Abstract

This article takes a new look at Balenciaga: Ein Meister der Haute Couture, the exhibition held at the Museum Bellerive in Zurich from May 31 to August 16, 1970. By exploring the materials preserved in the museum’s archives (now at the Zurich University of the Arts), the study sets out to reconstruct this retrospective dedicated to Cristóbal Balenciaga and to consider its relevance to the museology of the Spanish creator. Examining these archival materials provides an extraordinary opportunity to reflect on the history of fashion exhibitions, on the genealogy of these three-dimensional artifacts and on the practice and discipline of fashion curating. How do we decide whom and what to show? How do we construct a museum collection that represents fashion? To address these questions, this article analyzes not only the exhibition project, but also and above all the decision-making processes that preceded and shaped this exhibition in particular. Balenciaga: Ein Meister der Haute Couture was an exhibition produced in an institutional dimension which saw a close connection between the museum and the school of applied arts. At the root of this project lay the intentions of a school of fashion design: this allows us to think about the relationship between the design of fashion and the languages used in exhibitions of and for fashion.

摘要

本文对Balenciaga进行了重新审视：Ein Meister der Haute Couture，展览于1970年5月31日至8月16日在苏黎世的Bellerive博物馆举行。通过探索博物馆档案馆（现在在苏黎世艺术大学）保存的资料，这项研究着手重建针对克里斯托瓦尔的回顾展Balenciaga并考虑其与西班牙创作者的博物馆学相关性。检查这些档案材料提供了一个非凡的机会，以反思时装展览的历史，这些三维制品的家谱以及时装策展的实践和纪律。我们如何决定向谁展示什么？我们如何构建代表时尚的博物馆收藏？为了解决这些问题，本文不仅分析了展览项目，巴黎世家：Ein Meister der Haute Couture是在机构层面产生的展览，该展览将博物馆与应用艺术学院之间建立了紧密的联系。该项目的根本是建立时装设计学院的意图：这使我们能够思考时装设计与时装展览和时装展览所使用的语言之间的关系。