Los Angeles in the early 1970s was a place of economic, cultural, and social turbulence, and many artists responded by experimenting with non-traditional approaches to art making. Within this atmosphere of creative investigation, the photographer Steve Kahn began to work on a project that would become The Hollywood Suites. In 1974, he rented out rooms in a motel on Melrose Avenue and started to photograph professional bondage models posed within. However, his attention was quickly drawn away from the women and toward the mundane rooms in which they worked. He began to focus on the dilapidated interiors, including uneven curtains hanging askew from windows and doors that seemed to both offer and deny passage. His endeavor grew into a multifaceted conceptual series that used the motel’s physical features to adroitly explore ideas of psychological bondage and containment. Presenting this recently rediscovered project, Steve Kahn: The Hollywood Suites marks the artist’s first museum exhibition and is one of the first exhibitions since his untimely death earlier this year.

Contemporary Muslim Fashions is the first major museum exhibition to explore the complex, diverse nature of Muslim dress codes worldwide. The exhibition examines how Muslim women—those who cover their heads and those who do not—have become arbiters of style within and beyond their communities, and in so doing have drawn mass media attention to contemporary Muslim life.

Spotlighting places, garments, and styles from around the world, this exhibition considers how Muslims define themselves—and are defined—by their dress, and how these sartorial choices can reflect the multifaceted nature of their identities. The exhibition traverses different religious interpretations and cultures, including high-end fashions, such as those by Malaysia-based Blancheur; street wear, such as modest designs from London-based Sarah Elenany; sportswear, such as the burkini; and commissioned garments from both emerging and established designers. Including social media as primary material, Muslim voices and personal narratives are framed by runway footage, news clips, and documentary and fashion photography.

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Ticket Information

Members:
Free
Adults:
$28
Seniors (65+):
$25
Students (w/ valid ID):
$19
Youth (6-17):
$13
Children (5 and Under):
Free

The exhibition’s introductory gallery orients visitors to this multifaceted topic through the display of contemporary Muslim modest fashions, social media content, and press and news clippings. As Islam is a multicultural faith, the dress of its practitioners is shaped not only by religious principles but also by local customs and traditions and global fashion trends. This dynamic display showcases the diversity of voices in the Muslim community—from style arbiters and bloggers to emerging designers, politicians, and athletes—and introduces visitors to the types of content and artworks that they will see throughout the exhibition.

The complexity of this topic will be explored by contrasting high-end fashions, such as those by Yves Saint Laurent and Faiza Bouguessa, with socially charged artworks. The exhibition galleries, designed by Hariri & Hariri Architecture, explore the interplay between the seen and unseen, and the idea of being covered and protected as well as contemporary and fashionable.

Working from a premise that the holy texts of Islam have been interpreted in multiple ways around the world and across time, the exhibition’s second section explores approaches to head covering around the world. Through contemporary art, documentary, and fashion photography, this display features examples of different types of Muslim coverings, including the hijab, burka, turban, and headwrap, as well as more recent commercial propositions, such as the sports hijab. These are featured with photographs, news clippings, and videos that explore the cultural contexts in which these garments are worn.

In recent years, there has been increased awareness of Muslim dress as an important segment of the global fashion industry. This has perhaps been most evident in the emergence of modest fashion weeks to promote the work of both established and emerging designers who adhere to Muslim design aesthetics, as well as by the shift among both Western and non-Western designers to create styles specifically for Muslim clients. For many Muslims, dressing visibly Islamic and highly fashionable is also a way to promote a positive awareness of their culture amid ongoing anti-Muslim prejudice.

The exhibition’s main galleries explore these developments throughout the world by regional survey, with the first section focusing on Muslim majority countries in the Middle East, such as Dubai, Saudi Arabia, and Kuwait. Designers from this region include Faiza Bouguessa, Mashael Alrajhi, and Wadha Al Hajri. One feature of this display is the abaya—a loose robe-like overgarment worn especially in the Gulf—to explore how contemporary abaya designers meld regional aesthetics with the global trends of the fashion industry.

Although Turkey led in the commercial design and manufacture of Muslim modest fashion in the 1990s, today the global reach of Islam is evident in South and Southeast Asia as well, where Indonesia has emerged as another leader in the modest and Muslim fashion industries. The rich textile and costume traditions of this region, especially in Indonesia, greatly inform the designs produced for these sectors, as evidenced by the use of luxurious fabrics, vibrant colors, and complex patterns. Designers in this section include Blancheur, Itang Yunasz, Dian Pelangi, and Bernard Chandran.

Experiences of migration and relocation by Muslims have also helped shape their religious practices and dress codes. As a few of many examples, these developments are evident in garments made by Muslim immigrants now living in Europe, such as in the United Kingdom, where designers, such as Saiqa Majeed of Saiqa London, merge the textile heritages of their countries of origin with Western fashion and modest dress aesthetics. In the United States, designers from the Nation of Islam, such as Carmin Muhammad of Al-Nisa Designs, are creating clothing that adheres to the tailored shape and silhouette of their traditional dress as well as contemporary interpretations of modest aesthetics.

