ABSTRACT
The exhibition was characteristic of both fashion display with a capital F and of the new profession of fashion curation. The distribution of fashion curation in galleries and museums indicates new interpretive modes in understanding fashion as a visual cultural phenomenon similarly to contemporary art: in this case, taking fashion beyond its commercial existence as designed interventions to make humans reflect upon themselves and their future as dressed bodies. Kenneth Clark and Amy de la Haye have divided the history of fashion curation into two parts: before and after 1971, when Cecil Beaton transformed the display of fashion with his special exhibition Fashion: An Anthology by Cecil Beaton at the Victoria and Albert Museum in London. The curatorial practice was so significant, so foregrounded, and so interesting in the way it experimented with the staging of fashion objects, maximizing the aesthetic communication of objects that are essentially static and silent by nature.
