Utopian Bodies – Fashion Looks Forward: Interview with Curators Sofia K A Hedman and Serge Martynov

In a fashion industry that is rapidly changing, mutating or, who knows, maybe coming to an end (consider Raf Simons stepping down from his role as Creative Director at Christian Dior and yesterday's announcement regarding Alber Elbaz leaving Lanvin…), there is one main need – trying to understand if and how fashion can be used to create a better future. An exhibition currently on at Liljevalchs Konsthall in Stockholm is doing so in a clever way.

Curated by Sofia K A Hedman and Serge Martynov (readers may remember them from previous posts about other intriguing fashion exhibitions), "Utopian Bodies – Fashion Looks Forward" is divided in eleven galleries, all of them tackling very relevant topics and themes – Sustainability, Change, Technology, Craft & Form, Craft & Colour, Resistance & Society, Resistance & Beauty, Solidarity, Memory, Gender Identity and Love.

The 200 objects featured – accompanied by a series of images and videos (by Nick Knight/SHOWstudio, Geoffrey Lillemon and George Tsioutsias) – break stereotypes and conventions, highlight the freedom that clothes and accessories can give the wearer by transforming and altering the body and explore existential concepts such as birth, death and decay.

Some of the objects in the craft galleries also look at the concept of time and prompt visitors to think at the work of genuine artisans, at their knowledge of materials, skills and techniques and at the time they need to make finely crafted objects, something that comes to our minds every now and then and mainly in connection with Haute Couture collections.

The final point made by the curators (via the garments and accessories included some by famous designers, others by young creative minds) is that the ideal world that makes an utopia is fluid, but so is the world of fashion, a universe in constant change that can't be labelled, trapped or pigeonholed.

As a whole the exhibition is ambitious, rich and extravagantly organised with rooms and areas that will amaze not just fashion experts and fans, but people of all ages and with a wide range of interests (check out the Craft and Colour gallery and get immersed in the visually striking Sonia Delaunay-inspired setting).

Stockholm may be immersed in its dark and winter months, but Liljevalchs Konsthall has done a great effort to make them more fun, while attempting to offer us answers to a series of very contemporary questions about fashion. The cultural institution should also be praised since it commissioned sixteen Swedish designers to create unique garments for the event, each one inspired by a utopian object, innovation, idea or technology.

In this way Liljevalchs Konsthall elevated the main topic of the event to an intriguing level via new and innovative pieces, distinguishing itself from other institutions organising fashion exhibitions but mainly displaying pieces from their own archives or on loan.

We have already posted a feature on the exhibition, so for today let's sit back, relax and listen to the curators taking us on a very adventurous journey through the fashion of the future and the future of fashion.

This is a terrifically ambitious exhibition at Liljevalchs – how did it come about?
Sofia K A Hedman and Serge Martynov: It all began about 18 months ago when the project and concept were first conceived. It was agreed that we would aim to make the exhibition appeal to a wide audience, underlining fashion's interdisciplinary nature and importance. In addition, we wanted to show both Swedish and international designers, as well as engage children. We decided to build the exhibition around the concept of utopia, so we could present what is possible here and now, as well as where we could go in the future. This exhibition is about fashion's possibilities and the power of human creativity. With utopia being such a vast subject matter, the exhibition naturally evolved and grew into what it is now. It was a very organic process, with many ideas gradually distilling into the central themes of the exhibition during a year.

It must have been hard going through the selection process for such a big event, what did you look for in the designs you selected?
Sofia K A Hedman and Serge Martynov: Today, there are so many great innovations and thoughts that can be used for the future. However, it can sometimes be difficult to find out about them, so we tried to collect as many as possible under one roof. We wanted to show the diversity, skills and wonderful creativity that exists within fashion. As well as this, we strived to achieve a balance between the more established fashion houses and the new generation of designers. All objects in the exhibition are exceptional, each in their particular way.

