Selected CfFC projects

Gluck: Art and Identity

Gluck head and shoulders
Gluck by Howard Coster. Image courtesy of Fine Art Society.

The exhibition, ‘Gluck: Art and Identity’ is based on the life of Sussex-based artist, Gluck (Hannah Gluckstein, 1895 – 1978). It will focus on the artist’s biography, garments, ephemera and artworks which have been donated to Brighton Royal Pavilion and Museums, but not exhibited until now. Gluck defied convention by wearing masculine-style tailored clothing to construct and articulate powerful self-identities. The exhibition is part of a wider project 'Wear it Out' that explores the cultural heritage of dress of LGBTQI+ communities in Sussex (1917 – 2017) looking at how dress is used to express identities and sexualities of individuals who identify as LGBTQI+.

Gluck smock label detail.
Brighton Museum collection. Image by Tessa Hallmann.

The project will be led by Professor of Dress History and Curatorship at LCF, Amy de la Haye.

The exhibition, which opens in November 2017, is created by Martin Pel, Jeffrey Horsley and Amy de la Haye.

Read more on the UAL blog

The Vulgar: Fashion Redefined

Fashion figures from The Vulgar
The Vulgar: Fashion Redefined. Barbican Art Gallery, 2016. Photo Michael Bowles Getty Images

‘The Vulgar: Fashion Redefined’ curated by Professor Judith Clark for the Barbican Art Gallery is the first exhibition to challenge and reconsider this important area of taste. This provocative exhibition - organised around 11 new definitions of the word ‘vulgar’ written by psychoanalyst Adam Phillips - combines historic garments, haute couture and ready-to-wear fashion, questioning both the understanding and uses of vulgarity in fashion whilst enjoying its exuberance.

The project is part of Clark’s ongoing research into the history of fashion exhibitions. It also acts as a reflection on fashion curation itself and notions of its ‘vulgar’ allegiance to consumer culture.

CfFC, with the Barbican, coordinated the installation of the exhibition, organising for volunteer UAL students (from Year 1 and 2 of MA Fashion Curation) as well as recent graduates to work alongside professional Costume Mounter gaining essential experience of exhibition installation.

Judith Clark: “The tableaux don’t illustrate the text and the text doesn't illustrate the fashion, but they run alongside each other to say something about the themes that recur around ideas of the vulgar: about the copy (whether it is an impoverished version of an original); about ideas of excess, about displayed ambition, about the vernacular, etc to name a few.

From March - June 2017 the exhibition toured to the Winterpalais, Belvedere Museum, Vienna.

The Vulgar Research Outputs

Cabinet Stories

"Cabinet Stories is about taking exhibitions directly to the audience"

In collaboration with the Social Responsibility team at LCF, Curator Alison Moloney devised and produced Cabinet Stories – a travelling exhibition for audiences who have little access to the arts. The cabinet became a ‘venue’ where 7 displays, curated by UAL and external curators, were presented one after the other. Cabinet Stories travelled to HMP Holloway, East London NHS Foundation Trust and Anchor Silk Court – a home for older people. At each venue the curator led a talk or workshop based on their cabinet exhibition. Cabinet Stories opened to the wider public in an Emmaus charity shop in Poplar, East London, where all 7 exhibitions were displayed at the same time alongside free workshops for the local community.

Alison Moloney is a nomadic curator whose exhibitions have a strong emphasis on widening participation. Plans are now underway to take this travelling cabinet internationally.  

Find out more about Cabinet Stories

Cabinet Stories Research Outputs

Find out more about Better Lives at LCF

Learn more about Alison Moloney's International Exhibition programme

Present1 Imperfect2

Present Imperfect at Fashion Space Gallery, May 2017 by Jeff Horsley and Amy de la Haye. Audience at Private view. Image by Katy Davies

1. Disorderly apparel reconfigured

2. A playful project that tests the principal elements of exhibiting fashion: object, body, text, installation. A conversation between exhibition-maker Jeffrey Horsley and curator Amy de la Haye inspired by apparel which is damaged, worn-out or perished.

The items exhibited in Present Imperfect include: a pair of Victorian kid leather gloves, charred and forever distorted in an incarnate grip; a cotton ballet singlet, borrowed from the Rambert Archive, lifeless, and stained by repetitive movement; a Stone Island jacket with shattered linings that echoes the distressed insert of a London couturier-designed Edwardian tea gown dating from a 100 years earlier. Museum stores often ignored or abandon such objects, this exhibition celebrates them.

The exhibition acts as both gallery and studio space, exploring the multiple choices, working processes and ideas that were researched, adopted or shelved. The experimentation and innovation of Present Imperfect are at the heart of the Centre for Fashion Curation’s ethos.

Present Imperfect is at Fashion Space Gallery from 12 May - 4 August 2017

Find out more about Present Imperfect

Read the Fashion Studies Journal article