#aafcuration

Faithful close to the conceptual philosophy and the minimalist aesthetic that have celebrated Maison Martin Margiela, this dress coat when used loses part of its meaning. The metal hook that fasten the sleeves emphasize its geometry and prevents from being used. In dialogue with this piece, João Galrão’s sculpture with an everyday objects covered by an “artificial skin” – an hybrid and anamorphic organism, like a ghostly presence.

Maison Martin Margiela Long coat with collar, long sleeves, two flap pockets, metal hook. Autumn/Winter 1998 Wool, metal   MUDE. Coleção Francisco Capelo-M.0251

João Galrão Anónimo I, 2003 Wood and glass fiber MACE-CAC Nº Inv. 07.E.7

Together with the Namban screens, the pleated tunic designed by Issey Miyake, a highly sophisticated luxury garment. The first shows the western influence in Japanese culture; the second, a piece of one of the main designers that have transformed radically the western fashion universe in the eighties.

Issey Miyake Tunic Ready-to-Wear, Autumn/Winter 1999/2000 Pleated and gilded polyester satin MUDE. Coleção Francisco Capelo. MUDE.M.0442

Between the Calapez’s pastel on paper from Pedro and the Manuel Alves&José Manuel Gonçalves’ pleated dress the same delicacy, taste for craftsmanship and attention to details.

Manuel Alves e José Manuel Gonçalves Pleated dress/top with shoulder straps, hand-painted long skirt Autumn/Winter 1999/2000 Silk satin, sequins, velvet, paint MUDE. M.0756

Pedro Calapez Cena doméstica 11, 1998 Dry acrylic and pastel on paper MACE-CAC Nº Inv. 07.D.51

Issey Miyake is a master of simplicity and technical ingenuity. Miyake’s work takes further the increasing abstraction, achieved mostly due to the incessant search for new fabrics and production methods, never failing to harmonize tradition. The centuries-old art of origami inspired this pearl coat, where he explores the sculptural potential of continuously folding the fabric. Miyake has been developing this research in partnership with computer experts, to achieve complex three-dimensional shapes. All his pieces reconfigure the spaces the body inhabit, changing perceptions and enhancing other experiences.

Issey Miyake Origami shaped jacket Autumn/Winter 1999/2000 Silk satin MUDE. Coleção Francisco Capelo-M.0139

This dress was not presented in the exhibition No Borders!, but it could easily be, because it is a perfect example of the influence of Pop art and culture. Copying and duplicating the famous Campbell’s Soup, it remind us Andy Warhol’s series of screenprints in which he treats movie stars and consumer products as ordinary images.

Anonymous author The Souper dress 1966/1967 Short dress Printed paper with Andy Warhol's Campbell soup cans Production: Campbell MUDE. Coleção Francisco Capelo - MUDE M.0384

Also close to pop culture is Xana, with a very specific sculptural vocabulary, with stylized patterns and graphic signs, and a keen playful meaning. The sequences or grids of dots, circles or wavy lines, in bright and contrasting colours are common in many of his works. This graphic interpretation has a parallel in Nagasawa’s “optical” skirt.

Yoichi Nagasawa Jacket, pleated skirt printed with a dotted pattern Summer 1999 Cotton, polyester MUDE. Coleção Francisco Capelo-M.0091

Xana Sem título, 1992 Gouache on paper MACE-CAC Nº Inv. 07.D.82 / Nº Inv. 07.D.83 / Nº Inv. 07.D.84

Both Versace’s dress and Garouste & Bonetti’s settee uses a neo-baroque language, exuberantly and luxury mixing and reinventing decorative elements and crafts tecniques.

Gianni Versace Printed dress with turtleneck, long sleeves and pleated skirt Ca. 1990 Silk MUDE. Coleção Francisco Capelo-M.0214

Fernando Campana and Humberto Campana Vermelha Chair 1993 Stainless Steel, Rope MUDE. Coleção Francisco Capelo - MUDE.P.0506

The I can see your Knickers Marilyn chair is another example of pop culture influence in its different strands on arts and design. References to music, the star system, advertising and television coexist with humour and provocation, building an appealing, playful, and colourful aesthetics. While the above sentence refers to Marilyn Monroe, the felt fabric, subtly rising to the touch of the aluminium legs alludes to her flowing dress over the subway grid in The Seven Year Itch. Side by side with Dolce&Gabbana’s deep pink coat: a modern classic, reinterpreted with luxury details, in tune with the cinema and entertainment universes.

Dolce & Gabbana Coat with ¾ sleeve and a leopard pattern lining Spring/Summer 1999/2000 Wool taffeta, silk MUDE. Coleção Francisco Capelo - M.0295

El Ultimo Grito Chair Marilyn, I can see your Knickers 1999 Tubular steel, Fabric, Foam MUDE. Coleção Francisco Capelo - MUDE.P.0611