full press kit here

PRESS CONTACT
Regional, National and International Press
AGENCE OBSERVATOIRE - www.observatoire.fr
Aurelie Cadot - [email protected]
Vanessa Ravenaux - [email protected]
+ 33 (0)1 43 54 87 71
British Press
ARTS EUROPE - www.artseurope.net
Kathryn Hone - [email protected]
+ 44 (0)208 977 5591
+ 44 (0)783 359 5626
CITÉ DE LA DENTELLE ET DE LA MODE
CITE-DENTELLE.FR
PRESS CONTACT
Regional, National and International Press
AGENCE OBSERVATOIRE - www.observatoire.fr
Aurelie Cadot - [email protected]
Vanessa Ravenaux - [email protected]
+ 33 (0)1 43 54 87 71
British Press
ARTS EUROPE - www.artseurope.net
Kathryn Hone - [email protected]
+ 44 (0)208 977 5591
+ 44 (0)783 359 5626
All visuals, with obligatory captions, images on this press kit are royalty free
PRESS RELEASE
THE MUSEUM OF LACE AND FASHION is hosting an exhibition on the creations
of Anne Valérie Hash, an iconic fashion designer on the French scene, one of the few
fashion houses to receive the prestigious Haute Couture label. This exhibition - the
first dedicated to her in France – takes a look at her first 13 years of designing. It is
not so much a retrospective as an exploration of a world still under construction.
Over a sensitively designed visitor pathway, approximately one hundred models,
unique garments, videos and exclusive documents reveal a stylistic vocabulary and
offer an analysis of the creative process. With the exception of loans from the Palais
Galliera - Musée de la Mode de la Ville de Paris, the pieces originate from the personal
archives of the Maison Anne Valérie Hash.
04
INTRODUCTION by Anne-Claire Laronde,
director of the Museum of lace and fashion, Calais
07
DÉCRAYONNER ANNE VALERIE HASH, by Sylvie Marot,
exhibition curator
collection in 2001, fillemâle, Anne Valérie
Hash has defined her identity. She completely
deconstructs a male wardrobe in order to
reconstruct an exclusively female wardrobe.
In this vein, a pair of men’s trousers transformed
into a dress becomes emblematic of her work.
This first experience constitutes her signature.
and dry wool of male suits are married with
tulles and silk chiffons. Sequins and embroideries intensify the mattness of the fabrics.
As for laces, which are heavily emphasised
here, they are blended together or stand as
counterpoint to reflective technical fabrics.
Anne Valérie Hash thus brings opposites
together without adversity.
DECONSTRUCT the better to reconstruct -
CRAYONNER (to sketch) means «to trace a
this is the precept that best applies to her.
Undoubtedly, Anne Valérie Hash stitches the
irreconcilable and weaves together opposites.
Blacks and ivories, the male and female poles,
front and back, childhood and adulthood…
She balances the notions of modernity and
tradition. She unbalances symmetries and
volumes. And it cannot be denied that she
moves towards femininity. The cotton canvas
drawing in pencil; to cover a surface with pencil
lines, drawings and in particular doodles; to
write something in haste». The exhibition
Décrayonner details the creative act of a fashion
designer who does not tackle her couture with a
pencil but rather with scissors and needle. This
will involve no sketch or draft, but garments
and fabrics. And where drawn lines do exist,
these are executed in tailor’s chalk.
EVER SINCE HER WIDELY acclaimed début
CURATION
SYLVIE MAROT. A fashion heritage specialist,
exhibition curator and author, Sylvie Marot is
currently a contributor to Maison d’exceptions, an
online magazine dedicated to textile know-how.
