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Vogue 100: A Century of Style will showcase the remarkable range of photography that has been commissioned by British Vogue since it was founded in 1916, with over 280 prints from the Condé Nast archive and international collections being shown together for the first time to tell the story of one of the most influential fashion magazines in the world.

This exhibition has been organised by the National Portrait Gallery, London in collaboration with British Vogue as part of the magazine’s centenary celebrations.

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July 11, 2015 - October 25, 2015 at The Bowes Museum in Barnard Castle, United Kingdom

The Bowes Museum and the Fondation Pierre Bergé - Yves Saint Laurent are collaborating to create Yves Saint Laurent: Style is Eternal, the first exhibition in the UK to present a comprehensive display of the French fashion designer’s work and life. The YSL show will highlight the defining elements of his vision, and the significant influence it has had on fashion and the way we understand womenswear.

“Fashion fades, style is eternal” Yves Saint Laurent once said. Articulating this idea, the exhibition will present fifty garments including some iconic pieces from the Russian Collection, the Mondrian dresses and the Tuxedo.

The show will also open up a dialogue with The Bowes Museum’s collection, creating a unique sense of narrative around the history of fashion. Yves Saint Laurent: Style is Eternal proposes a thematic exploration of more than forty highly creative years during which the couturier built what stands as a fundamental body of work in the history of fashion. It examines five specific themes:

Haute couture:  "What has always come first to me is respect for a métier that is not quite an art, but which needs an artist in order to exist". Yves Saint Laurent's quest for perfection led him to being sumptuously exuberant using the extremely refined embroideries of the Maison Lesage, feathers and flowers from Lemarié and Abraham prints.

Masculin-Féminin: The pants-suit, the tuxedo, the peacoat, the safari jacket, the trench-coat… each is engraved in our collective memory and all are an integral part of every woman’s wardrobe. By using codes hitherto deemed masculine, he was able to give women a feeling of security and audacity, yet with a flair that always retained their femininity. By wearing the symbols of power, women could conquer new rights.

Transparence: "A woman’s most beautiful garment is her nakedness". From his beginnings in the 1960s up until his final collections (such as the Spring-Summer 1999 collection, for instance), Yves Saint Laurent experimented with transparency, veiling the body like a hymn to the beauty of nudity. Indeed, the outline of a clever cut or an audacious approach to drapery exposes the female form in all its glory far more than the display of naked flesh itself.

Art: As early as 1965 Yves Saint Laurent paid tribute to artists in his haute couture collections with the famous Mondrian dresses, then in 1966 with the pop art dresses and in 1967 with his major homage to Africa. In the 1970s he presented his Picasso and Diaghilev collections and tributes to Matisse, Cocteau, Braque, Van Gogh, Apollinaire in the 1980s.

Spectaculaire: Saint Laurent – who, as a teenager, hesitated between following in the footsteps of Christian Bérard and devoting himself to fashion – did not have to choose between the stage and the catwalk. Throughout his life, he designed as much for the fashion world as he did for the theatre, the cinema, the ballet and the music hall, maintaining the same amount of constancy, desire and talent. He collaborated with such artists as Roland Petit, Luis Buñuel and François Truffaut and dressed Jean Marais, Zizi Jeanmaire, Arletty, Jeanne Moreau and Catherine Deneuve (of whom he was a faithful friend).

Marina Schiano wearing the short evening dress. Haute couture collection Fall-Winter 1970 © The Estate of Jeanloup Sieff

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July 11, 2015 –  October 11, 2015 at Villa Sucota, Como & Villa Bernasconi, Cernobbio in Italy

The display explores the relationship textile-botany from the eighteenth century to the present day through the various aspects of the floral decoration. The natural beauties of the Como area, the parks and the gardens overlooking the lake have always been a subject much loved by artists and creative people. They have provided suggestions and inspirations for centuries and the silk industry – established in Como in the late nineteenth century – was not exempt from this fascination. The exhibition

The exhibition path, divided in thematic rooms, will feature floral textiles from the collections of the Fondazione Antonio Ratti, from important private collections and from historical archives of the Como silk industry. The first part of the exhibition presents: Baroque silks from Lyon where flowers and architectural elements are woven together, light taffetas decorated with sprays of roses or berries, cottons for upholstery with realistic floral triumphs of the late nineteenth century. The second part of the exhibition is dedicated to textiles from the twentieth century, which marks the development of the Como silk factories, suppliers of Italian and French haute couture and ready to wear. These sections will focus on fabrics inspired by vegetable gardens or decorated with herbs, while a whole room will include clothes and fabrics inspired by roses, loved and employed by textile decorators of every historical era. In each section, textiles will be matched with garments: Italian high fashion is represented by Biki, Capucci, Ferré and Valentino; Dior and Yves Saint Laurent stand as eminent examples of Parisian Haute Couture; and the International prêt-à-porter is featured with Ken Scott and Leonard. For the first time, a selection of tables from the Fabani herbarium, lent by the Fondazione Centro Studi Nicolò Rusca in Como, will be shown to the public: an extraordinary collection of 3,000 plates of herbs and plants collected at the turn of the nineteenth and twentieth century by Giuseppe Fabani, the municipal doctor of Cernobbio. The exhibition also includes some contemporary artworks by artists who attended the CSAV - Artists Research Laboratory of the Fondazione Antonio Ratti: another example of how botany can greatly inspire artistic creation. A rich program of side events related to botany, art and textiles will accompany the exhibition.

