The Paul textile and fashion arts galleries opened with a bang in 2006 with a spectacular exhibition, I Do, The Marriage of Fashion and Art curated by Niloo Paydar. (Here’s a little secret: this is one of the first exhibitions I worked on when interning at the IMA in 2003)

Installation view, I Do, The Marriage of Fashion and Art, fashion arts gallery, 2006

Installation view, I Do, The Marriage of Fashion and Art, textile arts gallery, 2006

The exhibition utilized both the Paul textile arts and fashion arts galleries with the door open to adjoin the spaces. The placement of the doorway is specific, acting as a bridge for the two galleries to accommodate larger comprehensive exhibitions, such as the case with, I Do. When the door is closed, however, either the exhibitions are varied or the galleries are dark, allowing the museum to utilize the space as an area for the IMA to prepare for upcoming exhibits.

Installation view, All Dressed Up; Recent Additions, textile arts gallery, 2007

Always keeping our environmental footprint in mind, we reused the risers built specifically for the inaugural exhibition, (I Do) for the next five, yep that’s right, five exhibitions. Over the course of four years, our exhibition designers toyed with the placement of supplemental risers, wall colors and graphics in order to update each space according to the unique exhibitions housed.

In the case of Dior; The King of Couture, the gallery structure remained the same, but the dramatic use of color and wall graphics helped transform the space.

Installation view, Dior; The King of Couture, fashion arts gallery, 2007

In the case of Simply Halston, we created an alternate environment by exhibiting pieces flat on the wall as well as placing close to 30 pieces in the gallery. We lightheartedly refer to this format as the cocktail party scheme vs. the debutante ball, al la Dior.

Installation views, Simply Halston, fashion arts gallery, 2008

In 2008, the textile arts gallery changed dramatically not just because of the type of art exhibited, but by the use of color and the addition of tables. Shared Beauty, Eastern Rugs and Western Beaded Purses was an exhibition that compared and analyzed shared motifs used in rug making and in beaded purse design. The result was quite stunning.

Installation view Shared Beauty, Eastern Rugs & Western Beaded Purses, textile arts gallery, 2008

The last exhibition using the stationary curvilinear risers was Fashion In Bloom. FIB as we affectionally called it, traced the sartorial shifts in silhouette for women’s fashion over the course of 200 years. Notice how the supplementary riser (on top of the big curve) flipped around to create a new footprint as well as how the door was used for the title graphic.

Installation view, Fashion in Bloom, fashion arts gallery, 2009 (Note the green riser)

After four years, of using what we got- to the best of our ability, we decided that it was time to remove the stationary risers. It is important to note, however, that our waste not, want not, mentality did not go out with the risers.

In fact, for the installation of our latest exhibition, Body Unbound, Contemporary Couture from the IMA’s Collection, our chief exhibition designer pulled out of storage our trusty, modular risers created and used for the traveling exhibition, Breaking the Mode; Contemporary Fashion from the Permanent Collection, LACMA as well as in European Design Since 1985.

Here is a sneak peak of our re-vamp in process. You will have to stay tuned for the final transformation… coming soon.

painting, textile arts gallery

painting, fashion arts gallery

modular risers, under construction

risers freshly painted

One of the most exciting and rewarding aspects of my job is researching, planning and finally, mounting an exhibition. I liken it to what a performer or musician must feel when they step onto stage after months of practice. One of the nuances of this feeling though, is each exhibition has a personality. Moreover, getting to know that personality is at times a joy, or a challenge, or both. Some exhibitions are straightforward and others will throw you for a loop. Nevertheless, these quirks are what propel an exhibition team forward – together. And… like any great performance or concert, it takes a group of people utilizing their aptitude in a variety of ways. Every exhibition at the IMA is supported by a team, made up of members representing different departments, each responsible for an aspect of its’ planning and execution. The upcoming fashion arts exhibition, Body Unbound, Contemporary Couture from the IMA’s Collection, is no different.