PRACTICAL INFORMATION
MUSEUM OF LACE AND FASHION
135 quai du Commerce, 62100 Calais
T. + 33 (0)3 21 00 42 30 - www.cite-dentelle.fr
[email protected]
10
THE JOURNEY of the exhibition
20
ANNE VALÉRIE HASH, a French couture house
24
SYLVIE MAROT, exhibition curator
26
MUSEUM OF LACE AND FASHION
29
An acquisition policy
31
The exhibition catalogue
32
Visuals with captions for the press
36
Practical information
Introduction, by Anne-Claire Laronde,
director of the Museum of lace and fashion
TO INVITE ANNE VALÉRIE HASH and her fashion house to exhibit at the Museum
of lace and fashion in Calais is to open the museum’s doors to a fashion designer
who is an authoritative figure in her field. Although Anne Valérie Hash is an
emerging designer for the general public who are (re)discovering her in her new
guise , she is nevertheless an established reference among her peers. A virtuoso of the
destructured cut, she has spent more than 10 years reinventing a feminine wardrobe
that tears up the codes of gender. Borrowing the basics from tailors for men, she
deconstructs men’s fashion in order to create a women’s fashion. The sophistication
and nobility in terms of know-how are expressed without grandiloquence. Wools
and cottons rub shoulders with silks and tulles, the purity of the fabrics converses
with embroideries.
AMONG HER FAVORITE FABRIC, Anne
Valérie Hash used woven lace, that jewel of
the industrial textile heritage of Europe .
To invite her to present the entirety of her
work as applied to the lace collections is
also to blazon the extent of the possibilities
to which this noble material lends itself.
Bare backs, androgynous jumpsuits,
asymmetrical dresses, light blouses and
retro-reflective tops, Anne Valérie Hash
plays with customs to offer pieces in which
the delicacy of the lace is employed subtly
and coherently. Her garments confirm her
to be a fine connoisseur and admirer of this
complex material, one of the few designers
to truly master the variety of functions this
little-understood textile is able to fulfil.
Although not the primary subject of the
exhibition, a number of the pieces on show
demonstrate this virtuosity. Evidence of this
very special affection.
STAGING an Anne Valérie Hash exhibition
is also a wonderful chance to work with a
vibrant and strong-knit team. Although
fashion generally highlights the person
of the designer, she unfailingly works in
symbiosis with a very cohesive team. With
Anne Valérie Hash, this collegial approach
has been extended highly profitably to
preparation for this exhibition, «Anne
Valérie Hash. Décrayonner». The exhibition
curator, Sylvie Marot, has worked very
closely with the designer. The creative minds
that support her all exhibit an invaluable and
communicative vivacity which, we hope, will
arouse in all a curiosity and sincere interest
for the subtleties of the designer’s creative
explorations.
4
Décrayonner Anne Valérie Hash,
by Sylvie Marot (extract from the exhibition catalogue)
WHAT DO WE KNOW ABOUT THE DISCREETE ANNE VALÉRIE HASH ?
What do we know about her as a person and about her craft as a fashion designer?
What do we know about this individual whose system is anything but symmetrical?
Do we think we know that she deconstructs the wardrobe, that she throws the lines
of waist and shoulder out of alignment, that she splits belts, that she disrupts order?
(…) As a child, Anne Valérie Hash would scribble in notebooks, she desketched
ideas for garments. But by her own admission, there was nothing very beautiful
about these drawings.
‘‘DÉCRAYONNER’’, a lexical invention parading as a title? The question to be asked
is not: does this verb exist? But rather: Is
it possible to create this verb? And if so,
what meaning should be assigned to it?
(…) If the verb “crayonner” instils an idea
of rapidity and immediacy, the addition of
the prefix to construct “décrayonner” would
appear to suggest a notion of slowness and
postponement. Detail would appear to be
set against the broad line. Above all, the
reversibility of the gesture would appear to
be similar to the cinematographic process
of reverse motion. “Décrayonner” exploits
this special effect in order to understand the
ploy. (…) Makes the attempt, at least.
THE COUTURE of Anne Valérie Hash ini-
tially lies in her “découtures”. In her
straightforward and fringed cuts, one
discerns a taste for the unfinished, the trace
of tearing in the non-hemming. Her raw,
even deliberately frayed edges constitute
a dotted frontier between textile and skin.
This guipure stitch, this non finito, makes
room for jacket edges and controlled
inlaying. The prismatic laces of «Pause»
(summer 2014 collection) are the perfect
illustration of this.
