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The Victoria and Albert Museum in London, is exhibiting a range of Hollywood Costumes from the most famous films of all time. It is definitely worth going, but I strongly recommend you get tickets in advance because they are almost sold out every day.

Beautiful gowns are exhibited, like the one Scarlet O’Hara used in “Gone with the Wind” or the beautiful dresses from “Elizabeth” or “Marie Antoinette”. There are classic costumes used by people like Russell Crowe in “Gladiator” or “Ben Hur”, what Harrison Ford wore in “Indiana Jones” or the amazing costume of Darth Vader. Other classics include the black dress of Audrey in “Breakfast at Tiffany’s” or “My Fair Lady”, two more from “Titanic”, “Moulin Rouge”, Batman and Catwoman, to the whole Addams Family. My favourites were Dorothy from “The Wizard of Oz” and Marilyn’s stunning white dress, oh god she had a figure.

Don’t miss it, it will be on until January 27th.

aboutart and design - hollywood costumes

aboutart and design - hollywood costumes

aboutart and design - hollywood costumes
hollywood costumes - about art and design

hollywood costumes - about art and design

hollywood costumes - about art and design


I went to see the exhibition called “Ballgowns British Glamour since 1950” at the V&A.
It was, for me, a little bit dissapointing.
First I don’t know who curates this, but the selection was really sad, more the upper level which featured modern designers. The range was too disimilar, or too beautiful or just completely ridiculous.
I think the first part was fantastic and the curation was nice, with a wide variety of dresses, but it was just disappointing to go upstairs and I was kind of waiting for the best part of the show.
Anyway, if you like dresses you should go, it’s nice and the V&A always has a lot of other things to see even if you don’t like the exhibition.
I runs until January 2013 at the V&A, for more info check here


On Tuesday I went to this beautiful exhibition at the Victoria and Albert Museum about the English Design Studio Heatherwick Studio. Maybe you don’t know who is Thomas Heatherwick but I’m sure you will know his work. Did you watch the Olympic Opening Ceremony? Did you like the Olympic Flame Cauldron? Well, he designed that.
This English designer shows that through a combination of imagination and materials any dream can come true.
The exhibition is amazing, with some real ‘mouth hanging open’ moments. Not only because you realise that almost everything there was comissioned, so it really happened, but also because of how he has pushed industrial design to the limit.
Objects like the Spun Chair, which is real fun or the zip bag comissioned by LongChamp, were real hits. They designed buses, newsagents, boats, bridges, as well as staircases in Paris in the LongChamp Store which look like a long ribbon. Beautiful buildings in China that come straight out of a cartoon world, a desert installation over a park to celebrate the idea of the desert in Abu Dabhi and coffee shops in Littlehampton on the South Coast of Britain (I’ve seen this one, its fantastic).
If you are in London and you work in design is a MUST see this, if you don’t work in design, go anyway, its so worth it. It is on until September 30th.

photos: Heatherwick Studio website

This exhibition is a project between the V&A, The Fine Arts Museums of San Francisco and the Musee d’Orsay, Paris, which demonstrates current trends in collaborative exhibition curating.
As its name suggests, the exhibition is centered around beauty, for visual and tactile
delight. In its slogan “Art for Art’s Sake”, not only paintings, but also furniture, clothing, items and home decoration pieces are included in this idea of perfection, in which every piece must be flawlessly designed.
A clear example of this is the Red House of William Morris, a true display of references from the past. He retained the notion of home-spun production, using ordinary objects as if they were precious. This emphasises the role of fine workmanship and looks back to renaissance models, in an effort to rethink the role art really played in industrialised societies.

The exhibition follows a chronological order in a 30-year range from 1860 to 1900.
I am aware that the Aesthetic Movement was a phenomenon based in England. However,
in my opinion, the exhibition could have been further enhanced by looking at related
artists outside England who may have been influenced by this movement, such as the
work of The Vienna Secession, the stairs of Victor Horta, the Glasgow School, and even
some work by Alphonse Mucha, in which you can truly admire beauty. The great
international fairs of the 19th century played a really significant role in disseminating
these artistic and design ideas. It’s my humble opinion that these ideas are closely
connected to this exhibition, as they had an amazing impact on the artistic sphere.
Another observation I’d like to make is in regard to how the exhibition is displayed. The first room you enter is devoted to paintings of women by different artists. It is interesting to note that these women were, for the most part, the lovers of the artists themselves. I noticed a provocative and erotic tone in these paintings to such an extent that it reminded me of John Berger’s essay “Ways of Seeing”, where he writes about the role of women, saying that “the ideal spectator is always assumed to be male, and the image of the woman is designed to flatter him”. Thus, the woman in the painting is immortally portrayed in praise of the artist. Berger also observed that “it is true that sometimes a painting includes a male lover, but the woman’s attention is very rarely directed towards him. Often, she looks away from him or she looks out of the picture towards the one who she considers to be her true lover – the spectator-owner.”

This exhibition defines the Greek term ‘kalon’ as “worthy to see and its destiny is to be seen” as Gadamer describes in his book “The Relevance of the Beautiful”. It is hard to put our finger on why we feel an idea or concept is beautiful, especially when it is
universally acknowledged as beautiful but has no objective criteria or definite
application. I feel that this exhibition is an example of that.

As Plato wrote: “Beauty is what shines the most and attracts us to the visibility of the ideal”.