Body Unbound, explores the varied approaches modern fashion designers use to manipulate materials and experiment with construction; producing garments that liberate the female body while maintaining a desired aesthetic. Due in part to the emphasis on the body, this exhibit offered us an opportunity to reconsider how we wanted to show the pieces.

Fashion in Bloom deinstall. Notice the stark white mannequins. We use the carts in the foreground to transport mannequins around the museum

This focus on the body is what led our Chief Exhibition Designer to propose a unique suggestion for our mannequins. His idea is to present the mannequins in such a way that the concept of flesh is readily apparent, but executed so that the “skin color” represented is of no one real person. Traditionally in a museum setting, mannequins remain neutral or are painted to tie into the overall design of the space. Done so, frankly, because mannequins are not people and while they represent the physical qualities of a person, it is only because the attributes of the objects, clothing, require specific support. Think of it this way, mannequins are like frames or pedestals, complimenting an artwork or providing a base. Therefore, as if you might choose an appropriate mat color or frame for a photograph, we choose individual mannequins and their colors.

Curator of Textile and Fashion Arts, Chief Designer, Textile Conservator and me picking out colors for mannequins based on the garments

Concurrently, because we chose precise colors for particular objects we needed to be sure that those pieces fit on specific mannequins. Mannequins are primarily chosen for their ability to provide the best support. The second criterion is the appropriate stance or pose. Now, for all you fashion historians who also mount exhibitions, you know how time consuming and challenging mounting clothing can be. (Look for a later post on dressing and undressing mannequins). Most people (myself included, before working with fashion and textiles) think that all one has to do is drape a piece on a form and walk away.

This is not the case.

Bare in mind, these garments were made for people, real people – with short torsos, long arms or wide hips. For that reason, we pad out, slim down, or adjust each mannequin in a way to best fill and support the object. Concerning most, we can manipulate the forms by building upon an existing mannequin using archival materials to create the desired “body.”

Background: Mannequin with reset arm to better display a garment) (Foreground: Mannequin had breasts cut off and filled with Marvelseal® 360 and Ethafoam® 220

However, in other instances, we have to take measures that are more drastic. Such was the case for one of our Rudi Gernreich dresses from 1961, included in the exhibition because of its cutout sides. The dress fit perfectly on a slender mannequin with protruding hips, great for the style of the dress, but sad because her bust was too low. The mannequin had a natural (lower) bust line, more appropriate to exhibit pieces from the 1970s, not the high “bullet” silhouette popular in the 1950s and early 1960s. The decision was made to give the mannequin a reduction.

We called upon on our exhibition preparator, who specializes in mount building. The preparator worked closely with our textile conservator to adjust the body of the mannequin so that it can be used again and so the adjustment is not harmful to the garment when it is exhibited.

Mannequin with sides cut out to accommodate a dress with 22.5-inch waist

Mannequin is the same as above, but here you can see Ethafoam® 220 inserts

After selecting all the mannequins and paint colors, the mannequins were painted individually, in advance, to allow time for off gassing. “Off gassing” is the term used by conservators to describe the release of volatile compounds emitted by the paint as it dries completely over time.” (Thanks Kathleen and Richard!) Thus, each mannequin must sit and dry for at least two weeks before any objects come near them.

Mannequins freshly painted, off gassing

After all the mannequins “off-gas,” we will dress each accordingly. Stay tuned for the second installment of this discussion on exhibition preparation and mounting.

In the meantime, mark your calendars for Body Unbound, Contemporary Couture from the IMA’s Collection, opening April 10.

It’s gonna be a good one!

National Public Gardens Day at the IMA
Friday, May 8
1–5 p.m.
Throughout the IMA Gardens and Grounds
Free
National Public Gardens Day is a national day of celebration to raise awareness of America’s public gardens and their important role in promoting environmental stewardship and awareness, plant and water conservation, and education in communities nationwide. Visitors may stop by the IMA gardens for a full afternoon of events, including a demonstration on creating high-impact container displays and shopping discounts at the Madeline F. Elder Greenhouse and guided tours of springtime blooms in the IMA gardens. Visitors may stop by the orchard on the grounds of Oldfields, which is currently being renovated to include heirloom fruits and vegetables popular in gardens of the early 20th century. The Museum’s knowledgeable horticulture staff will be available throughout the day to offer gardening tips and answer questions.