TAKEN APART AND RE-CONSTRUCTED,
unstitched and restitched, intentionally
uneven, every garment is observed through
the detail. No matter the twisting of the
fabric, the disorganisation of the patterns,
the multiplication of the elements, it is a
question of creating balance from the preexisting imbalance. Couture is the domain
of the artist hand as much as the artisan
hand. Its luxury consists in taking the time
to undo and to redo.
...
THE EXHIBITION Décrayonner details the
creative act of a dressmaker who does not
tackle her stitching work with a pencil but
rather with scissors and needle. This will
not involve drawings, sketches or drafts,
but garments and fabrics and patterns.
And where drawn lines do exist, these are
executed instead in tailor’s chalk. (...)
7
hued light of iridescent fabrics. Finally, in the
undulation of walking the pleats and drapes
never tire of playing with shadows.
HER CHROMATIC RANGE concentrates
on blacks and ivories, washed colours and
fleshes. The black and white photographs
of Michelangelo di Battista, the disturbing
lighting of Bettina Rheims or the powdered
tones of Fabrice Laroche, appear to fix this
selective colorimetry. In the charcoal wools
and antique laces, the sepia patina can
be seen. (…) And yet, vivid colours burst
through over time. But more than colour,
it is light that makes its entrance. The white
light of retro-reflective fabrics, the rainbow-
ANNE VALÉRIE HASH questions the material
nature of cloth. The cotton canvas and dry
wool of male suits are married with tulles
and silk chiffons. Sequins and embroideries
intensify the mattness of the fabrics. The
liquid effect of ultra-light organzas, the fluid
effect of silk jerseys. Laces, vintage or new,
are blended together in complex multi-layers
or are set against technical fabrics. To weigh
the depths of time, to project oneself into an
accelerated future, it is the same thing.
DEFINITELY, Anne Valérie Hash stitches
the irreconcilable and weaves in opposites.
She balances the notions of modernity and
of tradition. She unbalances symmetries
and volumes. Anne Valérie Hash brings
opposites together without adversity. And she
undoubtedly moves towards femininity.
8
9
The Journey
SOME ONE HUNDRED MODELS, unique clothing pieces, videos and exclusive
documents decode the harmony of the opposites in the work of Anne Valérie Hash.
Through a sensitively designed visitor pathway, the exhibition reveals a stylistic
vocabulary and analyses the creative process. With the exception of loans from the
Palais Galliera - Musée de la Mode de la Ville de Paris, the pieces originate from the
personal archives of the Maison Anne Valérie Hash.
But above all, emphasis is placed on the
materiality of the fabrics. Black cases set off
the garments simply. The titles are partially
written in chalk on school blackboards.
THE INTRODUCTORY PHASE of the
exhibition takes place in the light-filled
atmosphere of an atelier. The visitor is
greeted by about ten cloths placed on
dressmaker’s dummies. The cloth is a
three-dimensional garment prototype. This
dimensionalising of the basic pattern allows
for adjustments on the body. Once the paper
pattern has been altered, the garment can
be constructed in the chosen fabric(s). The
finishings (embroideries, appliqués) will
follow. On these griege cotton cloths, one
can discern traces of tailor’s chalk, coloured
felt-tip pen, all indications of adjustments.
These items, «working documents», are
rarely retained much less exhibited.
These canvas cloths are garment drafts.
There is nothing ostentatious about the
art of Anne Valérie Hash. The visitor is
invited to focus on details. The challenge
is to perceive the intelligence of the styling
behind a certain sobriety in the materials.
A THEMATIC JOURNEY. From the very first
piece - a dress made from a pair of men’s
trousers - to the very last - a suit in lace and
reflective fabric - a style asserts itself. The
exhibition follows a chromatic course from
darkness towards the light.
Within the 500m2 permanent exhibition
space, the pathway is organised into four key
themes and thirteen stylistic sub-themes.
These thirteen ensembles break from the
chronology in order to concentrate on the
stylistic vocabulary.
FEELING the fabric in the absence of being
able to touch it (the fragility of the fabrics
prevents this). The absence of glass display
cases marks the desire for proximity to the
garments. The intention is to reduce the
distance between the garment as designed
to be worn and the article of clothing in
its temporary guise as a museum exhibit.
Verbs that express the gesture, that specify
the action or its consequence.
10
I.
II.
III.
IV.
