This exhibition explores the role of a fashion garment as a socio-political carrier. The hoodie tells many stories - tales of social inequality, youth culture, subculture, police brutality, racism, privacy, fear and style. It is a garment that sparks a range of emotions, communicating all manner of social and cultural ideas and nuances depending on the gender, geography, age, conduct and ethnicity of the wearer and, in turn, the prejudices and politics of the viewer. Popularised by Champion in the 1930s, the hoodie was a practical solution for workmen; it is now, arguably, Western Fashion’s last truly political garment.
Press6 AUGUST 2019
This exhibition explores the role of a fashion garment as a socio-political carrier. The hoodie tells many stories - tales of social inequality, youth culture, subculture, police brutality, racism, privacy, fear and style. It is a garment that sparks a range of emotions, communicating all manner of social and cultural ideas and nuances depending on the gender, geography, age, conduct and ethnicity of the wearer and, in turn, the prejudices and politics of the viewer. Popularised by Champion in the 1930s, the hoodie was a practical solution for workmen; it is now, arguably, the last truly political garment.
The hoodie is at the centre of contemporary dress, hyped as a trend and a must-have item, but elsewhere, is also a signifier of moral panic, banned by certain institutions and dissected by the media as an emblem for inequality, crime or deviancy.
Curated by Lou Stoppard this will be a dynamic mixed media exhibition, uniting artworks with garments, printed matter, digital footage, social media posts and other cultural artefacts. It will explore distinct and intersectional themes including the rise of surveillance culture and facial recognition technology; music and subculture; conversations around androgyny and gender fluidity; and the breakdown of traditional dress codes. The show will examine these themes in relation to the hoodie, challenging the viewer to consider its multifaceted relationship with contemporary culture. The exhibition will also contextualise the hoodie in fashion history, tracing its evolution from 1930s workwear to icon of streetwear.
The Hoodie brings together diverse artists and makers whose work in photography, film, installation, fashion, and other media is connected by a mutual interest in these central themes. It will feature work by influential artists and photographers such as David Hammons, Campbell Addy, Devan Shimoyama, Sasha Huber, John Edmonds, Lucy Orta, SOUVENIR OFFICIAL and Thorsten Brinkmann, as well as designers such as Rick Owens, Vetements, and Vexed Generation. Also on display will be specially commissioned installations by Bogomir Doringer and Angelica Falkeling.
To provide site-specific perspective, the exhibition and events programme has been developed with Malique Mohamud (Studio Narrative) and Chinouk Filique de Miranda. Exhibition design by Studio LA. The show will be accompanied by a digital magazine featuring specially commissioned essays, interviews and visuals.
An events programme of talks and workshops to accompany the exhibition will be announced in October 2019.
Notes to Editors
For further information, images and interview requests please contact Agatha Connolly: firstname.lastname@example.org / 07762 438115
Lou Stoppard is a writer and curator with an interest in what fashion garments and images communicate about broader aspects of society, politics and culture. She served as Editor of fashion platform SHOWstudio.com for seven years, working closely alongside Nick Knight. Here, she spearheaded series on themes including sportswear, employed ugliness and print media. At SHOWstudio, she was particularly known for her broadcasts and interviews; her subjects included Kanye West, Wolfgang Tillmans, Jonathan Anderson, David Sims, Travis Scott, Olivier Rousteing, Peter Saville, amongst others. As a writer, she regularly contributes to The Financial Times on style and culture and has written for titles including Fantastic Man, The New Yorker and various international issues of Vogue. She has curated a variety of photography and fashion exhibitions, including, Mad About The Boy, at Fashion Space Gallery, which considered fashion’s obsession with youth, and, most recently, North: Fashioning Identity, an exploration of visual representations of the North of England, at Open Eye Gallery in Liverpool and Somerset House in London. Her first book, Fashion Together, an exploration of collaboration in fashion, was published by Rizzoli in 2017. Her next books include a celebration of the swimming pool in photography (to be published by Rizzoli in Spring 2020) and a comprehensive summary of the work of photographer Shirley Baker (to be published by Mack in Winter 2019).
