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Fashion historian and TrAIN Member, Djurdja Bartlett (London College of Fashion, University of the Arts London) presents a panel discussion featuring Moscow-based designers Asiya Bareeva and Artur Lomakin, photographer Turkina Faso and London-based writer and curator Anastasiia Fedorova.
The seamless assimilation of Soviet iconography and 1990s Russian streetwear into high-end fashion collections seen in London, Paris and Milan is a defining phenomenon of recent years. Termed ‘the post-Soviet aesthetic’ by the style press, when consumed by moneyed westerners these designs raise critical questions with regard to the ethics of class tourism and cultural revivalism. Perhaps wittingly-so, there is now a move by the likes of designer Gosha Rubchinskiy to eschew the well-worn western catwalks in favour of drawing the fashion set to Russia itself.
Presenting designers working and showing in Russia and a Russian photographer working world-wide, the panel explores the current climate for making and the interests of new generation of designers and artists that grew up in the shadow of the Soviet era, seeking to define what a ‘post-Soviet aesthetic’ might truly be.
Drawing inspiration from the grey anonymity of Moscow’s suburbs, stylist-turned designer Artur Lomakin’s signature heavy-knit sweaters and knitted balaclavas are representative of deliberately minimalist aesthetic. In contrast, Asiya Bareeva is known for her romantically-layered garments and accessories, preferring an abundance of prints and collaging of clashing materials. Photographer Turkina Faso is re-shaping the classic editorial, presenting personal documentary stories that explore how the experience of adolescence has changed in her native Russia since the fall of the Soviet Union.
Supported by Russian Talks Circle.
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Chaired by Professor Jane Collins.
Classical performances in China and Japan and elsewhere in the world were often presented in liminal spaces such as dry riverbeds –places that were non-existent at certain times of the year. In more modern times, design was created or supplemented by projection.
Today, projection mapping, live video feeds, and other digital technologies are challenging the historical presence of the stage. We are in a new era of the ephemeral or disappearing stage. This lecture will examine this phenomenon and explore how present practice relates to historical performance.
Arnold Aronson is a professor of theatre at Columbia University in New York. He is co-editor of the journal Theatre and Performance Design and the forthcoming book, The Routledge Companion to Scenography. His most recent book is Ming Cho Lee: A Life in Design.
This TrAIN event is linked to the ACTS RE-ACTS Performance Laboratory at Wimbledon College of Art 20th February -17th March.
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