{"id":7079792,"date":"2026-10-08T06:24:20","date_gmt":"2026-10-08T06:24:20","guid":{"rendered":"https:\/\/fivemor.com\/?p=7079792"},"modified":"2026-10-08T06:24:20","modified_gmt":"2026-10-08T06:24:20","slug":"is-the-tates-90s-art-and-fashion-show-a-delight-or-a-faux-pas","status":"publish","type":"post","link":"https:\/\/fivemor.com\/?p=7079792","title":{"rendered":"Is the Tate\u2019s \u201990s Art and Fashion Show a Delight or a Faux Pas?"},"content":{"rendered":"


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\n\tLouis Vuitton had barely closed out Paris fashion<\/a> week when the fashion world had one of the biggest nights of the year\u2014in London. Donatella Versace, Givenchy\u2019s Sarah Burton, Burberry\u2019s Daniel Lee, photographer Ellen von Unwerth, British Museum director Nicholas Cullinan were among the glittering crowd that turned out for the opening of \u201cThe 90s: Art and Fashion<\/a>,\u201d on Tuesday night. This is perhaps not surprising, given that one of the curators is Edward Enninful, the former editor-in-chief of British Vogue<\/em>, who brought back glamour to the Cond\u00e9 Nast title during his tenure from 2017 to 2024. (Enninful worked with Tate Britain<\/a> curators Jessica Vaughan, Helen Little, Dominique Heyse-Moore, Alex Farquharson, and Celeste McEvoy on the show.)<\/p>\n

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\t\tRelated Articles<\/p>\n<\/h2>\n

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\t\t\t\t\t\t\"A<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/section>\n

\n\tSome among the British art press, however, were not impressed.<\/p>\n

\n\tThe Times of London<\/em>\u2019s<\/a> chief art critic Waldemar Januszczak wrote that \u201cI expected a celebration of the Nineties \u2014 instead it was a fashion disaster.\u201d The<\/em> Guardian<\/em>\u2019s<\/a> Jonathan Jones agreed, writing \u201cthis isn\u2019t an exhibition, it\u2019s a magazine spread.\u201d Giving the show one out of five stars, he wrote, \u201cI hoped what I\u2019d seen was a prologue to more art, bigger art, with enough space to appreciate it. But no. That\u2019s it. You leave as dissatisfied as you might after flicking through a 30-year-old copy of The Face<\/em> in a dentist\u2019s waiting room.\u201d<\/p>\n

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\t\t\t\t\t\t\"Jon<\/p><\/div>\n<\/p><\/div>

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\t\t\t\t\tJon Shard, Flesh at The Ha\u00e7ienda<\/em>, 1996.<\/span><\/p>\n

\t\t\t\t\t\t\t\t\tCourtesy of British Culture Archive \u00a9 Jon Shard, British Culture Archive<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n

\n\tNot all the critics were as harsh\u2014the <\/em>Daily Telegraph<\/em>\u2019s<\/a> chief art critic Alastair Sooke gave the show five stars and wrote that it left him \u201cbuzzing,\u201d while <\/em>The Independent\u2019<\/em>s<\/a> Stephen Armstrong remarked that \u201cthe hope on the walls of this five-star exhibition is heartbreaking\u201d\u2014but it\u2019s easy to understand why some are turning their noses up\u2014the run-up to the opening has been more about the fashion than the art. Posters of Kate Moss photographed by Juergen Teller have been plastered over the city and praise for the exhibition has been handed largely to Enninful.<\/p>\n

\n\tI spoke with one of the other curators, the Tate\u2019s Jessica Vaughan, to find here a little more about the show, which opens to the public today. Speaking about the decade the show focuses on, she said, \u201cthere was this huge moment of growth and creativity, a time which really defined the parameters of what we now consider contemporary art. There was also this real boom in fashion and [the show] is about how they were feeding off one another and how the thematics were parallels in the things that these young creatives were interested in.\u201d<\/p>\n

\n\tThe real goal of the exhibition, she said, is to spotlight Britain beyond the Young British Artists, or YBAs, who were predominantly white. \u201cThe story of the YBAs is really well-known and some of the criticism we\u2019ve got so far is that we haven\u2019t included those big names enough,\u201d said Vaughn. \u201cThere are works by Tracey Emin and Damien Hirst there. We just wanted to spotlight other artists who we didn\u2019t think got their dues and Edward always did that in fashion.\u201d Those boldface names are paired with ones not typically associated with the YBAs, like Hamad Butt, Eileen Perrier, Yinka Shonibare, and Barbara Walker.<\/p>\n

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\t\t\t\t\t\t\"Eileen<\/p><\/div>\n<\/p><\/div>

