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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

Inside the dialogue that we have been proposing since the beginning of February is the installation of Jean Paul Gaultier’s denin dress in Patiño room (Fine Art National Museum) in 2011. “Its overall decor evokes the 18th century and the great changes that were made to the interiors of palaces, which began to be designed for greater comfort, leading to the creation of more intimate and more solemn spaces, although these continued to be marked by great sophistication. (…) the dress created by Jean-Paul Gualtier is the result of a parallel conjugation, for, although the denim used is synonymous with comfort and informality, the singularity of the ostrich feathers, which complement it in different shades of blue, affords the dress an enormous degree of sophistication” Conceição Borges de Sousa, catalogue.

Jean-Paul Gualtier L’Écume des Jours Dress 1999 Denim, ostrich feathers MUDE.Coleção Francisco Capelo. MUDE.M.0003

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

MUDE puts in dialogue the creative universe of fashion with design and contemporary art, from 1980’s to nowadays, to underline influences and highlight affinities, overlappings or correlations, challenging their traditional disciplinary boundaries.  The images are from the exhibition No Borders! Long live Design and Arts, curated by Barbara Coutinho, and made in partnership with MACE – Museu de Arte Contemporânea de Elvas. Coleção António Cachola.   

Colour, in all its vibrancy and expressiveness, brings the works of Walter Van Beirendonck, Pedro Calapez and Gaetano Pesce. Ram 6 of Pedro Calapez highlights the importance given to the expression of manual skills in painting and the thickness of the saturated paint layers also representative of the way he associates different compositions as a single work. Walter Van Beirendonck’s exhibits two white dress-shaped canvas painted with striking expressionism in red and black shades, a tribute to painting and cinema presented at the 1998 Biennale di Firenze edition. Gaetano Pesce’s moulded polyester resin table is conceived as a vast field of pure colours.

Walter Van Beirendonck Two hand-painted dresses Designed for the exhibition Fashion/Cinema, Florence Biennale 1998 Spring 1998 Cotton, paint MUDE. Coleção Francisco Capelo-M.0053 / M.0054

Pedro Calapez Ram 6, 2006 Acrylic on aluminum MACE-CAC Nº Inv. 07.P.39

Gaetano Pesce Sansone I Table 1980 Polyester MUDE.Coleção Francisco Capelo - MUDE.P.0179

Fernando Brízio creates a dress that can be painted and repainted, made, unmade and remade, according to the will of its user. Wearing this garment is seen as a happening or a performance. Each user decides where, how and when his/her takes place, in a genuine “seduction game”. The dress may become a surface of colours or, on the contrary, present only a few dots. The dress can be washed, returning to its original integrity, to become once more a white canvas to a new painting.

Adeline André and Cristina Ataíde explore colour in a very different way. Adeline André’s work proposes seven tops with different heights straps, in a soft gradient between red and pale pink. A piece of great sensitivity and subtlety. Adeline plays with the suggested and the revealed, in a stratification of various transparencies. Also, Cristina Ataíde’s photography of an undefined land, an imaginary or metaphysical place, almost unreal, between the liquid and the gaseous states, solidified by red.

Adeline André Nano-Robe Modelo Model n.º 7 Dress consisting of seven different tops in degrading colours Haute Couture Autumn/Winter 1999/2000 Silk organza MUDE. Coleção Francisco Capelo-M.0007

Cristina Ataíde (Im) permanências, 2008 Jet printing ink on photo paper Epson MACE-CAC Nº Inv. 08.F.93

Núcleo “Azulejos ontem e hoje” da exposição Tanto Mar no Palácio Calheta em Belém

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