If you're under the impression that Florence is nothing more than the birthplace of the Italian Renaissance (admittedly, no small claim to fame) then you're somewhat behind the times. James Bradburne, the inspirational director of Palazzo Strozzi is on a singular mission to bring Florence's burgeoning status as an alternative fashion hub to the fore.
His first venture is an exhibition dedicated to the memory of Gianfranco Ferre, the recently deceased fashion supremo, called ControModa. The aim of the exhibition is to highlight how far traditional concepts of style and fashion have changed in the past three decades in four different areas: construction, materials, form and concept.
His first venture is an exhibition dedicated to the memory of Gianfranco Ferre, the recently deceased fashion supremo, called ControModa. The aim of the exhibition is to highlight how far traditional concepts of style and fashion have changed in the past three decades in four different areas: construction, materials, form and concept.
Click here to see some of the designs on show at ControModa.
Showcasing over 200 fashion creations from Armani to Westwood, Issey Miyake to Jean-Charles de Castelbajac, each outfit is individually captioned showing over the whole exhibition how fashion has relatively recently become such a powerful force for social commentary. Added to these are curatorial texts, displayed on panels throughout the exhibition, in the form of a virtual discussion between six of the world's leading fashion commentators including Suzy Menkes, Franca Sozzani and Holly Brubach. We've been given exclusive access to the panels, which you can download by clicking the links on the right.
In conjunction with this initiative to highlight Florence's culturally progressive status, Bradburne has also masterminded the opening of a new Centre for Contemporary Culture with an exhibition titled Emotional Systems. Exploring the relationship between contemporary art and its effects on the human brain, the exhibition is the first in a series intending to open up a dialogue about contemporary art and culture.
Showcasing over 200 fashion creations from Armani to Westwood, Issey Miyake to Jean-Charles de Castelbajac, each outfit is individually captioned showing over the whole exhibition how fashion has relatively recently become such a powerful force for social commentary. Added to these are curatorial texts, displayed on panels throughout the exhibition, in the form of a virtual discussion between six of the world's leading fashion commentators including Suzy Menkes, Franca Sozzani and Holly Brubach. We've been given exclusive access to the panels, which you can download by clicking the links on the right.
In conjunction with this initiative to highlight Florence's culturally progressive status, Bradburne has also masterminded the opening of a new Centre for Contemporary Culture with an exhibition titled Emotional Systems. Exploring the relationship between contemporary art and its effects on the human brain, the exhibition is the first in a series intending to open up a dialogue about contemporary art and culture.
Click here to see installation shots from the new Centre for Contemporary Arts at Palazzo Strozzi.
Speaking about his dynamic vision for Palazzo Strozzi, and the cultural perception of Florence as a whole, Bradburne explains, 'All Palazzo Strozzi exhibitions aim to create a rich experience for a wide variety of audiences - families, children, teenagers. This openness to other voices is a hallmark of the Palazzo Strozzi's approach to exhibitions. We don't want our visitors to come to the exhibition as if they're going to church - we want the exhibition to be a genuine pleasure, on a par with going to a good film.'
Speaking about his dynamic vision for Palazzo Strozzi, and the cultural perception of Florence as a whole, Bradburne explains, 'All Palazzo Strozzi exhibitions aim to create a rich experience for a wide variety of audiences - families, children, teenagers. This openness to other voices is a hallmark of the Palazzo Strozzi's approach to exhibitions. We don't want our visitors to come to the exhibition as if they're going to church - we want the exhibition to be a genuine pleasure, on a par with going to a good film.'
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