DIVERTING THE FONCTION
DÉBÂTIR, DÉTISSER
Deconstructing, unweaving
UNBALANCING
THE SYMMETRIES
DÉTENDRE, DÉSORDONNER,
DÉSAXER - Loosen, disordering,
unbalancing
SHIFTING THE TUXEDO
DÉCOUTURER,
DÉTAILLER, DÉTOURER
De-couture, itemise, outline
EVADE THE LIGHT
DÉPLIER, DÉLISSER, DÉVOILER,
DÉVIER, DÉFRAGMENTER
To unsmooth, to unfold, to divert,
to difragment
Débâtir
Désaxer
Découturer
Start the story.
A pair of trousers
becomes a dress.
An androgynous Chevalier
d’Éon, with a split body :
a feminine profile, a masculine
profile. Marrying silk lace with
cotton canvas. Find balance... in
the unsteadiness of the gait, of
the body in movement.
La Haute Couture is the
The intelligence of the hand
Volumes can be insane,
Amplitude of space, of
To Deconstruct
Trouser-dress
Couture summer 2002,
Fillemâle Collection
To Unbalance
Suit
in silk and lace
Couture winter 2014,
Jumpsuits Collection
12
De-couture
Balloon sleeve jacket
Couture winter 2008,
Éléments Collection
Détourer
Dévier
The garment is truly a threedimensional object.
It is understood by viewing it
from the front, the back, the
side. The label indicates the
right way round. But sometimes
there is no right way round.
You have to move all around.
Luminous luminance...
Iridescent fabrics, brilliant
sequins, pearly leathers,
coppered organzas.
Deflected light, burnished
colours, a delightment for the eye!
Suit
in radzimir and lace
Couture winter 2014,
Jumpsuits Collection
Robe in smock fabric
and mesh lace
Couture winter 2010,
Lunaria Rediviva Collection
To outline
arena of excellence.
is expressed therein.
extreme. No matter!
time.
To divert
13
A VISIT
WITH MULTIMEDIA
EXPERIENCES
MOMENTS IN TIME,
SUPSENDED MOMENTS
OF A CHILD MUSE
2001 - 2007
The visit features four alcoves offering
moving images. Encounters or high
points in the work of Anne Valérie
Hash are shown. Visitors can discover
her visual world at their own pace, on
small or big screens.
« An unforgettable encounter between the photographer
Fabrice Laroche and my little muse, Lou Lisa Lesage.
How did the alchemy take hold? No doubt because Fabrice
was able to capture Lou’s childlike carelessness without
changing or spoiling it. As for Lou, she was able instinctively
to lend just the right tone to this story that amused her. »
Défragmenter
To Difragment
Mandatory flash photography !
In the brevity of this intense light,
a different garment appears. The
retro-reflective material sends back
an aura-like vision. The fragments
of lace give way to new white
fragments.
The book Moments in time (published in 2007, now out of print)
The book features over ten ritualised «recreations» unveiling the preparatory
phases from the first collection Fillemâle (summer 2002) to Elise (summer 2007).
Rétro-reflective dress
Couture summer 2014,
Pause Collection
14
15
Michelangelo di Battista,
the photographer from the early days, 2001 - 2004
« MICHELANGELO CAPTURED THE ESSENCE of the message I wanted to give to
my collections. Fifteen years later, his images have withstood the test of time.
And I look at them with the same enchantment and emotion. »
THE PHOTOGRAPHER Michelangelo di
Battista captures the first collections of
Anne Valérie Hash. Black and white prints
of the now well-known faces of models
Guinevere Van Seenus, Stella Tennant,
Natasa Vojnovic, Bridget Hall, Erin Wasson,
Daria Werbowy.
Dé-filer / Défiler,
of privileged moments, 2001 - 2013
« THE RUNWAY SHOW IS A MAGICAL MOMENT for myself and the team. It is the
final picture of a collection’s vision; the week before the show, everyone turns into
warriors, working hours don’t matter, hoping to slow time in order to stretch it!
It is like the première of a show, a unique moment where we become one. »
Front stage and backstage are vibrant spaces.
Their lights, their music, their pace set the
tone, mark surprise, form the backdrop to
fashion in action.
