Kamila Kilian
KIL15457275
MA Fashion Media Practice and Criticism
Year 2
Historically, „fashion seemed „unworthy” of entering the museum" (Steele, V., 2008, p. 9), therefore fashion exhibition 's curators have faced many challenges throughout their work process - funding, educational values, sources of entertainment. All of these factors have a huge impact on the final result as well as the reviews of the exhibitions, and they may challenge their design and content. In her article Rocamora points out the effect that digital media have had on the fashion industry in terms of the changes they have forced as well as the opportunities they have given (2016, p. 2). It seems accurate to suggest that this also applies to museum 's fashion exhibitions, …show more content…
As mentioned before, it is forbidden to interact with the garment in a museum space i.e. touch it or try it on. Nonetheless, it might be hard for children to rely only on imagination when visiting fashion galleries. Therefore, the young visitor will not fully experience the exhibition and as result, will not find it absorbing. Eventually, they might not even be interested in visiting again. As Kavanagh argues „ museums (...) have (...) developed a relationship with people’s memories of events, processes and episodes. Through them, they are exploring private territories of dream spaces in the public domain of the museum” (2000, p. 7). Therefore, in order to make a fashion exhibition appealing, it seems convincing to create a connection between what is exhibited and what the visitor has already experienced: "visitors are not empty vessels and are responding (or not) to what they see in ways that are influenced by their mind, personal histories and sense of well-being. Museums add to the layers of memories and can be places where connections are made" (p. …show more content…
We might apply the theory of premediation: "the media not only shape our expectations and anticipations of future events and experiences, but also generate particular forms of action and interaction that are performed, or staged, in order to become mediated within a certain representational register (Grusin in Jansson, 2013). A similar idea applies to consumers of certain brands who access the online website before visiting the physical shop. Rocamora (2013) suggests that such practices have an impact reflecting on how the stores are designed in order for consumers to encounter the space they already know (p.9). However it does not necessarily correspond with my case study; The Fashion Gallery is not informed by the application. On the other hand, playing the dressing up game might inform latter visit to the gallery, but similarly, it might create a misconceptions about the actual physical space that the visitor encounters later. For that reason, the app cannot exist simply as a digital version of The Fashion Gallery; it might function as an addition to it. The translation from physical to digital may not be achieved; the visitors could not engage with the physical prototypes in the same way as they could with their digital versions. Furthermore, it may be difficult to transfer the atmosphere of the museum
KIL15457275
MA Fashion Media Practice and Criticism
Year 2
Historically, „fashion seemed „unworthy” of entering the museum" (Steele, V., 2008, p. 9), therefore fashion exhibition 's curators have faced many challenges throughout their work process - funding, educational values, sources of entertainment. All of these factors have a huge impact on the final result as well as the reviews of the exhibitions, and they may challenge their design and content. In her article Rocamora points out the effect that digital media have had on the fashion industry in terms of the changes they have forced as well as the opportunities they have given (2016, p. 2). It seems accurate to suggest that this also applies to museum 's fashion exhibitions, …show more content…
As mentioned before, it is forbidden to interact with the garment in a museum space i.e. touch it or try it on. Nonetheless, it might be hard for children to rely only on imagination when visiting fashion galleries. Therefore, the young visitor will not fully experience the exhibition and as result, will not find it absorbing. Eventually, they might not even be interested in visiting again. As Kavanagh argues „ museums (...) have (...) developed a relationship with people’s memories of events, processes and episodes. Through them, they are exploring private territories of dream spaces in the public domain of the museum” (2000, p. 7). Therefore, in order to make a fashion exhibition appealing, it seems convincing to create a connection between what is exhibited and what the visitor has already experienced: "visitors are not empty vessels and are responding (or not) to what they see in ways that are influenced by their mind, personal histories and sense of well-being. Museums add to the layers of memories and can be places where connections are made" (p. …show more content…
We might apply the theory of premediation: "the media not only shape our expectations and anticipations of future events and experiences, but also generate particular forms of action and interaction that are performed, or staged, in order to become mediated within a certain representational register (Grusin in Jansson, 2013). A similar idea applies to consumers of certain brands who access the online website before visiting the physical shop. Rocamora (2013) suggests that such practices have an impact reflecting on how the stores are designed in order for consumers to encounter the space they already know (p.9). However it does not necessarily correspond with my case study; The Fashion Gallery is not informed by the application. On the other hand, playing the dressing up game might inform latter visit to the gallery, but similarly, it might create a misconceptions about the actual physical space that the visitor encounters later. For that reason, the app cannot exist simply as a digital version of The Fashion Gallery; it might function as an addition to it. The translation from physical to digital may not be achieved; the visitors could not engage with the physical prototypes in the same way as they could with their digital versions. Furthermore, it may be difficult to transfer the atmosphere of the museum