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Decrayonner exhibition cite dentelle mode

Exhibition Décrayonner Anne Valérie Hash - Poster - Combinaison en soie et dentelle - Solstiss - Couture hiver 2014 - Collection Jumpsuits - photography Fabrice Laroche
Anne Valérie Hash - Exposition Decrayonner - illustration 01

DECRAYONNER EXHIBITION


PRACTICAL INFORMATION


From april 1 to november 13, 2016

MUSEUM OF LACE AND FASHION

135 quai du Commerce – 62100 Calais
T. + 33 (0)3 21 00 42 30 – www.cite-dentelle.fr
facebook.com/citedentelle
cite-dentelle@mairie-calais.fr

Every day except Tuesdays from 10 am to 6 pm.
(10am to 5pm from the 1st of November to the 31st of March)

Closed on 1st May.

Exposition decrayonner anne valerie hash crayon

THE MUSEUM OF LACE AND FASHION is hosting an exhibition on the creations of Anne Valérie Hash, an iconic fashion designer on the French scene, one of the few fashion houses to receive the prestigious Haute Couture label. This exhibition – the first dedicated to her in France – takes a look at her first 13 years of designing. It is not so much a retrospective as an exploration of a world still under construction. Over a sensitively designed visitor pathway, approximately one hundred models, unique garments, videos and exclusive documents reveal a stylistic vocabulary and offer an analysis of the creative process. With the exception of loans from the Palais Galliera – Musée de la Mode de la Ville de Paris, the pieces originate from the personal archives of the Maison Anne Valérie Hash.

Introduction

by Anne-Claire Laronde, director of the Museum of lace and fashion

Combinaison en radzimir - Couture hiver 2014 Collection Jumpsuits Maison Anne Valérie Hash - photography Fabrice Laroche

TO INVITE ANNE VALÉRIE HASH and her fashion house to exhibit at the Museum of lace and fashion in Calais is to open the museum’s doors to a fashion designer who is an authoritative figure in her field. Although Anne Valérie Hash is an emerging designer for the general public who are (re)discovering her in her new guise , she is nevertheless an established reference among her peers. A virtuoso of the destructured cut, she has spent more than 10 years reinventing a feminine wardrobe that tears up the codes of gender. Borrowing the basics from tailors for men, she deconstructs men’s fashion in order to create a women’s fashion. The sophistication and nobility in terms of know-how are expressed without grandiloquence. Wools and cottons rub shoulders with silks and tulles, the purity of the fabrics converses with embroideries

AMONG HER FAVORITE FABRIC Anne Valérie Hash used woven lace, that jewel of the industrial textile heritage of Europe. To invite her to present the entirety of her work as applied to the lace collections is also to blazon the extent of the possibilities to which this noble material lends itself. Bare backs, androgynous jumpsuits, asymmetrical dresses, light blouses and retro-reflective tops, Anne Valérie Hash plays with customs to offer pieces in which the delicacy of the lace is employed subtly and coherently. Her garments confirm her to be a fine connoisseur and admirer of this complex material, one of the few designers to truly master the variety of functions this little-understood textile is able to fulfil. Although not the primary subject of the exhibition, a number of the pieces on show demonstrate this virtuosity. Evidence of this very special affection.


Décrayonner Anne Valérie Hash

by Sylvie Marot (extract from the exhibition catalogue)

Capeline-veste à bords vifs - Couture été 2003 - Collection Vice Versa - Maison Anne Valérie Hash - Photography Fabrice Laroche

DÉCRAYONNER, a lexical invention parading as a title? The question to be asked is not: does this verb exist? But rather: Is it possible to create this verb? And if so, what meaning should be assigned to it? (…) If the verb “crayonner” instils an idea of rapidity and immediacy, the addition of the prefix to construct “décrayonner” would appear to suggest a notion of slowness and postponement. Detail would appear to be set against the broad line. Above all, the reversibility of the gesture would appear to be similar to the cinematographic process of reverse motion. “Décrayonner” exploits this special effect in order to understand the ploy. (…) Makes the attempt, at least.

THE EXHIBITION Décrayonner details the creative act of a dressmaker who does not tackle her stitching work with a pencil but rather with scissors and needle. This will not involve drawings, sketches or drafts, but garments and fabrics and patterns. And where drawn lines do exist, these are executed instead in tailor’s chalk. (…)

Lou Lesage wearing inside-out trousers - summer 2002 - Collection Vice Versa -photograhy Fabrice Laroche

THE COUTURE of Anne Valérie Hash initially lies in her “découtures”. In her straightforward and fringed cuts, one discerns a taste for the unfinished, the trace of tearing in the non-hemming. Her raw,even deliberately frayed edges constitute a dotted frontier between textile and skin. This guipure stitch, this non finito, makes room for jacket edges and controlled inlaying. The prismatic laces of «Pause» (summer 2014 collection) are the perfect illustration of this.