Well, that kind of covers everything but here are a few more details…

• Horticulturist Jim Kincannon will be giving the container gardening lecture in the lower level of Garden Terrace at 1pm.
• Horticulturists will be at the Greenhouse from 2 – 4 pm to answer questions and help you select plants.
• Gardens Supervisor Chad Franer will be giving demos on cleaning and sharpening tools at the Greenhouse parking lot from 2 – 4 pm.
• Garden tours will be given at 1 and 3 pm.
• Horticulturist Geoff VonBurg will be in the Orchard from 1 – 4 pm to explain some of the happenings in this renovated fruit and vegetable patch across the road from the Greenhouse. It’s not quite finished so enjoy seeing it in progress.  See spring veggies now and come back later to see the summer crop.

There, I feel better fleshing the day’s events out a bit. For more info on the national day you can visit the website of the American Public Garden Association  (APGA), or visit their fan and event pages on Facebook.

Now for several random thoughts.

It continues to be a very lovely Spring here in the gardens. Please come visit. Things look just great. Here are three flowering events you have missed – tulips, early peonies, redbuds. Don’t worry, there’s something new everyday.

Tulipa ‘Daydream’

Paeonia offinalis ‘Mollis’

Cercis canadensis ‘Appalachian Red’

Despite the hot weather over the week-end the tulips held out for the celebration/dedication of Nonie’s Garden on April 26.

On April 27 we had an excellent turn-out for Niloo’s and my tour for Fashion in Bloom.
The Orchard is now an official orchard since it has mature trees planted in it. Here’s what they looked like on the trucks.

I think the somewhat gnarly stubbed branching gives them a look of having been here for decades instead of days.

If you read a recent issue of Midwest Living that said we had a cutting garden you could cut from for your own bouquets, that is not true. We are a public garden not a public cutting garden.

On the home front I have been thoroughly enjoying my Dicentra spectabilis ‘Gold Heart’.

This yellow leafed cultivar of bleeding heart is one of my favorite plants. My oldest plant is now over 5 feet wide and over 3 feet tall. If it had blue flowers I would just swoon every time I looked at it. Truly, I would need to keep smelling salts in my pocket. The Iris x robusta ‘Gerald Darby’ has kept the purple in its leaves longer than any other year and the color has extended further up the leaves.

To think a couple years back I almost ripped it out of the garden. This is now considered a hybrid between the natives I. versicolor and I. virginica. Imagine that, a native in my garden. But it is a hybrid.

As I said earlier, things are looking great this Spring in the gardens at the IMA.

It is a perfect time for a visit. But don’t cut any flowers. I’ll get you. Oh yes, I will get you.

Fashion in Bloom – Inside and out, the IMA is blooming. Last Friday I checked out “Fashion in Bloom” up on Gallery Level 2 and have had plants and garments on my mind ever since. Sometimes, I like to be contrary, so here are some garments on plants. And just because I think they’re both neat, here is a girl in a zipper dress which reminded me of the oft forgotten fashion item, Units/Multiples.

Innovative Coffee Lid – While I don’t usually drink coffee myself, I do appreciate a clever way to get the cream and sugar back to the office so a buddy can customize their drink to their liking.

Homes of Famous Architects – The IMA recently aquired Miller House and Garden and all the activity surrounding it has created within me an interest for home design. Here’s a connection, turns out the Eames home in Northern California was designed with the help of Miller House designer, Eero Saarinen.

