Curatorial consideration Exhibition theme Established during the golden age of post-war modernism, Marimekko is the Finnish textile and fashion company that achieved international fame in the 1960s and 70s with its bold screen prints and pop-art style graphics. Coinciding with the emerging liberation of women, the founding of Marimekko , or ‘Mary dress’ as the name literally translates, represented a pure concept; free from rules and constraints. The exhibition traces Marimekko’s meteoric rise from the 1950s to the present, and explores the dualities that define its aesthetic. Its iconic fabric patterns and unconventional ready-to-wear outfits brought colour and informality to an otherwise self-conscious fashion world. With more than 60 outfits, swathes of original fabrics, homewares, sketches and other archival materials, the exhibition focuses on the work of the talented individuals who defined this local textile practice and created its internationally recognisable designs.
Who/what is Marimekko? • A Finnish design company based in Helsinki • Textiles, furnishings, homewares – a lifestyle approach • Established during the golden age of post-war modernism in 1951 • Artists and designers invited to create textile designs – a collaborative approach
Marimekko’s mission • Armi Ratia envisaged a bold future for textile design • Coincided with the liberation of women in 60s, radical loose fitting designs • Original mission is still relevant – to bring joy to everyday moments Marimekko’s first fashion show was held in restaurant Kalastajatorppa, Helsinki, Finland in May 20th, 1951. The fabrics were designed by several designers including Maija isola, Eelis Muona and Eeva-Inkeri Tilhe. Garments were designed by fashion designer Riitta Immonen, who had her own fashion salon / atelée in Helsinki. Photograph by Kolmio. Image courtesy Design Museum, Helsinki
Preparation • Textile exhibitions require significant preparation – a minimal style mannequin was selected to suit the fabric designs and the curator worked closely with the Design Museum, Helsinki, to select additional objects to supplement the exhibition content for an Australian audience, and to develop options for display of the fabric lengths. Considerable planning was required in advance for appropriate methods to display the fabrics – suspended from the walls and ceilings, and inside cases – and specialised fittings sourced.
• The fabrics, garments and archival materials are from the collection of the Design Museum, Helsinki, The Bendigo Art Gallery curator requested additional garments to bring the exhibition content up to 2018. These items were requested from Marimekko Finland, who provided them via the Design Museum. The objects have since been donated to the Museum’s collection. A thin barrier of mylar – an approved conservation material – has been placed below any object or garment which would directly touch the painted surface of the plinths ensure that no paint transfer would occur. • The dressing for the exhibition began a number of weeks in advance, to allow ample time for careful handling.
Garments packed flat in acid-free tissue and textile boxes then packed in travel crates.
Mannequins prepared for the exhibition in gallery storage
Roll of fabric suspended on foam blocks
Framed works on paper suspended on foam blocks
Fabric samples sitting on acid free mylar prior to being displayed
Gallery technicians adjusting lighting
Presentation An exhibition designer was contracted to assist with the overall layout of the exhibition. The curator worked closely with the exhibition designer to layout the exhibition themes/content and work on different aspects of the exhibition build. The designer was tasked with developing ways to display the various garments to create an interesting and user-friendly design which also ensured the safety of each object. Where possible the Gallery prefers to reuse exhibition furniture and cases to save on costs and prevent wastage. This exhibition utilises the casing system owned by the Gallery – Tascho cases which can be configured in a variety of ways - and also repurposed plinths already owned by the Gallery. A contractor was commissioned to produce some additional plinths and exhibition furniture.
Considerations for presentation Potential touching of garments and fabrics All objects on open display (ie not in cases) have been placed a reasonable distance from the edges of the plinths in order to discourage touching. Signage also reminds visitors not to touch objects, and supervising staff are employed (Gallery attendants) Lighting Light levels must be kept low (max of 50 lux) to prevent damage to the fabrics
Other design elements were also included by the exhibition designer such as the use of large-scale images of garments being worn, images of interiors with Marimekko fabrics and other contextual images. A moving image component was included to provide an overall introduction to Marimekko’s style and a glimpse behind the scenes of fabric production.
Labels were added to the display utilising existing labels stands. These label stands bring the label text up to a more suitable height for reading, and a suitable font size was selected. The label stands also add a visual barrier to remind visitors not to touch the objects. ‘No touching’ symbols were also included in the signage throughout the exhibition. Labels on label stands
open display (no cabinets) Image: Installation view. Photograph: William Conroy, Press 1 Photography
closed display Image: Installation view. Photograph: Imagine Pictures
Use of low plinths Maija Isola designs Installation view, Bendigo Art Gallery. Image: William Conroy, Press 1 Photography
Symmetrical balance: Unikko celebrated its 50 th anniversary in 2014 Image: Installation view, Bendigo Art Gallery. Photograph: William Conroy, Press 1 Photography
Harmonising 3d and 2d objects: Traditional techniques Installation view featuring the Jokeri design, hand painted by Annika Rimala, gouache on cardboard, and garments featuring variations on the pattern. Image: William Conroy, Press 1 Photography
Exhibition design The exhibition design was restrained and minimal, as the content had so much colour Garments and fabrics were in both open and cased displays , barriers were also used Archival material and fabric swatches/smaller items are displayed in frames and flat in cases Projected moving image added an overall visual introduction to the style of Marimekko Large-scale vinyl images of designers, models wearing garments, interiors were included Simple colour scheme – black and white
Large scale vinyl image Featured here are curtains from the Joonas collection, designed in 1961,in the home of designer Maija Isola. The designer herself is included in the image (reflection in mirror). Interior of Maija Isola’s home in Helsinki. Image courtesy Design Museum, Helsinki
Exhibition Design: plans and elevations
Conservation • Lighting: lux level: max 60 • Attendants based throughout exhibition spaces • Do not touch signage throughout • Regular checks for insect activity • Flow through – adequate space for viewers to move through and around artworks • Security cameras in place • Storage and travelling textile boxes, acid-free tissue, crating
Preventive and remedial conservation • Each object is handled carefully to avoid damage, using nitrile gloves. Garments were transported flat in textile boxes with acid- free tissue. Upon removal from textile boxes garments were laid flat on tables covered with acid-free tissue to assess installation requirements. The fabric lengths travelled on padded rolls also in crates. A minimum of two people were required when handling the fabric lengths. The garments were dressed on mannequins after unpacking. • Lux and humidity levels are measured and monitored. Textiles are extremely sensitive to light and it is critical to retain low light levels at all times. • Each object is examined upon arrival and assessed to ensure no damage has occurred. A condition report is completed for each object, checked by the representative of the Design Museum.
Handling • Works are always handled with conservation appropriate materials – nitrile gloves or in some cases cotton gloves. Works are protected from damage with bubble wrap and acid-free tissue.
Rope bollards Above: Installation view, Bendigo Art Gallery, featuring the design Bo boo . Photograph: William Conroy, Press 1 Photography
Promotion • The Marketing Officer developed a campaign for the exhibition working with a pre-arranged budget. An exhibition brand was developed utilising the iconic Marimekko deisgn of Unikko (poppy) in consultation with Marimekko. • The Gallery promoted the exhibition via social media and print and online advertising. The Gallery also promoted the exhibition via its printed brochure, and media releases. Additional marketing activities include: street banners, a Unikko vinyl on the face of the Gallery building, train station banners, branding an Audi car, TV advertising and more.
Gallery branding
Gallery Shop
Audi Sponsorship
Gallery front wall: vinyl
Cover of where magazine
Print advertisement with sponsors
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