AN ENCOUNTER between the designer,
the press and all fashion-lovers, the runway
show articulates the seasons. Of enormous
intensity, the fashion show period is a special
time when the garment is shown in motion.
17
Eléments V ‘‘Confidences’’
Haute Couture Summer 2010
« I ASKED A NUMBER OF PERSONALITIES TO ENTRUST A GARMENT TO ME.
A garment of their choice, a garment that represents them, a garment that speaks
of them. It all started with the word «transformer», to transform. We had fun
understanding and reinventing the other. »
WITH THIS COUTURE COLLECTION,
Anne Valérie Hash explores a new experimentation with deconstruction and reconstruction. Fourteen items of clothing are
revisited. All confidences gathered from the
likes of fashion designers Alber Elbaz and
Jean-Paul Gaultier, actresses Tilda Swinton,
Charlotte Rampling and Léa Seydoux,
photographer Bettina Rheims and visual
artist Iris Van Dongen...
The fourteen silhouettes are now conserved
at the Palais Galliera- Musée de la Mode de
la Ville de Paris.
18
17
Anne Valérie Hash,
a couture house
ANNE VALÉRIE HASH came into the world in 1971, in Paris. In 1991, she started
her training at the Duperré School of Applied Arts. In 1995, she graduated from
the Chambre Syndicale de la Couture Parisienne fashion school. Her audacity
was rewarded in 2003, with the ANDAM fashion design prize. In 2007, the book
Moments in time chronicled the early adventures of a fashion house. In June 2009,
she was presented with the insignia of a Knight of the French Order of Arts and
Letters by the Minister for Culture and Communication, Christine Albanel.
THE SAGA BEGAN IN 2001, when she
created her brand. Her first collection in
summer 2002, Fillemâle, attracted notice.
In July 2007, she presented a runway show
on the official Haute Couture calendar and
was awarded the prized label in January
2008. There followed a collection for
girls, « Mademoiselle », and a second line,
AVHASHBY Anne Valérie Hash. In 2014,
Anne Valérie Hash took time out, with the
intention of returning to centre-stage reinvigorated in 2016.
‘‘ PAUSE ’’, her last collection in summer 2014,
offers the vision of a woman projected into
an accelerated present. Jumpsuits, structured
sweatshirts and leggings combining microbeads and stretch maille, retro-reflective
jersey and laces.
DECONSTRUCT, the better to reconstruct.
this is without doubt the precept that best
applies to her. Her work stitches opposites.
Poetic conversations are prompted by the
masculine and feminine poles, power and
fragility, avant-garde and tradition, adulthood and childhood.
20
Anne Valérie Hash,
Chronological markers
1971
Birth in Paris
of Anne Valérie H.
2005
Fashion show on the occasion of the
« Spectres: Fashion in Motion » exhibition
at the Victoria & Albert Museum in London
1992
Evening classes at the École Supérieure des Arts
Appliqués Duperré school of applied arts
2007
Presentation of the first haute couture collection,
« Éléments » as a full member of the
Chambre Syndicale de la Haute Couture
1995
Graduates from the École de la Chambre Syndicale
de la Couture Parisienne fashion school
2007
Publication of « Moments in Time », a book tracing
the first years of the label’s creation embodied by a childmuse, Lou Lesage, and photographed by Fabrice Laroche
2000
Launch of the carré Hash (scarf),
a magnetic fastening and modular stole
2008
Launch of a children’s line
« Mademoiselle »
2001
Launch of the label Anne Valérie Hash
First couture collection « Fillemâle »
The feminine-masculine theme becomes her signature
2009
Awarded the title of Chevalier de l’Ordre
des Arts et des Lettres
2003
The ANDAM award
To the question « What is couture today ? »,
the reply is « Couture is elsewhere »
2010
Launch of a second prêt-à-porter line,
« AVHASH by Anne Valérie Hash »
2003
Exhibition of the photographs of Michaelangelo
di Battista at the Ace Gallery in New York
2013
« Pause » from the Anne Valérie Hash fashion house
This last summer 2014 collection incorporated
reflective fabrics and laces, a harmony of opposites
2004
The exhibition « Anne valérie, avant scène »
at the French Cultural Centre in Milan
2014
Artistic director
at Comptoir des Cotonniers
22
23
Sylvie Marot,
exhibition curator
EXHIBITION CURATOR AND EDITORIAL MANAGER. A graduate in Performing
Arts and Art History, Sylvie Marot’s interest focuses in particular on the Fashion Arts.