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June 06, 2015 - November 1, 2015 at Christian Dior Museum in Granville, France

After having depicted the links Dior is weaving with the arts, the Christian Dior museum presents the revolution of the New Look and how exceptional it is to the history of fashion.

On February 12th, 1947, Christian Dior reveals his first haute couture collection in his newly founded House located 30, avenue Montaigne in Paris.  An event unprecedented in the fashion realm, Christian Dior - totally unknown the day before – rises to fame the day after his show. The New Look collection imposes itself as the founding manifesto of the Dior style. This collection revolutionizes the fashion aesthetics of the 1940’s and heralds the revival of elegance and refinement of the 1950’s.

The drastic change implemented by Dior echoes women s desire of metamorphosis from their second world war look. Within this era of reconstruction, Christian Dior creates a new aesthetics heading toward the future. He imposes the reinstatement of an exultant femininity.

To the straight and masculine silhouette, he opposes the revival of the beauty of the curve, charm and splendor.

Within this legendary collection, one design is closely watched, the notorious “Bar” outfit. This afternoon suit, with its pure and architectural cut, summarizes the spirit of Christian Dior’s message. This genuine New Look icon finds itself among the artistic lineage of the House of Dior for the upcoming decades. Artistic directors who will come after the founding father of the House would regularly pay tribute to this original manifesto, while rewriting according to their own skills, a powerful style, always in harmony with the present.

The exhibition “Dior, the Revolution of the New Look” offers a journey throughout the Dior universe and its creation from 1947 to 2015, based upon the original momentum of both the "Bar" suit and the New Look.

The themed pathway highlights with a new perspective this seminal event assessing the style of the House, from a genealogy of tributes to the “Bar” suit up to its historical and stylistic inspirations, its technical constructions and its plastic hallmark in praise of the curve.

The exhibition revolves around eighty Haute Couture garments from Christian Dior to Raf Simons, about thirty photographs, around fifty documents, New Look memories, manuscripts, original sketches, Miss Dior perfume bottles, mini-replica of the “Bar” suit, New Look dolls, “suit” patterns and toiles.

Musée et Jardin Christian Dior

La villa "Les Rhumbs"

50400 Granville

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Constellation Africa, Pitti Immagine x Ethical Fashion Initiative, Italy, 2015

On Thursday June 18th 2015, Dent de Man, MaXhosa by Laduma, Orange Culture and Projecto Mental showcased their Spring/Summer 2016 collections in Florence at Pitti Uomo 88. The Constellation Africa show marked the first menswear brands to be selected and supported by ITC Ethical Fashion Initiative’s African Designer Programme. Working together, the Ethical Fashion Initiative and Pitti Immagine contributed to the show’s immense success highlighting the creative and contemporary fashion culture emanating from the African continent. ''The Constellation Africa show demonstrated that Africa has its space on the global fashion scene. Africa is present in the imaginary of fashion worldwide and for a long time fashion has sourced inspiration from Africa. But today, this is not what matters: this show presented four collections with international creativity and design. We believe Africa is the land of innovation for human kind.'' - Simone Cipriani, Head of the Ethical Fashion Initiative. Find out more about the Constellation Africa show here

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Starring Ajuma Nasenyana, Tom Nandi, Rahel Equbay, Paynette Nyawara, Rosemary Kendi, Alex Wandia, Maureen Onyango and Nikole Warambo. Featuring designs by Namnyak Odupoy, Ami Doshi, Kepha Maina, Jamil and Azra Walji, Katungulu Mwendwa, Ann McCreath and Adèle Dejak.

To Catch A Dream is the NEST Collective and Chico Leco's second collaborative fashion project, featuring the works of eight local designers in a short fashion film starring Kenyan modeling icon Ajuma Nasenyana.

The short was written and directed by Jim Chuchu and produced by Wangechi Ngugi with creative direction and styling by Sunny Dolat.

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Anthology of Finnish fashion

June 5, 2015 – September 20, 2015 at Design Museum in Helsinki, Finland

This anthology of Finnish fashion will consist of a selection of phenomena in fashion and the fashion industry from the 1950s to the present.

The exhibition asks how the development and conditions of Finnish society have been manifested in fashion – the postwar intellectual landscape, long winters, equality, the proximity of the Soviet Union, the economic boom, the technological engineering mindset, and the millennium.

