By Giulia Piceni. Cover Image courtesy of Sine Qua Mode.
When Simon Porte Jacquemus, the visionary behind the fashion label of the same name, took on the role of curator for the Lalanne exhibition at Christie’s New York, the art world took notice. The exhibition, which ran from October 4th to 10th, aimed to showcase the work of the renowned French duo Les Lalannes against a backdrop of glamour and media buzz. But what does it really mean to curate an exhibition? As the event preceded an auction that generated an impressive $59 million, we explored the complexities of curatorial intent versus aesthetic display.
If Simon Porte of Jacquemus becomes an art curator at Christie’s
The involvement of the fashion designer Simon Porte Jacquemus as curator certainly added to the media buzz surrounding this exclusive event, if not to the value of the artworks themselves. This is not the first time a fashion designer has curated an exhibition, as the trend is becoming increasingly common. But does this truly qualify as a genuine act of curation? A closer examination may suggest otherwise.
Les Lalanne and Fashion? It’s an Old Love Story
The French creative duo, known for their naturalistic designs and nods to classical literature, blurred the boundaries between art and interior design, as well as between high and low art. The Lalanne duo expanded their influence through collaborations with fashion designers, becoming favourites of figures like Yves Saint Laurent and his art-enthusiast partner, Pierre Bergé, who commissioned several pieces for their Parisian homes.
This artistic synergy went beyond personal projects, influencing the fashion house itself. For the FW 1969 collection, Claude Lalanne used the electroplating process to craft metal accessories and body jewellery with strikingly realistic details designed to complement simple muslin and crepe dresses. Their collaboration continued with the creation of jewellery sculptures and whimsical headpieces for various collections until 1983.
Defining Curatorship: Beyond Set Design
When considering this historical context, the choice of a fashion designer to curate an exhibition seems somewhat justified, though not entirely clear. However, it is essential to pause and reconsider the use of the term ‘curating’ as stated in the press release regarding this initiative.
Jacquemus, identified as the exhibition’s supposed curator, has not provided any critical writing, a fundamental responsibility traditionally associated with curatorship. This omission already casts a shadow over the entire exhibition. The limited written material available for the show suggests that Jacquemus’ role may have been confined to set design. Furthermore, the absence of any explanation regarding the arrangement of the artworks strengthens the perception that the designer’s involvement was only partial.
An additional point of note is the lack of public discourse surrounding the exhibition. Information is so scarce that it’s difficult to find images or any material outlining the structure of the exhibition. The only official press release from Christie’s – perhaps written by an underpaid, invisible assistant rather than an authoritative voice – isn’t even signed by the elusive curator.
Organic Aesthetics: Simon Porte Jacquemus’ Design Choices
One design element, however, resonates with Jacquemus’ aesthetic universe. The 70 lots from the single owner and heir, Dorothée Lalanne, are displayed among organic elements like orange leaves and, in particular, a wheat field. This choice feels particularly aligned with Jacquemus’ renowned SS 2021 collection, L’Amour. At a time when the world was beginning to recover from the trauma of COVID-19, Jacquemus staged an optimistic show filled with neutral tones and wedding dresses. Following the Instagram sensation of his pink catwalk in the lavender fields from the previous season, he presented a wooden runway set against a wheat field, celebrating love just months before his own wedding.
When Curationism and Curating Collide
As David Blazer discusses in his essay Curationism: How Curating Took Over the Art World and Everything Else, the verb “to curate” has evolved beyond the traditional role of the curator. Today, it often refers to the selection and organisation of content based on a common theme, typically reflecting the subjective taste of the individual making the selection.
However, true art curation should be grounded in established criteria, along with a strong foundation of historical and practical knowledge and the ability to foster meaningful discourse. In this context, personal taste is insufficient for serious art discussions, as it lacks a systematic approach and objective validation. For example, consider Jacquemus’ book, which is a compilation of curated images taken with his iPhone since 2010. Are we really giving such figures the authority to replace more qualified professionals in the field?
The future of curating in a celebrity-driven art world
Apparently, the cult of celebrity, which has brought figures like Pharrell Williams to Louis Vuitton, has seeped into the art world, too, constantly chasing glamour, as if art and ideas alone were no longer sufficient. The main issue with Jacquemus’ exhibition is its lack of depth. While visually appealing and designed to captivate an Instagram-savvy audience eager to see fashion and art converge, it lacks a true curatorial vision. Even if the exhibition had commercial aims, it’s a missed opportunity to use such significant art to convey a deeper message.
The blame, however, shouldn’t fall on him but rather on those who, after asking him to take on the role, misused the term ‘curating’ in press releases and articles to draw attention, only to cleverly change it with ‘set design’ on the exhibition walls, likely out of fear of criticism from a more discerning and knowledgeable audience.
Failing to recognise the difference between ‘set design’ and ‘curating’ highlights a widespread misunderstanding of what curating truly entails. Too often, curating is oversimplified to the stereotype of merely rearranging artworks or adjusting the lighting, all while projecting an aura of academic intellect and style. While this may describe a few superficial curators, authentic curatorial practice requires much more. It goes beyond extravagant setting-ups, such as placing a wheat field inside Christie’s auction house in New York. It’s important to recognise that when spectacle overshadows thoughtful concept, curationism prevails at the expense of true curating. In this context, anyone with a compelling message to share can curate, as long as the ideas are prioritised over the objects themselves.