In late 2014, she co-authored The French
Ribbon published by Pointed Leaf Press.
The author Manami Okazaki interviewed
her for his book Kimono Now (Prestel
Editions, 2015).
IN 2001, She debuted as a curator with the
inaugural exhibition Habits de Recherche
(Habits of Research) at the Musée d’Art et
d’Industrie in Saint-Etienne. In charge of
the museum’s textile collections (world’s
1st collection of ribbons) until 2004, she
invigorated the contemporary fashion and
Haute Couture acquisition policy.
A SPECIALIST in fashion heritage, exhibition
curator and author, Sylvie Marot currently
contributes to the online magazine Maison
d’Exceptions which is dedicated to textile
know-how. She is active in schools and
universities, including the University of
Fashion in Lyon.
FROM 2005, she ran the Heritage Department
of Marithé+Francois Girbaud and initiated
its enhancement. The L’Altro Jeans exhibition
at the Stazione Leopolda in Florence in
2005 marked a first retrospective reflection.
With the miXages exhibition at the Musée
du Textile in Cholet in 2008, she held
children’s and adult collections up for
comparison. She worked on the brand’s first
monograph, De la pierre à la lumière (From
stone to light) published by Editions de La
Martinière in 2012.
IN ADDITION, Sylvie Marot orchestrated
the exhibitions for a succession of SaintEtienne International Design Biennials and
their catalogues : Design de mode (2002),
Les Enrubannées (2006), Design Transversal:
Maurizio Galante / Tal Lancman (2010),
L’Autre Jean (2012).
24
Museum of lace and fashion
A living heritage in a setting of glass and steel
BUILT INSIDE an authentic nineteenth century lace factory, the Museum of lace and
fashion, showcases in an imaginative setting the know-how, techniques, manufacturing
secrets and also the most contemporary aspects of the «Leavers» lace of Calais, known
the world over. Completed in 2009, the architects Moatti and Rivière were responsible
for its reconversion and extension. Its facade of glass and steel, inspired by the Jacquard
cards used in mechanical lace making, is a glass-like lace. 2,500m2 of permanent
exhibition space is dedicated to the history and techniques of hand-made lace, the
industrial adventure of lace in Calais, the mechanical lace-making looms and the
production workshops, lace in twentieth and twenty-first century fashion, the present
and future of lace. A 500m2 space is reserved for temporary exhibitions.
a shop, a restaurant and a virtual 3D fitting
booth.
AN INTERNATIONAL SHOWCASE. A centre
of activity and an exchange hub, the
Museum’s declared goal is to constitute a
resource and a showcase for the profession,
thereby raising the profile of the international
capital of mechanical lace. Testifying to the
incredible industrial saga of Calais, the
Museum invites the visitor on an amazing
journey into the world of lace. All the secrets
of production are revealed here, culminating
in a discovery of four - operating - Leavers
looms. Professional tulle workers produce
genuine Calais lace before your very eyes.
Much more than a simple museum space,
the Museum is also an extraordinary centre
of activity and discovery. Temporary exhibitions, cultural activities for all the family,
exchanges-encounters, textile workshops and
guides group visits… set the pace of life
here. There is also an auditorium, a catwalk
hall, a design podium, a resource centre,
THE AUDACITY of contemporary design.
After six years in existence, the Museum has
confirmed its position as an essential centre of
fashion. The most recent exhibitions attest to
this: « Plein les yeux! » (Feast for the eyes)
around film and stage costumes; and the
spectacular iconic shapes in fashion since the
Renaissance: « Iris Van Herpen », a young
fashion prodigy and avant-garde designer;
« Sensations: on aura tout vu » (Sensations),
an examination of an unusual and poetic
creative world, is based on the exploration and
experimentation of multiple artisanal and
technological techniques; and «Balenciaga,
magicien de la dentelle» (Balenciaga, magician
of lace). The Museum also is also a showcase
for contemporary design with podium
rotations in its gallery dedicated to new work.