The exhibition will feature a large amount of Finnish designers and brands:

Achilles Ion Gabriel, Arela, Com-pa-ny, Ritva Falla, Finsk, Marjatta Heikkilä-Rastas, I Know Why No, Riitta Immonen, Ivana Helsinki, Mauri Jormakka, Joutsen, Jasmiine Julin-Aro, Justus K, Karhu, Annikki Karvinen, Kirsti Kasnio, Sasu Kauppi, Ritva Kellokumpu, Sirkka Könönen, Laitinen-Rasakka-Siren, Irja Leimu, Lustwear, Satu Maaranen, Makia, Marimekko, Mattisen teollisuus, Minni f. Ronya, Vuokko Nurmesniemi, ONAR, Daniel Palillo, Panik, Minna Parikka, Jaana Parkkila, Plastic Pony, Pure Waste Textiles, Tuula Pöyhönen, Tua Rahikainen, R-Collection, Annika Rimala, Rinne Niinikoski, Pentti Rinta, Jukka Rintala, Anna Ruohonen, Heikki Salonen, Samuji, Hanna Sarén, Liisa Suvanto, Sophie Sälekari, Nene Tsuboi, Vainio-Seitsonen and Vuokko.

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Global Fashion Capitals

Fashion & Textile History Gallery

June 2 – November 14, 2015

Paris, New York, Milan, and London have long been known as the fashion capitals of the world. However, the fashion industry is globalizing, and cities such as Seoul, São Paulo, Shanghai, and Mexico City are emerging as new fashion hubs. Global Fashion Capitals will explore the rise of fashion cities over the past 150 years. The exhibition will also examine the various forces that enable this growth, such as urban development, economic expansion, the establishment of fashion weeks, and the pervasiveness of the media. Global Fashion Capitals aims to broaden the understanding of what constitutes a “fashion capital” and to expand the dialogue on the globalization of the fashion industry during the 21st century.

Museum at the Fashion Institute of Technology Seventh Avenue at 27 Street New York City

Source: http://www.fitnyc.edu/

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JUNE 5th 2015, ASTRA KULTURHAUS

Every year Berlin fashion Film Festival brings together creative professionals with thought-leaders to present and award the best fashion film productions.

Focusing on promoting and recognising visual talent, BFFF connects filmmakers, producers, creative agencies and clients such as brands, labels and designers.

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April 25 and 26 for two days of fashion, debate, ideas and fun at the Vogue Festival 2015, in association with Harrods.

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19 December 2014 until 3 May 2015 DRAWING FASHION MASTERPIECES OF A CENTURY This unique overview demonstrates that the genre of fashion drawings is justified in being seen an art form in its own right. True, fashion has been depicted ever since ancient times, and since the 19th century also illustrated with drawings in magazines and series of prints, but the fashion drawing as an independent format only came into its own with the rise of fashion magazines such as Vogue, Gazette du Bon Ton or Harper’s Bazaar. The “Drawing Fashion” which the Museum für Kunst und Gewerbe Hamburg (MKG) will be showing from 19 December on are from those in the possession of the renowned gallery owner, collector and great expert on the art of illustration Joëlle Chariau. The original drawings from this collection give us an idea of the essential nature of fashion drawing and their quality on the highest level of artistic excellence. More than 200 drawings celebrate the creations of the big names of haute-couture, from Paul Poiret and Coco Chanel to Christian Dior, up to and including Christian Lacroix, Alexander McQueen, Yohji Yamamoto and Comme des Garçons. Their astonishingly delicate touch and precision of detail often convey, far more convincingly than a photograph could, the elegance and the extravagance of the newest collections and creations of the moment. Joëlle Chariau’s collection shows this development in seven sections, illustrating each with a selection of exemplary work. The first two chapters present a particular style or epoch. The extravagant Art Déco of the tens and twenties of the 20th century is followed by the dignified tastefulness of the thirties and forties. The next decades are represented by their outstanding illustrators: the fifties by René Gruau (1909-2004), the sixties to eighties by the New Yorker Antonio (Antonio Lopez, 1943-1987) followed by the Swede Mats Gustafson (*1951), the Swiss François Berthoud (*1961) and, the youngest artist on show, the Parisian Aurore de La Morinerie (*1962). The exhibition has been made possible with the generous support of the Hans Brökel Stiftung für Wissenschaft und Kultur. Source: http://www.mkg-hamburg.de/en/exhibitions/current/drawing-fashion.html

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29 October 2014 – 26 April 2015

Women Fashion Power offers an unprecedented look at how princesses, models, CEOs, Dames and designers have used fashion to define and enhance their position in the world.

- See more at: http://designmuseum.org/exhibitions/women-fashion-power

Read the interviews with some of the women that feature in the Women Fashion Power exhibition.

Link: http://designmuseum.org/women-fashion-power-online-exclusive