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March 15, 2010

MUDE stands for MUSEU DO DESIGN E DA MODA and is a very promising design and fashion museum project which is located in the former offices of the Banco Nacional Ultramarino, which occupies an entire block near the city centre. It just opened in May 2009 but has already received over 75.000 visitors. MUDE ´s intention is an ode to art , design and fashion and the collection includes over 2500 objects, shown on a rotating basis on the ground floor. There are various iconic pieces by Jean Pouvré , Le Corbusier and Charlotte Perriand, as well as works by Pierre Balmain, Paco Rabanne, Issey Miyake and Vivienne Westwood. With 8 empty floors, MUDE is still a work in progess, with a full programme, temporary exhibtions, cafeteria and bookshop.

Most of the works exhibited at the moment are from the 50s and 60s, but I also saw some really nice design pieces from the 20s and 40s. The place is really a must-visit on a Lisbon stay, its raw character (they had already started to pull down the building inside when it was desided to make it a museum – and they just left it like that) and the exquisite design and fashion pieces are one of a kind in Europe.

For this years LisbonFashionweek project “ModaLisboa/Lab” which is kind of a platform for young , avant-garde designers, MUDE´s first floor  was chosen as show and exhibiton location . Designers Lara Torres and A forest design where presenting installations, where as Ricardo Andrez, Vitor, and White Tent were having shows in a circles made up of white chairs.

From left to right: Lanvin cocktail dress from the 50s, Hermés sport/skiing dress from the 30s, Hermés dress again, Chanel suit from the 50s, Gaultier gown , Chloé coat , Vivienne Westwood designs , two Issey Miyake designs, Issey Miyake designs and black Cardin dress , Cardin dress with cut-outs and bow, skirt from the 60s and womens suit from the 50s, Modalisboa “Checkpoint” map, “A forest design” collection piece, “A forest design” exhibition space , general exhibition space and show area, show circle.

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