Juliette Fritsch says the process from initial concept through to the fi nished exhibition can take months or even years
ROGER MANN
CO-FOUNDER AND CREATIVE DIRECTOR CASSON MANN
WHAT IS EXHIBITION INTERPRETATION? The process of exhibition interpretation begins with the brief and involves under- standing the story that needs to be told, the objects, themes or concepts involved, the space in which the exhibition will be held and the audience it aims to attract. Once these essential elements are
clear, we begin to play around with various design approaches, storytell- ing narratives and tools until we have a
design concept that’s as compelling and as simple as possible.
WHAT ELEMENTS MAKE UP AN EXHIBITION? There are two kinds of exhibitions: the ones that are story-led and those that are collection-led. In the fi rst instance, an idea, concept or theme forms the basis of the brief and objects are then sourced to realise it. The collection-led
“MEDIA SHOULD DELIVER A COMPLETELY DIFFERENT EXPERIENCE TO WHAT YOU CAN GET AT HOME”
approach takes its inspiration from a number of available objects, perhaps an inherited or bequeathed collection, and then a theme or story is devised to weave the objects together in a way that fi ts the museum’s remit.
HOW DO YOU CHOOSE THE DISPLAYS? We only use interactive displays if we think that they add value and help to create a more engaging experience – we never rely on them to tell a story. In an exhibition, media should deliver
a completely different experience to what you can get at home – it should be bigger, more immersive.
HOW DID YOU INTERPRET THE V&A’S HOLLYWOOD COSTUME EXHIBITION? For Hollywood Costume, the brief from the V&A and guest curator Deborah Nadoolman Landis was clear and thor- ough. The challenge was to create an experience that was very different to other costume or couture exhibitions in that it goes beyond the clothes, charac- ter and actor. The exhibition tells the story of cos-
tume design and its role in the creation of the real person and supporting the frame with silhouette, texture and colour. The key element was this idea of get- ting people to look beyond the costume of their favourite fi lm character and let- ting them see the details of that costume and how they contribute to that charac- ter’s authenticity. With Indiana Jones, what are the ele-
The V&A’s Hollywood Costume Exhibition tells the story of fi lm character creation AM 1 2013 ©cybertrek 2013
ments that make him recognisably Indy, that give us clues to his character and personality? The tools we draw on to tell this story go beyond the costume and accessories to the annotated screenplay and scripts, sketches, swatches, pictures, images and real conversations.
Read Attractions Management online
attractionsmanagement.com/digital 69
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