26
An acquisition policy
A MUSEUM OF FASHION BUT ALSO OF TEXTILES AND TECHNIQUES, the
Museum of Lace and Fashion conserves a large holding of costumes and accessories,
laces, weaving looms and technical tools and also, to a lesser degree, photographs and
textile and graphic art works. In addition, the museum holds a documentary collection
containing sample registers, books and fashion magazines.
AMONG ITS PRIORITY FOCUSES, the
acquisition policy is orientated towards the
collection of costumes and lingerie for the
contemporary period, with the particular
intention of renewing the permanent
exhibition pathway. Scheduled to start in
2016, this overhaul will enhance the
visibility of recent pieces and acquisitions.
fabrics, and in the urban attitude in both day
and evening wear. The technical complexity
is evidenced in particular in the edge-toedge assembly of different laces.
This model is a unique piece. Its execution
required over 100 hours of work.
THE MAISON Anne Valérie Hash donation
plan will constitute a very valuable addition
to our collection of contemporary garments,
as an illustration of avant-garde and elite
design.
ONE OF THE PIECES entrusted to the
Museum by the Maison Anne Valérie Hash,
a jumpsuit with lace yokes, is indicative of
her work: a mix of male-female genders, a
mastery of lace inlays, relaxed wear allied
with sophistication of materials.
This jumpsuit is one of 16 silhouettes from
her penultimate catwalk show presented
on March 2013 at the showroom of the
Maison Anne Valérie Hash. The modernity
lies in the fragmentation and association of
Jumpsuit with yokes in Solstiss,
Pizval and Jean Bracq laces.
pattern n° 210 – 18 pieces
Couture winter 2014, Jumpsuit Collection
29
Catalogue,
Anne Valérie Hash. Décrayonner
THIS BOOK, the first to be dedicated to the entire career of Anne Valérie Hash,
combines formal exigency and relevance of content. It casts a contemporary eye
over 13 years of design. Which makes it a real reference work.
LES EDITIONS LIÉNART is an independent
art publishing house, founded in December
2008. Adopting an artisanal approach, in this
publication Éditions Liénart has created a
bespoke work.
THE PHOTOGRAPHER FABRICE LAROCHE,
a collaborator of Anne Valérie Hash from her
earliest years, fixes her world between intimacy
and reserve: a dip into the archives, present
moments captured, garments adorning living
models, ambiences, inspirations...
CATALOGUE with very few exceptions, the
visuals are exclusive.
ALSO CLOSE TO THE DESIGNER, CHIKALA
FUNADA, has devised a rare book-object
with its attention to detail and white balance
adjustment.
Co-publication
Museum of lace and fashion
Liénart Editions
Crédits
• Bilingual, french/english
• 188 pages
• 170 color and black & white visuals
• Format 21 x 27 cm
Japanese style stitching,
Japanese style binding
• Price 29€, to be released in april 2016
• ISBN : 978-2-35906-160-4
• Editorial management : Sylvie Marot
• Art direction : Chikala Funada
• Authors : Anne Valérie Hash,
Anne-Claire Laronde, Sylvie Marot
• Photographers : Michelangelo di Battista,
Fabrice Laroche, Bettina Rheims
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Visuals with captions for the press
00
Exhibition poster.
Anne Valérie Hash Décrayonner
Suit in silk and Solstiss lace.
Couture winter 2014,
Jumpsuits Collection.
© Fabrice Laroche
01
Suit in radzimir wich
can be worn either way round.
Couture winter 2014,
Jumpsuits Collection.
Maison Anne Valérie Hash
© Fabrice Laroche
02
Jacket-wide brimmed
hat with raw edges.
Couture summer 2003,
Vice Versa Collection.
Maison Anne Valérie Hash
© Fabrice Laroche
03
Inverted trouser-jacket
worn by Lou Lesage,
summer 2002,
Vice Versa Collection.
© Fabrice Laroche
04
Inverted skirt.
Couture summer 2002,
Fillemâle collection.
