two people I needed to speak to. So a gateway opened and a plan created for Sunday, meant more time to explore the streets of Antwerp.

MOMU entrance

A little more on Tilburg

More areas:

On speaking with Stef Miero at Textiel Lab, the other areas that are key to the museum are the laser cutter which is a tool of increased interest and demand. The knitting area which had a range of small circular knitting devices and several long knit machines and tubular yarn machine. Again all were in use and there were lots of examples of completed commissions alongside the machines to show visitors what was possible and the range of work that is done within the Lab.

circular knitting machines. 

I was intrigued by the tufting area as I haven’t seen carpet looms up close before. The walls were shelved with cones and cones of wool of a myriad of hues, a perfect palette of shading from one colour to the next. Samples of what was possible were on the loom and along the side of the space. Once again the visitor was encouraged to look, engage and touch. This approach enables visitors to have a greater understanding of the textile and the maker and the skills and time needed to create.

There is a printed textiles area but there was a fine layer of dust around all the equipment. This was a skill that hasn’t been in such demand so for the moment is moth balled, showing the importance of adaptability and maximising resources.

mid production

explanation of manufacture

The other area that made me think of making and looking at new ways to work was the passementerie. Located at the back of Gallery 2, near the finishing machines, it included a range of small braiding machines and large braiding looms. The diversity of threads that could be used and the potential to create new textures, properties and opportunities for braid was exciting. I began leaping into hat making and creating new braid to replace straw which is difficult to obtain. The joy of museum and archive inspiration. Something new drawn from reflecting on past heritage, creating new possibilities.

Catching Up,,,,,,,,

Catching Up ------

I had promised myself to write daily and be diligent in capturing my thoughts from each experience. I have done so in my trusty moleskin notebook but not so in this blog. A day in archives and collections is more energy sapping than one expects.....such a poor excuse.

Back to Tilburg so many days and experiences ago now.

Gallery 1 – Textiel Lab

one of the small looms

Walking into the space the first time totally lifted my heart (bit extreme I know for blog writing!) Here laid out within a museum setting was exactly what I had aspired to within Hat Works and within the textile museums in Yorkshire. Textiles, artisanship, design and manufacture totally alive and well and moving forward. Not ignoring the past but aware of the history and skills and breathing in new life with sound commercial underpinning and an awareness of market needs.

Within the lab area is a design hub where meetings can be held and the managers of the space work. A weaving hub with a range of new high quality looms, the Lab work with Dornier Jacquard Loom company who appreciate and welcome the unique synergy between atelier and museum in leading to new textiles. Including 3 jacquard looms, 2 plain looms, one similar to the Yorkshire Hattersley, but powered by a static bike, which visitors can ride on and weave cloth. The jacquard card puncher was a particularly beautiful thing.

The looms were quietly humming away. On my first visit one was weaving cloth to be sold in shop as table linen, another was having its warp set up and I saw the magic created the following day by Belgium artist Otobong Nkanga. She is based in Antwerp and has worked with the lab since 2010 working with the skills of the team to realise her artistic ideas. The piece she was developing was based on topographical photographs and through the use of browns, golds and blacks on the jacquard she had created the first layers of her three dimensional landscape. I was fortunate to share the moment when her cloth was cut from the loom and cascaded onto the floor by Stef the Manager. Such an experience is one that brings a museum visit to life and creates such memories. All the techncians were working on projects at the different machines but all were happy to talk and answer questions .To be so close to a moving loom raises ranges of Health & Safety queries yet these seem to be manageable and increase the sense of belonging and being allowed to be within the space as a visitor.

Other areas in the lab included a machine embroidery area with a Brother and SWC machines. I spoke with the technician who was completing a commission for a British artist embroidering symbols onto ikat cloth. The handwoven ikat had taken a year to produce to the artist’s design then the lab was completing the work. Such a project is a big part of the lab’s work and generates important incomes.

Heterotopia - the place for otherness

Museums as places for otherness

I took this reference from the book Fifty Years of the Textile Museum 1958-2008,   I consider that it very much sums up how I feel about museums and galleries. They are places for new ideas to be generated from past collections and stories. They can create humility giving us a new sense of place and time. The opportunity to see items that if it weren't for museums and archives we would lose.

The Textile Museum is striving to be a place of openness and freedom but within that the visitor and researcher needs security. Hence the notion of heterotopia. Somewhere that sits between public and private. Open to collaboration, new ideas, and sharing the production of textiles in the past, present and importantly future.

