103 FIGS. 4 and 5 (above): Installation views of The Architecture of Francis Kéré: Building for Community. Photos courtesy of the Philadelphia Museum of Art. Photographs by Timothy Tiebout, 2016. Vlisco: African Fashion on a Global Stage Through January 22, 2017 Organized by Dilys Blum, The Jack M. and Annette Y. Friedland Senior Curator of Costume and Textiles Known for its characteristic bold and colorful patterns, the Netherlands-based textile company Vlisco creates fabrics that marry tradition with luxury and have long been synonymous with African fashion. This exhibition is a unique exploration of this celebrated company’s most enduring designs. It examines the process of creating a new textile and showcases a selection of contemporary fashions by African and European makers, as well as by Vlisco’s in-house design team. The Architecture of Francis Kéré: Building for Community Through September 25, 2016 Organized by Kathryn Bloom Hiesinger, The J. Mahlon Buck, Jr. Family Senior Curator of European Decorative Arts after 1700, and Colin Fanning, Curatorial Fellow in European Decorative Arts and Sculpture A site-specifi c immersive environment in one end of the atrium of the Perelman Building was designed by the world-renowned Burkina Faso–born architect Francis Kéré. The related exhibition in an adjacent gallery presents an overview of his work and emphasizes the collaborative and collective nature of building as it responds to local cultures, knowledge, materials, and technologies. Kéré’s Berlin-based fi rm has received growing international attention and acclaim for its communityfocused, contextually sensitive work. The installation invites visitors to interact with the environment and refl ect on the relationship between architecture and the Philadelphia community. Threads of Tradition Through January 2017 Organized by H. Kristina Haugland, The Le Vine Associate Curator of Costume and Textiles and Supervising Curator for the Study Room Rooted in historic traditions, this installation focuses on customary patterns in West and Central African textiles and the techniques used to create them, including strip weaving, resist dyeing, piecing, appliqué, and embroidery. The works are drawn primarily from the collection of the Philadelphia Museum of Art, with additional loans from the Penn Museum. FIG. 6 (below): Woman’s cloth (detail). Ashanti culture, Ghana. C. 1930–80. Philadelphia Museum of Art, inv. 2001-170-1a. Purchased with funds contributed by donors to the Costume and Textiles Revolving Fund. Photo courtesy of the Philadelphia Museum of Art.
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