TAKEN APART AND RE-CONSTRUCTED, unstitched and restitched, intentionally uneven, every garment is observed through the detail. No matter the twisting of the fabric, the disorganisation of the patterns,the multiplication of the elements, it is a question of creating balance from the preexisting imbalance. Couture is the domain of the artist hand as much as the artisan hand. Its luxury consists in taking the time to undo and to redo.

Chemise renversée - Couture été 2002 - Collection Fillemâle - Maison Anne Valérie Hash - Michelangelo di Battista

ANNE VALÉRIE HASH questions the material nature of cloth. The cotton canvas and dry wool of male suits are married with tulles and silk chiffons. Sequins and embroideries intensify the mattness of the fabrics. The liquid effect of ultra-light organzas, the fluid effect of silk jerseys. Laces, vintage or new,are blended together in complex multi-layers or are set against technical fabrics. To weigh the depths of time, to project oneself into an accelerated future, it is the same thing.

HER CHROMATIC RANGE concentrates on blacks and ivories, washed colours and fleshes. The black and white photographs of Michelangelo di Battista, the disturbing lighting of Bettina Rheims or the powdered tones of Fabrice Laroche, appear to fix this selective colorimetry. In the charcoal wools and antique laces, the sepia patina can be seen. (…) And yet, vivid colours burst through over time. But more than colour, it is light that makes its entrance. The white light of retro-reflective fabrics, the rainbowhued light of iridescent fabrics. Finally, in the undulation of walking the pleats and drapes never tire of playing with shadows.

Robe en soie avec ruban de dentelle - Couture été 2007 - Collection Elise -Maison Anne Valérie Hash - Photography Bettina Rheims

DEFINITELY,, Anne Valérie Hash stitches the irreconcilable and weaves in opposites. She balances the notions of modernity and of tradition. She unbalances symmetries and volumes. Anne Valérie Hash brings opposites together without adversity. And she undoubtedly moves towards femininity.


The Journey

Toile d’une robe - House Anne Valérie Hash - Photography Fabrice Laroche

THE INTRODUCTORY PHASE of the exhibition takes place in the light-filled atmosphere of an atelier. The visitor is greeted by about ten cloths placed on dressmaker’s dummies. The cloth is a three-dimensional garment prototype. This dimensionalising of the basic pattern allows for adjustments on the body. Once the paper pattern has been altered, the garment can be constructed in the chosen fabric(s). The finishings (embroideries, appliqués) will follow. On these griege cotton cloths, one can discern traces of tailor’s chalk, coloured felt-tip pen, all indications of adjustments. These items, «working documents», are rarely retained much less exhibited. These canvas cloths are garment drafts.

Robe en tissu smoké et dentelle résille - Couture hiver 2010 - Collection Lunaria Rediviva - Maison Anne Valérie Hash - photography Fabrice Laroche

FEELING the fabric in the absence of being able to touch it (the fragility of the fabrics prevents this). The absence of glass display cases marks the desire for proximity to the garments. The intention is to reduce the distance between the garment as designed to be worn and the article of clothing in its temporary guise as a museum exhibit. But above all, emphasis is placed on the materiality of the fabrics. Black cases set off the garments simply. The titles are partially written in chalk on school blackboards. There is nothing ostentatious about the art of Anne Valérie Hash. The visitor is invited to focus on details. The challenge is to perceive the intelligence of the styling behind a certain sobriety in the materials.

Blouse d’organza à manches soufflées plissées. Haute Couture hiver 2008 - Collection Elements - Maison Anne Valérie Hash -photography Fabrice Laroche

A THEMATIC JOURNEY From the very first piece – a dress made from a pair of men’s trousers – to the very last – a suit in lace and reflective fabric – a style asserts itself. The exhibition follows a chromatic course from darkness towards the light. Within the 500m2 permanent exhibition space, the pathway is organised into four key themes and thirteen stylistic sub-themes. These thirteen ensembles break from the chronology in order to concentrate on the stylistic vocabulary. Verbs that express the gesture, that specify the action or its consequence.

Crédits photos : Fabrice Laroche // www.fabricelaroche.com
​Download full press kit here
Crédits textes : Sylvie Marot
​Exhibition credits