Monday Music – “No One Does it Like You”  by Department of Eagles. I’ve been thinking about getting a fish and supposedly this band has a “Pet Sounds” flavor.No One Does it Like You

image from trendhunter.com

image from trendhunter.com

More often however designers are only inspired by plants when they are creating fabric for their work. That fact is the focus for the exhibition Fashion in Bloom put together by Niloo Imami-Paydar, IMA’s Curator of Textile and Fashion Arts. The exhibition opens Saturday April 4 and runs through January 30, 2010. The items in this exhibition go all the way back to the 1700’s, but the four I’m blogging about are from the late 1950’s to the 70’s.Mind you, as IMA Horticulturist Geoff Von Burg discovered when he developed a guide connecting flowers on the dresses with their botanical counterparts, the flowers are not always exact replicas of their living inspirations. Sometimes you just have to guess what the designer was thinking.

Is that a geranium? Or a rose? An anemone. No, maybe a cosmos?
Some however, are as obvious as a drag queen in size 14 stilettos. The bright flowers on this dress by James Galanos leave no doubt that it’s a field of hibiscus.

With the near-perfect shape of the petals and the large yellow protruding stamens, it’s practically a botanical print. Remember there are both tropical and hardy hibiscus plants. I’m sure the tropical variety inspired this fabric’s design.

image from phoenixplants.com

The tropical hibiscus comes in about every color but true blue and is Hibiscus rosa-sinensis. They make great summer plants here in the Midwest blooming constantly whether in containers or in the ground. They are easy to overwinter indoors and will even bloom if happy. The hardy ones, generally Hibiscus moscheutos and its hybrids, range from white to pink to red with the pinks and reds coming in palest pink to near burgundy. Some are now available with dark burgundy foliage as well. They die back completely each winter but come back up in late spring to bloom by mid-summer. In our gardens we have ‘Ruby Dot’ at the 42nd Street Bridge, ‘Intense Pink’ in the Dick Wood Formal Garden, and ‘Plum Crazy’ in front of the Madeline F. Elder Greenhouse.

The flowers on this dress by Indiana’s own Norman Norell must be zinnias …. or dahlias ….  or mums.

image from howstuffworks.com

I like to think of them as zinnias since they are the quintessential summer flower in the Midwest and this dress just screams summer. And they can be found in all the bright colors shown on the fabric. Zinnias are one of the easiest of summer annuals to grow, full sun and decent drainage and they are happy. You can choose from shorter varieties such as the Zahara series I’m using this year around the Sutphin Fountain or the taller more traditional types I used to use in the cutting garden like the Benary’s Giant Series or the hot ‘Uproar Rose’.
I have to include the psychedelic influenced Bill Blass design in the show because the leaves make me think of coleus.

image from gardenguides.com

And really, why even get up in the morning if you aren’t going to think of coleus? Coleus are fabulous in the ground and in containers plus they can be used in the shade and the sun. There are precious few colors not included in their leaves. All you have to do is shop around for the one that fits best with your other plant colors. That’s color from flowers or foliage. Other flowers I see in this fabric are Gazania and Salpiglossis (painted tongue).

The last dress I want to mention is this 1970’s velvet number by Hanae Mori.

The beautiful pink cherry blossoms made me instantly think of the flowering almond (Prunus triloba var. multiplex) ready to bloom right now in the Southwest Border Garden.

Flowering Almond

Long time gardeners may recognize its similarity to the dwarf flowering almond (Prunus glandulosa), a much smaller spring blooming shrub that has fallen out of favor. The flowering almond is one of the earliest spring blooming shrubs, well before its leaves unfurl. It gets rather large, 12 to 15 feet, but can be pruned to maintain a slightly smaller stature. It is another of the woody plants that are great for forcing into bloom in late winter. You just cut a few branches, put ‘em in a vase, and in a few days you have gorgeous double pink flowers brightening the gray winter days. Like most Prunus species it prefers lots of sun.

I suggest you take some time to see Fashion in Bloom then take a stroll through our gardens to see how many similar flowers you find there. Or take a walk in the gardens first then see the show. Just do both and make yourself happy for awhile ( and Niloo, and me, and all the other horticulturists).

By the way, the redbuds (Cercis canadensis, C. reniformis, and C. chinenesis) are in very heavy bud just ready to burst into full bloom. Get your butt over here in the next couple weeks and check them all out.