Maison Anne Valérie Hash
© Michelangelo di Battista
05
Dress in multiple laces.
Couture summer 2007,
Élise Collection.
Maison Anne Valérie Hash
© Bettina Rheims
06
Scrawled-on dress.
Maison Anne Valérie Hash
© Fabrice Laroche
07
Jacket with torn-off sleeves.
Couture summer 2004,
Inui Collection.
Maison Anne Valérie Hash
© Michelangelo di Battista
08
Fashion backstage.
Couture winter 2009,
Tal Collection.
© Fabrice Laroche
09
Charlotte Rampling’s jacket.
Haute Couture summer 2010,
Confidences Collection.
Maison Anne Valérie Hash
© Fabrice Laroche
10
Charlotte Rampling’s
jacket disassembled.
Haute Couture summer 2010,
Confidences Collection.
Maison Anne Valérie Hash
© Fabrice Laroche
11
Trouser-dress.
Couture summer 2002,
Fillemâle Collection.
Maison Anne Valérie Hash
© Michelangelo di Battista
32
33
Visuals with captions for the press
12
Suit in silk and Solstiss lace.
Couture winter 2014,
Jumpsuit Collection.
Maison Anne Valérie Hash
© Fabrice Laroche
17
Moments in Time book, 2007
Maison Anne Valérie Hash
13
Organza blouse,
pleated puffed sleeves.
Haute Couture winter 2008,
Elements Collection.
Maison Anne Valérie Hash
© Fabrice Laroche
18
Anne Valérie Hash.
© Fabrice Laroche
34
19
Sylvie Marot.
© Fabrice Laroche
14
Dress in smocked fabric
and lace.
Couture winter 2010,
Lunaria Rediviva Collection.
Maison Anne Valérie Hash
© Fabrice Laroche
15
Dress in lace
and reflective fabrics.
Couture summer 2014,
Pause Collection.
Maison Anne Valérie Hash
© Anne Valérie Hash
16
Fashion show Finale.
Haute Couture summer 2010,
Eléments V Collection.
© Fabrice Laroche
20
Temporary exhibition room
Museum of lace and fashion,
Calais© Fabrice Laroche
21
Suit in Soltsiss,
Pizval et Jean Bracq laces.
Couture winter 2014,
Jumpsuit Collection.
© Fabrice Laroche
22
Anne Valérie Hash
Décrayonner book cover.
Co edition CDM / Liénart
Forthcoming on april 2016
35
Practical Information
MUSEUM OF LACE AND FASHION
135 quai du Commerce - 62100 Calais
T + 33 (0)3 21 00 42 30
[email protected]
www.cite-dentelle.fr - facebook.com/citedentelle/
OPENING HOURS
RESOURCE CENTER
Every day except Tuesdays from 10 am to 6 pm
(10am to 5pm from the 1st of November to the
31st of March)
Closed on 1st May.
Specialist Fashion & Textile library,
free of charge and open to all.
+33 (0)3 21 00 42 42
[email protected]
ADMISSIONS
SHOP
• Temporary exhibition:
4 € - concessions 3 €
• Permanent Collection and temporary
exhibition: 7 € - concessions 5 €
• Museum of Lace + Museum of Fine Arts Pass
(valid 7 days): 7 € - concessions 5 €
• Concession apply to : disabled visitors,
unemployed visitors, over 65 year olds,
under 18 year olds, students and families. • Free on the first Sunday of the month.
for children under 5 and for art teachers
and students.
• Special group rates and visits are available.
Every day from 10 am to 5 pm,
except Tuesdays.
+ 33 (0)3 21 34 70 66
[email protected]
BOOKINGS
• From the A26 or A16 motorway,
exit No. to “Calais Saint Pierre”.
• The SNCF Calais-Ville train station
(10 minutes on foot).
• SNCF Calais Frethun train station
then SNCF shuttle to Calais-Ville train station.
RESTAURANT
LES PETITES MAINS.
Every day from 10 am to 5 pm,
except Tuesdays
+ 33 (0)9 51 68 36 02
[email protected]
REACHING US
• Group: + 33 (0)3 21 00 42 48
• Special project: + 33 (0)3 21 00 42 32
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