Displaying items by tag: designers

The Metropolitan Museum of Art announced today that The Costume Institute's spring 2016 exhibition will be manus x machina: fashion in an age of technology, on view from May 5 through August 14, 2016 (preceded on May 2 by The Costume Institute Benefit). Presented in the Museum's Robert Lehman Wing and Anna Wintour Costume Center, the exhibition will explore the impact of new technology on fashion and how designers are reconciling the handmade and the machine-made in the creation of haute couture and avant-garde ready-to-wear.

Louise Mirrer, President and CEO of the New-York Historical Society, today announced the appointment of curator Margaret K. Hofer to the role of Vice President and Director of its Museum division. Ms. Hofer has contributed to or overseen New-York Historical’s decorative arts collections and exhibitions for over two decades, and spearheaded the groundbreaking 2007 exhibition and publication A New Light on Tiffany: Clara Driscoll and the Tiffany Girls, which revealed previously unrecognized achievements of Tiffany Studios’ women designers.

The Indianapolis Museum of Art (IMA) has spent over nine years honing their collection of avant garde fashion designs. This year, they are able to debut their efforts in an exhibition, simply titled, "Cutting Edge Fashion: Recent Acquisitions."

The show will look at an array of pioneering designers who have altered the fashion conversation world—be it through new silhouettes, innovative use of materials and draping, or the subversion of the status quo. Viewers, for instance, will find a design by Austrian-born fashion designer Rudi Gernreich, the inventor of the topless single-piece swimsuit, the monokini.

Launched in May 2013 by the architect and interior designer Steven Learner, Collective Design was conceived by a passionate group of designers, curators, collectors, and gallerists who recognized a need for a new commercial and educational platform for design enthusiasts. In addition to this core ensemble, which includes the architect Alexander Gorlin, collector Beth Rudin DeWoody, design dealer Todd Merrill...

To continue reading this article about Collective Design, visit InCollect.com.

The private art and furniture collection of the famed architect and designer of Sydney Opera House Jørn Utzon is going under the hammer at Bruun Rasmussen Auctioneers in Copenhagen in June.

Built upon Utzon's refined taste and close personal relationships to many renowned artists and designers, the Dane's collection includes pieces from the likes of Le Corbusier, Georges Braque, Fernand Léger, Henri Laurens, Pablo Picasso, Asger Jorn, and Alvar Aalto.

The highlight of the collection is doubtlessly a tapestry by Le Corbusier titled "Les dés sont jetés" (the dice is cast) (1960) which Le Corbusier created when the pair collaborated on the decoration of the Sydney Opera House.

For almost a century, Milanese jeweler Buccellatihas kept the art of the Italian Renaissance at the core of their design philosophy, but with the opening of their Madison Avenue flagship on March 12, the house’s designers have found themselves dipping into a new creative pool: Impressionism.

Entitled "Timeless Blue," a capsule of one-of-a-kind jewels has been created in response to masterpieces by French, American and Russian masters Claude Monet, Pierre Bonnard, Winslow Homer, Mikhail Larionov and Odilon Redon.

All styles eventually go out of fashion. Colonial hoop dresses, Victorian handlebar moustaches, and 1960s shag carpeting all enjoyed great popularity before falling out of favor. Similar cycles of taste have governed the history of furniture design. Going out of Style: 400 Years of Changing Tastes in Furniture, an exhibition presented by the Milwaukee Art Museum, displayed four centuries of major American furniture styles alongside scathing commentary written in the period by designers, architects, and writers.

Their critiques—which range from sarcastic to downright ruthless—reveal powerful opinions that helped drive the ebb and flow of taste from generation to generation. While the harsh assessments of the past may seem unfounded to antiques enthusiasts today, they remind us that most period styles—even the perennial favorites—were out of fashion at one time or another

Over the last few years, Culture Shed, the visual- and performing-arts institution planned for the Far West Side of Manhattan, has been nurtured by prominent designers (Elizabeth Diller and David Rockwell); substantial city support ($75 million); and influential advocates (former Mayor Michael R. Bloomberg and his deputy, Daniel L. Doctoroff). Hanging over the project was always a question: Who is going to run it?

Now there is an answer: Alex Poots has been named artistic director and chief executive. 

Pier Sixty was at least a bit calmer last night than the name of the evening’s main event would suggest. The MAD Gala was a lively scene, but more notable for the refinement of its revelers than any chaotic debauchery on their behalf.

But that’s fitting, after all, since the Museum of Arts and Design has recently sought to bring a more cohesive unity to the two wide-ranging charges to which the institution owes its name. Director Glenn Adamson, who has now been with the institution for just over a year, has worked to bridge the arts and design elements of MAD’s programming with a renewed focus on craft, and craftspeople. One need look no further than the museum’s current survey of emerging designers and craftspeople from Latin America to find his vision put in place.

A series of lectures on costume design related to “Downton Abbey” and other TV and movie productions are offered at Winterthur this fall. In addition to the British period piece, the lecture series will feature costume designers linked to “Mad Men,” “Saturday Night Live,” “Captain America: The Winter Soldier,” “The Hunger Games,” “True Blood,” “Deadwood” and Netflix’s “House of Cards.”

Oct. 26, 11:30 a.m. and 2:30 p.m. — “Behind the Seams: Perspectives on Costume Design of Downton Abbey,” featuring “Downton Abbey” costume designers Susannah Buxton and Caroline McCall.