Fashion and Heritage. Cristóbal
Fashion and Heritage mantain a pardoxical dialogue that contrast the ephemeral with the permanent.
This dialogue is embodied by Cristóbal Balenciaga.
Since setting in motion of the curatorial series in 2018, coinciding with the European Year of Heritage, the Museum has used said series to reflect on how Balenciaga’s work progressed from the realms of Fashion to become Heritage, coinciding with the creator’s biography showing his evolution, his contribution to the history of fashion and the process of turning his legacy into heritage.
The series has been conceived in an accumulative fashion, integrating and assimilating earlier and current research, articulating a common chronological discourse and proposing in each exhibition a different focus of attention and a museography edited and revised in order to adapt it to that focus. This absolutely innovative approach is the result of the Museum’s collaboration with the exhibition maker Judith Clark, specialist in experimental museology and co-Director of the Centre for Fashion Curation at London College of Fashion.
The third instalment opening this year, with the title of “Cristóbal”, will turn the spotlight on the creator himself and on the footprint which he as a person left behind in the shape of different objects belonging to him and which have been incorporated to the Museum collections. Alongside the items of clothing exhibited there will be a display of Cristóbal Balenciaga’s personal objects, thereby helping us to understand the fashion designer’s more intimate side. Work tools, personal objects, personal letters and correspondence or items of clothing telling us about his person: his tastes, his attachments, his everyday life...
The exhibition therefore displays Balenciaga’s work in evolution, while also enabling us to imagine Cristóbal himself thanks to the presence of his personal belongings. In the words of Igor Uria, curator of the show and Collections Director at the Museum: “Our intention is not to create a biographical sketch, but to evoke the man who always kept himself in the shade, behind the curtain, secluded in his ateliers, in the execution of his ideas, in the silence of his creation – and perhaps to ask ourselves why these particular objects have fallen into our hands, and what they tell us about him”.