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On 1 October 2015 this Thursday Night took place. It was a kaleidoscopic evening in the foyer and bookshop at Het Nieuwe Instituut. The evening was spent exploring the construction of fashion images from various angles. Read the report of this evening here.


Fashion is more than just clothing. It is, above all, an endless universe of seductive images. In this kaleidoscopic evening we look at the construction of fashion imagery from a variety of perspectives with contributions from Joke Robaard, artist and researcher, Olu Michael Odukoya, editor-in-chief of Kilimanjaro and Modern Matter, and fashion photographers Meinke Klein. We also look at the successful yet mysterious working methods of photography duo Blommers / Schumm whose work is on display this month in View on Fashion, part of the Temporary Fashion Museum.

Fashion images are the result of a complex construction in which the client (fashion label or magazine), the photographer and the reader all play an indivudual part. Political and socio-economic trends also leave their mark on fashion photographs, even if the makers are unaware of these elements or have tried to exclude them from the image. How does this knowledge benefit us and how can we take new inspiration from it? 

Thursday Night Dinner

Arrive in plenty of time so you can enjoy the Thursday Dinner at 6:30 pm with the speakers and programme organisers. Drinks are included.

Joke Robaard

Over the past few decades Joke Robaard has assembled an extensive image archive consisting mainly of photographs from fashion magazines. Together with art historian Camiel van Winkel, she is making the archive accessible through research into the representation of the clothed body in print media. Although based on photographs from fashion magazines, the research is not concerned with fashion or fashion photography as such but rather with the principles of montage, assemblage and appropriation that are at work in our culture at large.

Olu Michael Odukoya

Olu Michael Odukoya publishes the leading art and style magazines Kilimanjaro and Modern Matter. His creative agency OMO Creates offers a unique perspective on design and art direction, developing visual identities and communications strategies and book concepts. Odukoya’s previous roles include art director for Yves Saint Laurent’s advertising campaigns.

Blommers / Schumm

Photographers Anuschka Blommers and Niels Schumm have worked as a duo since 1996. Their work questions the conventions of fashion photography and the role of the body. It occupies a territory between fashion, photography and art with constantly shifting perspectives and meanings. They have contributed to numerous magazines including Fantastic Man and The Gentlewoman. Their photographs are in the collections of the Stedelijk Museum in Amsterdam and FOAM and have been exhibited in museums around the world. For the Temporary Fashion Museum Blommers / Schumm have made an installation for View on Fashion I based on their own archive. Read the interview with Blommers / Schumm. 

Meinke Klein

Meinke ten Have and Kees de Klein studied fine arts and graphic design at the ArtEZ Institute of the Arts. Their different backgrounds result in a unique collaboration. Their photographs have been featured in magazines such as Vogue, V Magazine, VMAN, 10 Magazine, Hunger, Wonderland Magazine and in exhibitions at MoMA PS1 New York and the Victoria and Albert Museum London. Their work has been published online at SHOWstudio, DIS Magazine and WikiLeaks. Meinke Klein often works with young brands such as Ashish, Machine-A and Nasir Mazhar.

This Thursday Night programme is part of the project Temporary Fashion Museum

20:00 – 22:00

Het Nieuwe Instituut
Museumpark 25
3015 CB Rotterdam


Programme€ 7,50
Programme Students & Friends of Het Nieuwe Instituut€ 3,75
Thursday Night Dinner€ 15,00

Temporary Fashion Museum
Guus Beumer
Maureen Mooren

This project is part of the programme track Things and Materials and the folder Material innovation.

Fashion has quietly renewed the very idea of renewal by constantly selling the past as a future, thereby framing current reality. This contrasts sharply with the idea that renewal always stems from technological innovation.