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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 31 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 36