![]() ![]() They also brought a local sensibility and history that contrasts with, and sheds light on, the wider story of museum fashion. New Zealand museums followed international trends, at a great distance from the centres of fashion and the famous world museums. These recognized New Zealand as situated in the Pacific with its own distinctive history of fashion and sat alongside international blockbuster exhibitions. This account involves a shift from settler histories, honorary female museum professionals working in the background, and ‘decorative arts’, to the development of dedicated fashion galleries. It combines social as well as cultural history, and the material as well as the visual, aiming for a more robust theorization and analysis of fashion exhibition history. It extends the notion of ‘fashion’ to include ‘the fashionable’. This article traces the story of fashion and its display at New Zealand’s national museum since 1950. Yet museums have increasingly focused on fashion as a distinctive mode of display. Instead, fashion and decorative arts were part of human history collections and displays, emphasizing the country’s colonial heritage. New Zealand museums, as opposed to art galleries, have been slow to exhibit fashion. Keywords: Hussein Chalayan, deconstructivism, radical fashion, re-semantification, object-clothes. Within this chapter, Hussein Chalayan will be analysed as the designer who pioneered the radical and critical channel in the global fashion system, marking a new era in fashion history in terms of the possibilities of incubating a critical role through design discourse. In all three paths the idea is the epicentre for Chalayan’s inter-disciplinary design process in which he draws no distinction among the world of clothes, objects, images and spatial environments. In order to construct meaning, Chalayan develops three different conceptual paths, addressing social problems, symbolic narration, and/or phenomenological events. Chalayan has put up resistance against the image-oriented approach of the fashion industry through his conceptual attitude by deconstructing the meaning of the clothes to re-semantify them and change their ontology. ![]() By the end of the 1980s Hussein Chalayan had taken over the critical position of Martin Margiela, the pioneer of deconstructivism in fashion, through his controversial discourse and designs against consumer culture. However, the movement of deconstructivism has marked a critical era in contemporary fashion. In the homogenized environment of the global fashion system creativity and differentiation have almost been reduced into forms and silhouettes and clothing has been transformed into a commodity. ![]()
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