A joint exhibition between MoMuAntwerp fashion museum and GuislainMuseum, which holds exhibits on the history of psychiatry in what was formerly Belgium’s first mental asylum, “Mirror Mirror” looks at how fashion, psychology, and identity intertwine.
— from the elegant Théâtre de la Mode fashion dolls that saved French haute couture to macabre Hans Bellmer ones — meet and mingle, but also send a message.
One, with a manikin in the likeness of Michelle Elie, fashion icon, Trouble Mag editor and fierce Comme des Garçons collector, who loaned some of her pieces to “Mirror Mirror.” Within the “Mirror Mirror” exhibit, an Ed Tsuwaki manikin stands at the left beside a manikin of Michelle Elie at the right.The other example of diversity in the exhibit is a manikin with alt proportions created by Japanese artist and illustrator Ed Tsuwaki, who favored drawing women with exaggerated swan-like necks and who, at one point, created a matching manikin for his now-defunct fashion brand nakEd bunch.
More and more, fashion is becoming less about selling fantasies excluded to the few and increasingly about selling something real, something responsible, something that considers any being with a body to dress.Issey Miyake was an early exemplifier of using garments, some of which are part of the “Mirror Mirror” exhibit, to create new shapes around the body.
“Simone Rocha has a beautiful dress in the show with one unexpected bump on one hip. It’s far removed from what you’d expect from classical symmetry or the hourglass silhouette. Or Comme des Garçons, [Kawakubo’s 2017] ‘The Future of Silhouette’ collection that is really a conceptual, a plaster case almost around the body that shows how the body is contained by classical beauty ideals,” De Wyngaert says.
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