THEN AND NOW: It’s not simply 35 years that separate the designs of 1989 ANDAM Prize winners Martin Margiela and Olivier Guillemin from the one which netted Christopher Esber the highest gong for 2024.
From idea to execution, there’s barely a standard thread between the designers behind the primary three seems to be that greet guests to the “Modes, Nouvelles générations” exhibition on the Musée des Arts Décoratifs celebrating the ANDAM Prize’s thirty fifth anniversary, open till March 30.
And that’s an excellent factor, stated Sophie Lemahieu, the curator accountable for post-1947 style and textiles collections for the Parisian museum.
“Discovering coherence for the exhibition was troublesome and that’s an excellent signal for the vitality of the [ANDAM] Prize and the affiliation because it distinguished designers very completely different from one another,” she advised WWD throughout a preview. “What we’ve tried to showcase is that this variety and the way the prize has not tried to impose its personal model however all the time saved its openness.”
The exhibition spans 16 silhouettes and 14 equipment which can be organized on an oval 300-square-foot plinth, with names corresponding to Jeremy Scott, Gareth Pugh, Y/Mission below Glenn Martens’ tenure in addition to all of the 2024 and 2023 winners.
Receiving one of many ANDAM accolades – there have been a number of codecs and classes over the a long time – is usually the one widespread thread between the 40-something laureates. As an alternative, Lemahieu labored to spotlight concepts which can be widespread between them, even when a long time aside; distinctive methods, or modern approaches.
Take the latex work of Arthur Avellano, 2023 ANDAM Pierre Bergé Prize winner; the dimensions inclusive beliefs of Ester Manas; Marine Serre’s upcycling, or the way in which Louis Gabriel Nouchi’s tailoring echoed that of Udo Edling, who obtained a fellowship from Yves Saint Laurent in 1996.
Equipment are dotted all through, together with the vase earrings of Stéphanie D’heygere, a sculpture by jeweler Charlotte Chesnais and a trio of Ruslan Baginskiy’s hats.
A selected focus was placed on the footwear of the late bootmaker Vicente Rey, a 2003 winner.
In an uncommon transfer, the ANDAM exhibit was positioned on the third flooring, on a platform overlooking the central nave and some extent of passage between different sections of the museum.
“I would really like this to be an arresting plinth that strikes their curiosity and make them wish to know extra,” stated Lemahieu. “They could acknowledge some names like Martin Margiela on the entrance and are available to find this younger era.”
She hopes it is going to additionally encourage the style crowd to get lost the crushed monitor towards different ornamental arts they wouldn’t be significantly accustomed to.
As for any passing designers, she hopes it is going to remind them that inventive horizons are broad open. “You simply shouldn’t shut any doorways and there’s no must observe what others designers do,” she stated. “Every time, [the winners] have been those that carved their very own paths.”