To explore the rise of Muslim consumer culture, a section of the exhibition will showcase affordable luxury and fast fashion, such as designs by Sarah Elenany and Barjis Chohan, which cater to a Muslim clientele. These fashions demonstrate how younger generations of Muslim women are creating wardrobes that allow them to mediate contemporary society while being true to their faith. A subsection of this gallery explores the rise of hybrid sportswear garments that have helped foster Muslim female autonomy, such as the burkini.

The exhibition’s final section explores high-end fashion designs that have been customized to accommodate Muslim women’s diverse modesty considerations. Since the second half of the twentieth century, elite Muslim clients have been important patrons for the couture houses of Paris, where designs were often adapted for regional and religious sensibilities. True to the spirit of couture, this industry has long shown a willingness to modify its creations to suit the needs of clients who wish to dress modestly. Today, this tradition continues among the Western fashion design houses, such as Oscar de la Renta, that have created special collections for Ramadan and Eid, as well as online luxury retailer The Modist, which collaborates with a broad array of international brands to adapt styles for concerns of modesty.

Ranu Mukherjee employs drawing, painting, animation, and choreography to create hybrid installations that blur the line between the moving and the still image by imbuing each with qualities of the other. Her work investigates the construction of culture through the forces of creolization, migration, ecology, speculative fiction, and desire as a collision of events that mark what she calls “shadowtime,” a sensation of different timescales coalescing into one. For Wilsey Court, Mukherjee is creating an installation expanding over the four walls that frame the atrium. Entitled A Bright Stage, it combines wall painting with printed fabric and video animation into a dynamic environment reflecting on the cultural and spatial perspectives of the museum in general and the atrium as a freely accessible public space in particular. With the adjective “bright” describing qualities both visual and auditory, it amplifies the atrium’s qualities and potentialities as a freely accessible place for public voice and action.

A Bright Stage will be installed in one of the de Young's public spaces; no admission required.

Our culture is full of discussions around managing the ever-important “first impression”—that first encounter with a new person, place, thing, or idea, when opinions are often hastily formed. It can be difficult to escape the grip of a “first.” However, artworks can provide artists, viewers, and collectors with multiple opportunities for first impressions—an expression particularly apt in printmaking, since every sheet bearing a printed image is called an impression. This exhibition casts a wide net across the concept of the “first impression” to present a selection of highlights from the museum’s Anderson Graphic Arts Collection.

Among the first impressions on view are examples of artists’ first projects at a print workshop, their debut of a motif or technique, and their initial works within a series. Viewing artwork likewise provides occasions for firsts. There is the first time a viewer encounters a work of art, which is also perhaps their earliest exposure to the artist or to a specific context that reveals content, form, and technique in a new way. First Impressions includes recent additions to the Anderson Collection by Louise Nevelson and Christopher Wool and marks the debut of these prints at the de Young.

And there are firsts for the collector. An inaugural purchase within a previously unexplored area of art may send him or her off in new directions, as did Mary Margaret “Moo” Anderson’s first encounter in 1968 with Richard Diebenkorn’s 41 Etchings Drypoints, itself the artist’s first publication with the then-fledgling Crown Point Press. The suite of prints—which Moo and her husband, “Hunk” (Harry, who died in February), count as their earliest acquisition within the realm of contemporary art—inspired in them a lifelong commitment to collecting contemporary American prints.

Image: Richard Diebenkorn, "#1 (the artist's wife, Phyllis)" (detail), 1964 from the portfolio "41 Etchings Drypoints," 1965. Drypoint, sheet: 451 x 375 mm (17 3/4 x 14 3/4 in.). Printed by Kathan Brown; published by Crown Point Press, Berkeley. Fine Arts Museums of San Francisco, Anderson Graphic Arts Collection, Gift of the Harry W. and Mary Margaret Anderson Charitable Foundation, 1996.74.76.1

Fans have served as accessories of fashion and utility since antiquity but reached their peak production and use in eighteenth-century Europe. Made from and embellished by precious materials such as ivory, mother-of-pearl, and silver and gold leaf, eighteenth-century fans also featured designs that reflected the spirit of their times. Fans addressed current events as well as themes of broad interest, including biblical and mythological tales and romanticized domestic and pastoral vignettes. Fans of the Eighteenth Century explores this quintessential period of fan production through a selection of examples from the permanent collection.
Image: "The Noble Wedding" (detail), 1715–1725. Italy. Vellum, paper, mother-of-pearl, metal, and jewel; opaque watercolor and carved, incised, and gilded sticks and guards; rivet; 11 in. (27.9 cm) length, 18 5/8 in. (47.3 cm) width (open). Fine Arts Museums of San Francisco, Gift of Mrs. Reginald Rives, 1978.10.5a