Unravel – changing the way we think about knitwear in fashion?

Design: Paul Boudens, Image: Tilda Swinton for Sandra Backlund. Published in Another Magazine, Autumn 2009

(c) Photography by Craig McDean, Styling by Panos Yiapanis

Let us begin with a lesson in Belgian history:

 

The Belgian city of Antwerp is named after a rather gruesome legend in which a mean giant gets his hand chopped off and tossed into a river. Antwerp comes from the phrase “Hand-werpen” meaning “throwing hands”.

 

Also, in a far less literal sense, Antwerp means fashion. Tenuous I know but, if nothing else, this introduction may well earn you some points in a pub quiz one day.

 

Another legend that looms large over the city is that of the Antwerp Six – a collective of bold Belgian designers who took on the London fashion establishment during the late eighties, armed with nothing but creative genius and a rental van.

 

The city’s role-call of designers includes Raf Simons, Martin Margiela, Dries van Noten, Ann Demeulemeester and Bernhard Willhelm, to name but a few.

 

All of these designers work is apparent in “Unravel”, the current knitwear exhibition at Antwerp’s fashion museum, MoMu.

 

Presented in partnership with Woolmark, the exhibition explores the development of knitwear from the invention of the very first knitting machine by William Lee in 1598.

 

It opens with a “Homage to Ann Salens” – a 1970s knitwear designer from Antwerp, renowned for her colourful finely crocheted dresses.

 

Glass cabinets displaying humble socks and hosiery lure visitors in, prompting a reassessment of an item of clothing so often taken for granted. It is hard to comprehend a time when tights were worn by men and women alike and often took the form of baggy cloth tubes. The mechanisation of knitting changed all that.

Proving that even socks can be objects of great beauty.

Bernhard Willhelm S/S 2007

(c) Photography: Freudenthal-Verhagen

Items that can often be considered dowdy and purely functional become works of art – be it a simple sock or a slumber suit.

 

The exhibition is designed with a hefty dose of whimsy; think jauntily spinning mannequins, clashing colours and prints; and huge knitted art works by Bauke Knottnerus.

 

Seeing fashion displayed in such an exuberant manner blurs the edges between eras and trends. A collection of four sportswear ensembles from the early 20th century looks staggeringly contemporary (though who, in 2011, could possibly require a bright orange golfing jacket “in artificial silk with art deco motifs and plush collar and cuffs” is beyond this writer).

 

The true diversity of knitwear is displayed in all its crafted glory. There are cobwebbed and laddered loose knits that scream of punk alongside gossamer fine dresses that belied their tightly knitted roots to shimmer like iridescent silk cloth.

 

Pieces on display range from practical (simple knitted bathing suits) to breath-taking flights of fancy – such as the elaborate gown modeled by Tilda Swinton on the exhibition’s promotional materials. The dramatic dress consists of four individual pieces by Swedish designer Sandra Backlund. It steals the show in a crowd of sculptural knitted garments.

 

The subtlety of two twinsets displayed so closely to such an attention-grabbing gown is not lost. In fact, it emphasises the power of simplicity. Pringle’s collaboration with Swinton sits comfortably alongside Maison Martin Margiela’s crumpled and deconstructed offering. Each interpretation speaks of both conformity and subversion. Not a bad achievement for a humble jumper and a cardigan.

 

Towards the end of the exhibition, visitors are taken on a tour of four countries considered masters of knitwear: Japan, France, The UK and Italy.

 

Each country has a stand out outfit, epitomising their characteristic national style. Japan’s fascination with an almost severe minimalism shines in Yohji Yamamoto’s 1996 interpretation of a nun’s habit. Parisian joie de vivre leaps from Sonia Rykiel’s playful trompe l’oeil dresses. Alexander McQueen provides defiant and otherworldly English rebellion, whilst Missoni revels in Italian striped slink and sexiness.

 

Dress by Jean-Paul Gaultier on the occasion of the 40th anniversary of Sonia Rykiel, 2008

(c) Photography: Frédérique Dumoulin

The exhibition ends on a forward-looking note, as illustrated by the inclusion of younger designers such as Rodarte and Mark Fast (he of the immaculate body-con knit dresses and “plus-sized models” furore).

 

Knitting may not be considered “high art” and may well carry connotations of frumpiness, wrinkled stockings and cosy cardigans, but if one part of the exhibition seeks to revise this view it is “Supermarket of Style” by Angelo Figus.

 

In this art installation, on-trend items from 2006 are displayed on shop shelves. There are red-soled Christian Louboutins, a Hermès Birkin bag, a Chanel 2.55 and Burberry trench coat. From a distance they look real, albeit rather cartoonlike. It’s only upon closer inspection that it becomes clear each item is knitted.

 

After visiting Unravel, knitwear becomes something magical. Socks are stunning, jumpers are dreamy, dresses are divine and gloves are gorgeous.

 

Let’s not show-off about the gloves though, best not to annoy any one-handed giants that may be lurking on the streets of modern-day Antwerp…

 

Unravel: Knitwear in Fashion is at MoMu-Modemuseum Antwerp until 14 August 2011. Visit www.MoMu.be for details.