While some of the designs included represent genuine visions of a utopian fashion future, others point towards dystopia: did you intentionally include some pieces characterised by this sort of ambiguity?
Sofia KA Hedman and Serge Martynov: When researching and discussing the content for the exhibition, one very wise historian had reservations about the concept of utopia since one person's utopia will always be another's dystopia. This made us think in new directions. To avoid making a prescriptive exhibition, or being seen as attempting to deliver a truth, we decided to invite visitors to search for their own utopia. The exhibition is therefore arranged over eleven galleries, or themes – we invite the visitors to search for Sustainability, Change, Technology, Craft & Form, Craft & Colour, Resistance & Society, Resistance & Beauty, Solidarity, Memory, Gender Identity and Love. Some objects deal with very serious issues such as migration, gender and age issues. However, the objects are chosen not because they highlight all the problems in the world, but rather because they clearly illustrate how fashion can be used to create a better future. This exhibition is very much about breaking stereotypes and conventions when it comes to issues like these ones. We want indeed to highlight the freedom that clothes can give you. For instance, our "Change" gallery is about how fashion has the ability to continually transform itself and it also includes some objects that deal with death. It reflects contemporary cultural, social and economic life. This gallery can be seen as a snapshot of our relationship with the concepts of birth, decay and rebirth. Fashion historian Barbara Vinken suggests that, before the 1980s, high fashion rarely portrayed death or decay. However, a new breed of designers emerging from Tokyo and Antwerp helped challenge this, and we are now able to see the complete life cycle represented in fashion. Towards the end of the 20th century, designers produced realistic, even literal, executions of decay in their work. In 1996, Alexander McQueen filled a transparent plastic corset with live worms for "The Hunger" show. A year later, Maison Martin Margiela sprayed garments with mould and bacteria, and left them to deteriorate during an exhibition at Boijmans Van Beuningen. A decade later, Ann-Sofie Back commented on how we relate to death in popular culture through her "Ann-Sofie Back Burns in Hell" collection. Its inspiration came from typical teen horror films, such as Carrie and A Nightmare on Elm Street. Today, death is often also approached from a humorous point of view. Ryohei Kawanishi's project with children from Fukushima illustrates for example the prospect of rebirth. After the tsunami in 2011, Kawanishi travelled to the stricken area to create his new collection together with the affected children, who in turn worked through their trauma.

Which designs included in the event bridge the gap between different disciplines such as art and technology?
Sofia K A Hedman and Serge Martynov: There are so many exciting things happening within science and technology, especially concerning sustainability issues. Seemingly, there is still quite a substantial gap between the fashion and technology worlds, but this is hopefully something that will soon change. For example, byBorre's BBsuit 0.2 cleans polluted air through a portable filtering system; Pauline Van Dongen's panel solar shirt stores natural energy; Qmilk make clothes out of biologically degradable milk fibres and Satsuki Ohata's "fondue-slippers" can be tailor-made at home through dipping your feet in a solution, while Billie Whitehouse and Ben Moir's Navigate jacket has a vibrating mechanism embedded in the shoulders that allows wearers to find their way without looking at a map.

In which ways do the spaces of the venue react and interact with the designs on display?
Sofia K A Hedman and Serge Martynov: It was important for us to create a distinct feel in each gallery, as well as an unexpected rhythm between them. One of the ways in which we did it was by creating specially made mannequins in collaboration with mannequin experts Proportion London. We also commissioned over 30 headpieces by wig makers Charlie Le Mindu and Perry Patraszewski. In addition, we also used film, lighting, soundscapes and textures to amplify the ideas behind some of the more complex objects, as well as to capture the music, movement and attitude that is so important in fashion. We wanted the exhibition design to enhance the narrative of the exhibition and encourage the visitors to immerse themselves in each theme and historical context. The design of each gallery was initially inspired by either a utopian idea, innovation or art movement. For example, the Craft and Colour gallery is designed as a three-dimensional artwork for the visitor to walk through. A multitude of colour planes and points of contact enhance the rhythm, motion and depth of colour. The design is inspired by Sonia and Robert Delaunay's Simultané theory and we asked London-based artist Orlando Campbell to create this layout as his interpretation of their work. The Craft and Form gallery focuses on the materials, skill, techniques and time required to make finely crafted objects. The wood-carved mannequin arms in this gallery were created specially for the exhibition by artist Anastasya Martynova. They are inspired by the Art and Crafts movement of the late 19th and early 20th centuries. References for these carvings are drawn from William Morris's pre-Raphaelite patterns in Britain, Karin and Carl Larsson's light simplicity in Sweden, Emilie Flöge and Gustav Klimt's geometric aesthetic in Austria and Henry van der Velde's Art Nouveau inspired reform dresses in The Netherlands. The design of the Gender Identity gallery is inspired by philosopher Judith Butler's idea that we perform gender. It takes the form of an abstract dressing room, where we clothe ourselves to "perform" roles. Dozens of light bulbs and an array of mirrors reflect the visitors. Often museum productions create a lot of waste. Throughout this project, we tried to think about what will happen to materials after the exhibition. For example, the installation in the Sustainability gallery is entirely made using recycled wooden pallets, which will be taken apart and re-used after the exhibition closes. The same goes for other materials such as the wooden flowers, fabrics, plates and gravel which will also be re-used.

