![]() ![]() This independent method of production provides an unrivaled guarantee of quality. The entire process of creating and manufacturing Armand Nicolet watches takes place within the company from creative vision, design and production process to quality control. The company has adopted the latest methods of work, while respecting the oldest watchmaking tradition. ![]() Malo staff will be happy to take it over, from in-store delivery all the way to the hands of a Malo Craftsman to work their magic.Īrmand Nicolet is one of the few independent watch brands that is still active in the territory of Bern and in Tramelan itself, known for its traditional watchmaking. How can you take advantage of this “ Malo Forever” service? This service can be used by bringing the item of clothing you want to regenerate to one of the Malo boutiques. Each item of clothing is renovated by Malo expert craftsmen and your product is ready for a new life. At this stage, the entire garment will be carefully combed by hand. ![]() After washing, the garment will be “shaved” to remove the “bunch” that has built up over years of use. In the Malo laboratories, every detail is taken care of: each garment will be carefully inspected, mended, washed only with very mild soaps that will make the fibers even more sensitive to the touch. The most precious objects are made to last, they are a part of one’s life, like any other element of memory. If well maintained, high-quality knitwear can last for decades, and Malo’s professional regeneration service is part of the Malo product care process. ![]() I am currently setting up workshop, an experimental space dedicated to curating exhibitions to be exhibited online.Malo offers its customers several services of manual repair of branded items of all materials, whether they are made of wool, cashmere or any other natural fiber. I am working with Amy de la Haye, on a book for Yale University Press on Curating Fashion (1971 - the present).įorthcoming exhibition projects include curating and designing The Art of Fashion: Installing Allusions for the Boijmans van Beuningen Museum, Rotterdam, September 2009 and Roma/Amor (with Maria Luisa Frisa) on the history of Roman Couture commissioned by Alta Roma, Palazzo Venezia, Rome and 'Words for Clothes' an installation/collaboration with psychoanalyst Adam Phillips (London, 2010). I am interested in how architectural theory can inform theories about the display of clothes and the history of exhibition-making. I have more recently applied those ideas to museum space/scale. I am continuing experimental curatorial work carried out since 1997 at the Judith Clark Costume Gallery. My research looks at issues surrounding the display of fashion. The exhibition showcased important previously unseen work by Karl Lagerfeld (paintings of Piaggi, acknowledging his creative debt to her) and illustrator Antonio Lopez showing the close collaboration between himself and Piaggi working on Vanity magazine in the early 1980s.Īdditional Information (Publicly available):Ĭurating Fashion, Exhibition design, Display History and Theory, Fashion History and Theory, Museology. One question raised through the exhibition was: what relationship might curating have to Piaggi’s ‘anachronistic’ freedom? Objects, precious in museum terms, were recontextualised in the exhibition through styling – examples of Anna Piaggis early anachronistic dressing that has become the norm in fashion styling today. Her interest in typography was incorporated into the design of the installation which was based on intersecting A’s and V’s – Anna, Vogue, Vanity, Vern, Anachronism exploring the importance of exhibition design in conveying a conceptual point. The section ‘Morpho-illogical’ literally built what her attitude might be to an archive: the object more important due to its participation in word-play than its provenance, material value, etc. Word play was emphasized by two commissions: one by Luca Stoppini (designer of Italian Vogue), who created a 4 metre ‘double page spread’ a graphic composition made up of Piaggi’s famous trend naming titles for Vogue and fashion illustrator Richard Gray who created a three – dimensional Rebus, itself creating a habitat for Piaggi’s dress collection. The exhibition was about the re-description of objects explicitly through styling and verbal description. The exhibition commissioned some text and visuals from within the fashion industry, therefore juxtaposing a museological /didactic agenda with that of the fashion industry’s flair for description. It examined styling and reporting as ‘attitude’, deriving methods from her notion of ‘intuition’. It was the first to look at any fashion editors work at the V&A. The exhibition examined the work and private collection of Italian editor, stylist and fashion designers’ muse, Anna Piaggi. Clark, Judith and Stoppini, Lucy and Gray, Richard ![]()
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