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Professor Amy De La Haye

Professor of Dress History and Curatorship
London College of Fashion
Researcher Research
Amy  De La Haye


Professor Amy de la Haye is a curator, writer and tutor. She is Rootstein Hopkins Chair of Dress History & Curatorship and Joint Director of the Research Centre for Fashion Curation at London College (LCF)of Fashion, UAL.

Much of her work is united by an emphasis upon interpreting items of fashion and dress, often imprinted with wear and occasionally completely perished, to tell stories about lives lived. She also constructs narratives around archives (including Lucile and Worth); provides professional consultancy (fashion collection review, Brighton Museum) and has worked as a creative consultant in the fashion industry (Shirin Guild, Catherine Walker). Most of her lectures have the title ‘Objects of a Passion.’ More recently, her work has embraced an exploration of the natural world and notably fashion, dressed appearances and roses.

She has worked as a curator in international museums (Museum at FIT, New York and Palazzo Morando, Milan), national museums (full-time fashion curator at the V&A 1991-1999), regional museums (Brighton Museum, freelance 2000 - 2017), university LCF Fashion Space Gallery) and commercial contexts (Selfridges, Jaeger, Carnaby Street). She is author of the ‘Fashion in a Time of Crisis’ series on and regularly contributes to panel discussions.
Amy studied for her degree in design history at Brighton University, specialising in dress with Professor Lou Taylor and then went on to the Royal College of Art where she was awarded an MA in Cultural History (by thesis). She is a qualified PhD supervisor (in 2021 she had seven completions, had examined 5 PhDs and has eight PhD students, most of whom are practice-based or led) and teaches extensively on the MA Fashion Curation course at LCF.


Current work:
‘Ravishing: The Rose in Fashion’, with Colleen Hill, Museum at the FIT, New York (August – November 2021)
‘Wild & Cultivated: Fashioning the Rose’, with Simon Costin, Garden Museum, London (March-June 2022)
Folk Dress in Britain (working title) with Simon Costin, Compton Verney, Spring 2023.

Grants and awards

(Figures indicate amount awarded to UAL)

  • Heritage Lottery Fund, Wear it Out: The Culture and Heritage of LGBT* Dress in Sussex, £64,797.60, (2017-2018)
  • Paul Mellon Centre for Studies in British Art, Gluck: Art and Identity, £200.00, (2018-2018)

Research Outputs



Conference, Symposium or Workshop item



Current research students

  • Louise Elizabeth Penn Chapman, How can immersive theatre techniques and costume practice interventions be employed to communicate the narratives of the Kate Elizabeth Bunce Collection through dress display? (Lead supervisor)
  • Antonios Daikos, Re/Load: Fashion and the Gender-neutral Dream. (Lead supervisor)
  • Colleen Hill, Wearing the Wunderkammer: Curiosity and the Collection, Design, and Display of Fashion (Lead supervisor)
  • Nichola-Jane Hodgkinson (Stevenson), "Nostalgia and the Now: A critical and practice-based investigation into curating the juxtaposition of period film costume and contemporaneous fashion in an exhibition context." (Lead supervisor)
  • Cyana Madson, Biography and fashion collections: Developing a dress-specific acquisition methodology. (Joint supervisor)
  • Lisa Mason, Curating the personal, private and immaterial through European dress related superstitions, 1860s to date. A critical analysis and practice-led investigation of curatorial interventions proposing new approaches for exhibiting dress and talismanic objects (Joint supervisor)

Past research students

  • Matteo Augello, How Italian fashion is collected, preserved and analysed: unfolding the relationship between scholarship and production in the establishment of fashion collections in Italy, 1995-2015. (Lead supervisor)
  • Djurdja Bartlett, Ideology and Clothes: The Rise and Decline of Socialist Official Fashion. (Lead supervisor)
  • Sara Chong Kwan, Making sense of Everyday Dress: Integrating multi-sensory experience within our understanding of contemporary dress in the West. (Lead supervisor)
  • Joyce Fenton Douglas, From 19th Century Sweated Industries to 21st Century Collaborative Practice: a critical examination and creative exploration of the ancillary trades of the London élite fashion industry. (Lead supervisor)
  • Jeffrey Horsley, Embedding the Personal: the construction of a 'fashion autobiography' as a museum exhibition, informed by innovative practice and ModeMuseum, Antwerp. (Lead supervisor)
  • June Rowe, Sculpting Beauty; A Cultural Analysis of Mannequin Design and the Shaping of Fashionable Feminine Silhouettes. (Lead supervisor)
  • Benjamin David Whyman, How can a detailed material culture analysis of fashionable menswear wardrobes augment biographical and museological interpretations? A comparative analysis of three 20th century menswear collections from the Victoria and Albert Museum (Lead supervisor)