John Edmonds, Devan Shimoyama, Sasha Huber, David Hammons, Tiane Doan na Champassak, Taryn Simon, Aaron Swartz, Prem Sahib, Dana Lixenberg, Hank Willis Thomas Jan Heesters, Danielle van Ark, Bogomir Doringer, Thorsten Brinkmann, Shirley Baker, Ari Versluis and Ellie Uyttenbroek, Lisette Appeldorn, Campbell Addy, Angelica Falkening, Lucy and Jorge Orta, Wouter Paijmans.
Yohji Yamamoto, Raf Simons, Helmut Lang, RECONSTRUCT, Liberated People, Hussein Chalayan x Puma, VETEMENTS, Aitor Throup, Dior, Champion, Vexed Generation, C.P. Company, Vollebak, Adam Harvey, Issey Miyake x Final Home, Project KOVR, Nike, Rick Owens, OFF-WHITE, Craig Green, A-Cold-Wall, IGNAZ, Gucci, SOUVENIR OFFICIAL, AMBUSH, BYBORRE, Patta, Astrid Andersen, Woei x Clone, JUUN.J.
Company Gallery, De Buck Gallery, S.M.A.K., V&A, Centraal Museum, Modemuseum Hasselt, David Casavant, Jhaveri Contemporary, Defares Collection, GRIMM Gallery, Jack Shainman Gallery, Museum Rotterdam, Allard Pierson/UvA, HyMag, Museum Jan Heestershuis, Tegenboschvanvreden, Gallery Güntner, Gallery Feldbuschwiesnerrudolph, The Estate of Shirley Baker, Studio Orta, KÖNIG SOUVENIR, Gucci Historical Archive, ANSH46.
Alessandro Michele for Gucci, Cruise 2017. Courtesy of Gucci Historical Archive. The Hoodie, 2019. Photo Johannes Schwartz.
Aitor Throup, Ganesh Hoody, 2008. Redevelopment of the original Ganesh Hoody featured in Throup’s 2006 collection ‘When Football Hooligans Become Hindu Gods’. RECONSTRUCT, SHRTSKRT HOODIE SKIRT, Retrograde Orbit collection Spring/Summer 2019. Raf Simons, Autumn/Winter 1997. Courtesy of David Casavant Archive. Raf Simons, Autumn/Winter 2004. Courtesy of David Casavant Archive. The Hoodie, 2019. Photo Johannes Schwartz.
Installation overview of ‘The Hoodie’ (Het Nieuwe Instituut, 01/12/2019 – 12/04/2020), featuring Hank Willis Thomas’ work ‘Scarred Chest’, 2003. Courtesy of the artist and Jack Shainman Gallery, New York. Photo: Johannes Schwartz.
Yohji Yamamoto, Sweater dress, c.1990. Collection of the Modemuseum Hasselt. Bag Carrier Cap, 1900 - 1940. Collection of the Museum Rotterdam. Cream-coloured hood, 1950-1970. Collection of the Museum Rotterdam. The Hoodie, 2019. Photo Johannes Schwartz.
From left to right: grey ‘TRAYVON’ hoodie issued and sold by the Trayvon Martin Foundation; Sasha Huber’s portrait of Trayvon Martin from the ongoing ‘Shooting Stars’ series; and Devan Shimoyama’s work ‘February II’ (2019), named after the month Martin was born, in the exhibition ‘The Hoodie’ at Het Nieuwe Instituut, 01/12/2019 – 12/04/2020. Photo: Johannes Schwartz. Devan Shimoyama, February II, 2019. Courtesy of De Buck Gallery, New York, NY and The Alison Katz Wolfson Family Collection, New York, NY; Aspen, CO. The Hoodie, 2019. Photo Johannes Schwartz.
Photo credit: John Akehurst. Lucy + Jorge Orta - Refuge Wear Intervention, London East End 1998
Exactitudes 168. by Ari Versluis and Ellie Uyttenbroek - EUnify hoodie by Souvenir Official
Prem Sahib, Umbra, 2019. Photo: Plastiques. Courtesy the artist and Jhaveri Contemporary.
Model Adut Akech wears Balenciaga in i-D's The Earthwise Issue, Fall 2018. Photograph: Campbell Addy. Styling: Alastair McKimm