Rebellion, Rejection and Reconciliation showcases at Assembly Gallery
Undergraduate and graduate students in the Fashion Curation and Exhibition class created Rebellion, Rejection and Reconciliation: an exhibition that explores the intersection between fashion and protest, showcasing garments that reflect political upheaval and a desire to reconstruct hegemonic norms. The exhibit was displayed in the Assembly Gallery and was planned and presented by students in the BDes Fashion, MA Fashion, and Media and Design Innovation PhD programs.
The exhibition focuses on three central forms of sartorial rebellion and rejection: cultural, sociopolitical, and personal. The students explore how garments and objects have shaped collective change as well as personal forms of resistance. Object highlights include cross-stitch Palestinian Thobe from the mid-1940s, a 1990s Oscar de la Renta silk blouse, and beaded Cree Moccasins.
A stylized representation of Queer love and identity in the 1960s. Cecil Gee velvet men’s jacket, Oscar de la Renta blouse, Francess & Rita trousers and LISA Gowns silk wedding dress
Under the guidance of co-teachers Dr. Alison Matthews David and Eve Townsend, the students thoughtfully selected, researched and mounted garments from TMU’s Fashion Research Collection (FRC), to share their stories of resistance and resilience and social change.
“We hope visitors recognize the importance of studying why we wear what we wear. Fashion is a powerful lens to analyze culture, society, politics, gender and more,” said Townsend, Fashion lecturer and Director of the FRC. “These material memories provide insight into the past and present, helping to inspire more positive and equitable futures.”
An original Ruth Dukas beaded striped jacket and chiffon dress from the 1960s
Cross-stitch, applique patchwork, and embroidered Palestinian Thobe, mid-1940s
Exploring fashion as a vehicle for social change
Students had access to a plethora of vintage pieces and artifacts through the FRC, where they were able to bring their vision to life. To learn about the process of curation, Dr. Matthews David guided students through what it takes to take their ideas from inception to creation.
“The students had the opportunity to experience the full process of imagining, researching and curating an accessible exhibition from start to finish. One of my favourite moments was seeing the look of surprise and joy on the faces of the students who proposed the Rebellion, Rejection and Reconciliation theme and having their idea selected,” she said. “This exhibition encourages viewers to rethink how fashions from different eras and around the globe were and still are powerful agents of personal, social and cultural change in the world.”
Fashion student Kyle Shepherd says it was imperative for the curation team to intentionally curate a space that reflected and highlighted narratives that were multicultural and diverse.
“The theme of the exhibit ties directly to fashion's ability to visually depict people's ideas, thoughts, and actions; both individually and societally,” he said. “Through the completion of Rebellion, Rejection, and Reconciliation, we hope that audiences will walk away with an understanding of embodied memory and values through dress and adornment practices. Our sartorial choices are distinctly intentional; though we may not always think of it, there is always a reason behind what we wear and why.”
Bowtie Sculpted Mask by Demestik (Reuben Reuel), 2020, Ankara Cotton (African/Dutch wax print fabric)
Fashion student Mesha Morgan speaks on the inspiration behind the exhibit, noting the importance of starting a dialogue on topics and social issues that may feel taboo.
“We made this exhibition in hopes of it becoming a conscious conversation starter with students, faculty and individuals within and outside the institution who came to visit,” she said. “We hope audiences are able to hear stories of individuals and ideologies they might not have learned before and to build their knowledge, inform others and spark conversations about the future of these ideas.”
A rabbit fur felt hat, 1900s and Cree moccasins beaded in chevron pattern, mid-1950s
The Creative School at Toronto Metropolitan University
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