Can you pick three items that for you may be employed to summarise the exhibition?
Sofia K A Hedman and Serge Martynov: It's very difficult to pick just three, as there are so many great stories and ideas behind each object. The first that comes to mind is Smart Textiles' recycled cotton dress. Present-day cotton production is extremely demanding on the environment, with the enormous volumes of water it consumes and its use of chemicals. For that very reason the technical breakthrough of being able to recycle cotton presents boundless opportunities for a more environmentally friendly textile industry. It is predicted that the textiles of the future will be recyclable, just like paper. The second is Hussein Chalayan's "table" skirt and film from his "Afterwords" collection which looked at the plight of refugees and the horror of being displaced in times of war. His own Turkish-Cypriot family were forced to leave their homes in Cyprus in the 1960s due to a programme of ethnic cleansing. In his show, Chalayan imagined scenarios where people are confronted with war, forced to flee, hide or bring with them all the belongings they can carry. This piece is over 15 years old now, but it feels just as relevant than ever today. Last but not least, Anrealage's "Wideshortslimlong" ensembles, which play brilliantly with proportions, scale and silhouettes challenging the idea of beauty and non-beauty by using humour. They are so unique and imaginative and they seem to put a smile on the face of just about everyone who sees them!

There are quite a few young designers featured in this event: how do you go about scouting them? Do you visit a lot of exhibitions or travel a lot to spot them?
Sofia K A Hedman and Serge Martynov: We try to see as many graduate shows as possible, as well as do research online if we can't physically make it. It's always exciting to come across young designers with lots of energy and fresh ideas: as curators, it is fantastic to have objects that visually illustrate ideas in such clear ways.

The commissioned pieces also look very interesting: did you get the chance to follow the 16 designers who worked on them as they developed them?
Sofia K A Hedman and Serge Martynov: On this occasion, the designers were encouraged to do whatever they wanted. We did not want to interfere in their working process. We had agreed upon which themes they were exhibiting in and the final days before the opening were very interesting as we finally got to see all their impressive creations for the first time!

Do you feel this exhibition also breaks preconceptions of conventional beauty? In which ways?
Sofia K A Hedman and Serge Martynov: Overall, the exhibition shows fashion as being more than just shopping and trends. It shows that plurality is important as well as highlighting the freedom that is imbued in clothes. In one of our galleries, Resistance and Beauty, we approach the idea of conventional beauty more directly. Fashion shapes our perception of what is beauty and non-beauty, but it can also be an act of rebellion against such norms. Based on the idea of the Medieval carnival where beggar becomes king and vice versa, the Carnivalesque describes instances when the authority of mainstream society is turned upside-down. Beauty is found in the unconventional, vulgar, ugly or grotesque. Here, humour challenges the powerful and makes a new social order temporarily visible. The idea of the "grotesque body", celebrated during Carnival and banned for the rest of the year, clashes with the traditional perception of beauty, characterised by proportion, symmetry and order. Designers such as Walter van Beirendonck, Anrealage, Bernhard Willhelm and Hideki Seo can be seen reworking silhouettes by turning to exaggerated proportions, distortion, asymmetry and chaos.

The S/S 16 fashion catwalk shows (in the main fashion capitals) finished less than a months ago and the debate about the future of fashion is rife: which of the aspects tackled in this exhibition (sustainability, technology, etc…) do you feel will be more prominent in the immediate future of the fashion industry?
Sofia K A Hedman and Serge Martynov: We will have to be sustainable. It is not only the production, but equally our consumption that we must address. In fact, over-consumption is one of the most serious problems facing the world today. One famous theorist calls it "the world's biggest mental sickness". There are so many directions in which fashion can and should address the issue of sustainability. In the exhibition, we look at the life cycle of a garment – production, distribution, use, re-use, repair, and how it can eventually decay organically into nature. There is a strong emphasis on reducing waste, developing technology and the re-use of materials. Our Craft and Form gallery focuses on the time it takes learning and creating craft: all the objects included here have a caption by the designers that include the use of materials and techniques as well as the time that has gone into each single garment. Another example is our Memory gallery, where we look at the materiality of clothes. We wanted visitors to think about their own clothes and the memories they capture. This is a very remote concept from today's fast fashion. For this room we asked a number of personalities to select their favourite garment and tell us about their memory. Participants include Hamish Bowles, editor of Vogue; Susanne Ljung, journalist; Roy Andersson, director; Twiggy, model; Conchita Wurst, winner of Eurovision Song Contest, and Christian Lacroix.