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M+, Hong Kong, © Pierre Cardin
Pierre Cardin 皮爾‧卡丹
Blouse from Maxim’s de Paris 1987 Spring/Summer collection 巴黎馬克西姆品牌1987年春夏系列襯衫
1986
Featuring bishop sleeves and a tie collar, this red-and-black blouse was one of Song Huai-Kuei’s favourite outfits. To highlight the leaf print on the blouse, Song often swapped the matching pleated skirt that came with the top for a black pencil skirt.She also added a black belt to accentuate her waistand the ruffled hem of the blouse. In this photograph, Song is seen wearing the same ensemble. She stands in front of her artwork Butterfly—Composition in Rose(1983–1985), shown in an exhibition at Hong Kong Arts Centre in 1988. The artwork is on display in the 'Artist' section of this exhibition.
Song Huai-Kuei (1937–2006), better known as Madame Song, was a legend in China’s elite cultural circles in the 1980s and 1990s. The exhibition Madame Song: Pioneering Art and Fashion in China reveals her overlooked and underestimated influence in transforming a closed-door China into today’s cosmopolitan and culturally diverse society. Communicating with the rest of the world from a country that was largely isolated during the Cold War, Song helped cultivate a modern, international lifestyle in China. With her husband, Bulgarian fibre artist Maryn Varbanov, Song fostered a rich scene of avant-garde artists, musicians, filmmakers, and designers. Bringing into dialogue Madame Song’s multiple identities and professional pursuits—from staging fashion shows and training models to making art and building a creative community—this exhibition also underscores the interconnected relationship between the avant-garde spirit and commercial culture in China, as the nation opened and strategically embraced global capitalism.
The majority of the objects on display are from the Madame Song and Maryn Varbanov archive held by M+, including Madame Song’s vast collection of Pierre Cardin garments. The exhibition also features loans from other prominent fashion designers from both Europe and China, movie costumes and footage, as well as artworks and large-scale tapestry installations associated with the 1985 New Wave movement. Other highlights include loans from the Song-Varbanov family archive and rarely published material from Chinese national news agencies and broadcasting stations.
Organised thematically, this exhibition traces Madame Song’s life and practice from the 1950s to the early 2000s and unveils her broad social network and impact on China’s cultural development. The exhibition starts with an introductory chapter entitled ‘Who is Madame Song?’, followed by four sections dedicated to her multifaceted identities: Madame Song as an Artist; Madame Song as a Businesswoman; Madame Song as a Fashionista; and lastly, Madame Song and Chineseness.
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