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\t\t\t\t\tEileen Perrier, Untitled, Afro Hair and Beauty Show<\/em>, 1998.<\/span><\/p>\n

\t\t\t\t\t\t\t\t\tCourtesy Tate\/Eileen Perrier<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n

\n\tImportant and poignant works in the exhibition often tackle queer themes, which largely were not historicized alongside the famous YBAs, whose art often privileged provocation. One of these is Familiars<\/em> (1992), a three-part sculptural installation by Butt, a queer South Asian artist. The piece, which is in the Tate\u2019s collection, includes vacuum-sealed glass bulbs containing toxic chemicals; viewers are invited to engage with sculpture\u2014at the risk of cracking one of the bulbs and releasing toxic chemicals, a comment on homophobia and contagion during the AIDS crisis. When Familiars<\/em> last showed at the Tate in the \u201990s, one of the vials did crack, resulting in the whole gallery being evacuated. \u201cIt\u2019s the idea that the thing that we\u2019re most attracted to might be the thing that\u2019s the most threatening to us and the work has a mythology around it,\u201d Vaughn said of the work.<\/p>\n

\n\tAnother powerful work is Steve McQueen\u2019s 1993 film Bear<\/em>, depicting two Black men wrestling. They are simultaneously affectionate and combative, dripping with homoerotism. Vaughn argues that even though artists such as McQueen are equally as well-known as Hirst and Emin, they are rarely featured in the same context as the YBAs.<\/p>\n

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\t\t\t\t\t\t\"Sarah<\/p><\/div>\n<\/p><\/div>

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\t\t\t\t\tSarah Lucas, Chicken Knickers<\/em>, 1997.<\/span><\/p>\n

\t\t\t\t\t\t\t\t\tCourtesy Sarah Lucas and Sadie Coles HQ, London<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n

\n\tAnother story being told in the exhibition is of female artists and the experience of inhabiting a female body. On display is Sam Taylor-Johnson\u2019s Fuck, Suck, Spank, Wank<\/em> (1993), a photograph of the artist wearing a T-shirt printed with those four words, her white denim jeans around her ankles. (The museum has recreated the t-shirt, and it\u2019s for sale in the gift shop.) Not far away is Lucas\u2019s now iconic photograph Chicken Knickers<\/em> (1997), showing a raw whole chicken affixed to the front of a woman\u2019s underwear. \u201cWe wanted to capture what it was to be a young woman at that time and to counter the images of Kate Moss by Corrine Day and others,\u201d Vaughn said of the juxtaposition of these artworks with the Moss images that have dominated the show\u2019s marketing campaign.<\/p>\n

\n\tIn other ways, the show is relevant to London today. Given that the UK is currently facing an upswing in right-wing politics\u2014in September, British cryptocurrency billionaire Ben Delo donated \u00a336 million to the far-right political party Reform UK, the biggest single donation a political party has received in the UK\u2014the room that looks at life post\u2013Margaret Thatcher feels prescient. It features disused urban spaces and the photography of Day and Juergen Teller. And given that more than a quarter of London\u2019s late-night venues went dark between 2020 and 2025, there was a poignant nostalgia to the gallery dedicated to different types of nightlife in the UK in the \u201990s, from queer parties to drum and bass to acid house. Perhaps those hard on the show didn\u2019t catch how a reevaluation of the past might offer something for the present.<\/p>\n<\/div>\n\n","protected":false},"excerpt":{"rendered":"

Louis Vuitton had barely closed out Paris fashion week when the fashion world had one of the biggest nights of the year\u2014in London. Donatella Versace, Givenchy\u2019s Sarah Burton, Burberry\u2019s Daniel Lee, photographer Ellen von Unwerth, British Museum director Nicholas Cullinan were among the glittering crowd that turned out for the opening of \u201cThe 90s: Art […]<\/p>\n","protected":false},"author":1,"featured_media":7079793,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[100],"tags":[3479,1885,240469,24912,784,994,15999,2443,36784,240470],"dealstore":[],"offerexpiration":[],"class_list":["post-7079792","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-art","tag-90s","tag-art","tag-art-and-fashion","tag-delight","tag-fashion","tag-faux","tag-pas","tag-show","tag-tate-britain","tag-tates"],"yoast_head":"\nIs the Tate\u2019s \u201990s Art and Fashion Show a Delight or a Faux Pas? - Som2ny Network<\/title>\n<meta name=\"description\" content=\"Some among the British art press were not impressed with the exhibition curated by former British Vogue editor-in-chief Edward Enninful.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/fivemor.com\/?p=7079792\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Is the Tate\u2019s \u201990s Art and Fashion Show a Delight or a Faux Pas? 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