The “Modes, Nouvelles générations” exhibition at Musée des Arts Décoratifs celebrates the 35th anniversary of the ANDAM Prize, featuring past winners like Martin Margiela and Olivier Guillemin, as well as the 2024 top winner, Christopher Esber.
Despite the 35 years separating these designers, there’s little in common between their approaches from concept to execution.
Sophie Lemahieu, the curator responsible for post-1947 fashion and textiles collections at the museum, noted that finding coherence for the exhibition was challenging.
“That’s a good sign for the vitality of the ANDAM Prize,”
she explained during a preview for WWD. “It distinguishes designers who are very different from each other.”
The exhibition aims to highlight this diversity and emphasizes that the prize has never imposed a singular style, maintaining an openness to various creative expressions.
The exhibition features 16 silhouettes and 14 accessories displayed on a 300-square-foot oval plinth. It includes works by notable designers such as Jeremy Scott, Gareth Pugh, and Y/Project under Glenn Martens, along with all the winners from 2024 and 2023.
Receiving an ANDAM accolade is often the only commonality among the laureates. Lemahieu focused on highlighting shared ideas across different decades, such as exceptional techniques and innovative approaches. For instance, Arthur Avellano’s latex work, Ester Manas’s size-inclusive ideals, Marine Serre’s upcycling efforts, and Louis Gabriel Nouchi’s tailoring reflect a lineage of creativity that transcends time.
Accessories featured in the exhibition include Stéphanie D’heygere’s vase earrings, a sculpture by jeweler Charlotte Chesnais, and a trio of hats by Ruslan Baginskiy. Special attention was given to footwear by Vicente Rey, a celebrated bootmaker who won in 2003.
In a unique move, the ANDAM exhibit is located on the third floor of the museum, positioned to overlook the central nave and serve as a passageway between different sections.
“I want this to be an arresting plinth that captures visitors’ curiosity and encourages them to learn more,”
Lemahieu said. She hopes that names like Martin Margiela will draw attendees in while introducing them to emerging talents.
Lemahieu also aims to inspire fashion enthusiasts to explore other decorative arts they may not be familiar with. For passing designers, she hopes to convey a message about the expansive nature of creativity: “You shouldn’t close any doors; there’s no need to follow what others do. Each time, [the winners] have been those who carved their own paths.”