This was very apparent walking around the mill floor. Seeing the old looms that still work and tell the story of production then moving through the door and seeing the Textiel Lab in operation. New looms doing the same job as old. New designers working effectively with technicians to test ideas and create new work. Inspirational.

Day 1 Tilburg

Finding the Textiel Museum

One of my favourite parts of travel is meandering through a town or city and getting a sense of where I am and what that means. The wondering through streets like a flaneur following the traditions of Baudelaire and Benjamin. Aspiring to as really I had a destination to get to quickly.....
Walking for walking sake and not in a hurry to just get from one place to another, but to just experience/wondering in the urban cityscape, alley ways and hidden corners and nooks observing the immediate, and also to be seen.

mini library

interesting glass and tiles

Tilburg artisan cottages made me think of Hebden Bridge and the fustian making

My destination Textiel Museum Tilburg

The Journey Begins

Yorkshire to Nederlands via Scotland and Belgium

Edinburgh Airport

So needed these at Brussels train station

So you leave at 9am across the wilds of Scotland, levels of nerves and anticipation, as the flights was only booked on Sunday.... will this five weeks of travel and as WCMT states fun work out. Not that I am a worrier or anything....

Julia Weston gives tips and advice to Churchill Fellows

Edinburgh Airport is a joy, wonderful staff, straightforward security and off we go.

Arrived safely in Brussels airport having gone through the itinerary with a fine tooth comb and aware that it would be a fast run to get to the train at the airport in time. This is where you just have to smile. Went through security asked where the train station was as could see no signs. Sorry madam we have no train station that is at the other Brussels Airport.....

Slight panic, deep breathing, bus ticket purchased and train timetables checked. May get to Tilburg tonight!! Hence the chips at Brussels train station, a small celebration for not totally panicking.

Seriously brilliant trains and all on time. I love watching the country side shift and change on the train definitely my favourite way to travel especially when in a coach like olden days train travel...

Paul Smith esque interiors in silent coach Brussels to Roosendahl

Silent Coach - lovely graphics

Are we there yet?

Arrived on Tilburg after 10pm so not so harrowing. Lots of lovely kind people to direct and smile with. Looking forward to the museum adventure tomorrow. 

Questions

What am I looking to find out?

My aim for this project is to look for innovative ideas to support and develop artisan practice and sustainable collaboration. Whilst I have worked within millinery and textiles education and curation I have been fortunate to see a range of innovative practices. I have been informed that some of my own work has fitted into this as I have facilitated new makers through projects and mentoring. What I have also seen is that these happen through the strength of the lead person or the financial support at any one time in a project. Sustainability can be more problematic.  The lead person can be worn down through the drive to make things happen. The project ends when the money ceases.

Feltmakers competition hat 2012 Emily Ellwood

So these were my first thoughts when I applied for the fellowship. How could I carry on and develop new ways of working as the millinery programme I ran drew to a close? How could I find ways to fund my curatorial work, which had been on a voluntary basis, to support the institutions and museums in times of austerity where culture is often less of a priority.

I will explore more of this as we go through the blog and the trip........

Case from Trends of Trimmings exhibition Hat Works 2010, Stockport

My Context

Why undertake the Fellowship?

Red Felt piece inspired by Scottish Clearings, S K Bainbridge 2009
In the Collection of Stockport Museums and Galleries, Stockport. UK.

I began making hats in 2000 when I joined the HNC millinery course at Leeds College of Art & Design. I had always made and was at the time teaching textiles within Further Education, so the course was perfect for professional development. I fell in love with making three dimensional objects. Textiles suddenly made sense. So began my voyage of discovery and my change of direction. I continued to study undertaking the more skills based City & Guilds Millinery as well. My aim to look at ways to develop a more holistic mode of study to include technical skills, design and context of practice.

In 2004 I began teaching millinery as a HNC at Leeds and for City & Guilds in Huddersfield. I was fortunate to work with a range of talented people who were inspired and wanted to develop millinery further as businesses and teaching opportunities. Over the ten years that I taught millinery many changes happened in craft and adult education which impacted negatively on ways to develop future milliners. The qualification courses I ran closed  and the only way to share skills was through private short courses.

Hence my wish to undertake the fellowship and look at other ways to create sustainable and effective artisan education and skill sharing. I have been fortunate to work with Hat Works, the hat museum in Stockport as a voluntary curator, researcher since 2010 and this has also informed my questions as the cultural and museum sectors have been affected by political shifts. How can these areas collaborate to mutually benefit each other and create new paths for future working relationships. As I work in Higher Education I feel that this also has a role in collaborative futures.

Archive Hat Works