Smart marketing: the de Young Museum’s foray into pay-per-view–hook ‘em by streaming a sold-out Balenciaga Symposium and later they will visit
This Saturday, for the first time ever, viewers will be able to take in a long sold-out Balenciaga symposium at San Francisco’s de Young Museum without leaving their homes. The museum is streaming the Balenciaga and Spain Symposium live at 1 p.m. and for $10 viewers can watch the simulcast on Fora.TV and access it as many times as they want until July 4, when the exhibition closes. The move to pay-per-view makes good business sense for the museum, currently the 5th most highly attended museum in the country and known for its progressive and immensely popular shows.
“Pay per view is the greatest way to make our collections and special exhibitions available and accessible to as many people as possible and that’s what we’re all about—education and illumination,” said John Buchanan, director FAMSF. “We have these scholars and resources here and sharing the word in this streaming fashion geometrically multiples our audience and it will get people to come in and see the real thing. Streaming is a logical and profitable step.” For those of us who live in the extended Bay Area, this appetite whetter may just the enticement we need to cross the bridge for culture. For those more distant, it puts the show and the museum high on to-do lists. Win-win.
Museums are the newest entrants to the streaming and HD-live craze that has paid off big for the Metropolitan Opera which began simulcasting six of its operas in 2007 in select movie theatres across the country and hit pay dirt. As Peter Gelb, the company’s managing director, stated in the New York Times (May 17, 2007) the number of people who attended Met Live performances during the first season of the program, 324,000 at $18 a piece, led him to believe that the audience for the second year of the program would reach 800,000 and actually match the audience attending the two hundred plus performances in the actual Met auditorium. He called the simulcasts “a powerful marketing tool.” In 2010, Gelb reported that, for 2010, 2.4 million people in 1,500 theatres in 46 countries bought tickets to the series for a gross of $47 million. Half of that went to expenses, but still left a hefty and unheard of profit. Gelb also reported that the series has had an enormous impact on donations, adding almost 7,000 donors to the list of Met contributors in recent seasons.
“Embracing new technology is something we’re very proud,” said Buchanan. ”When images from museum first went online, people in the museum world were saying that people would stop coming to museums. In fact, that proved very false and it lured people in to the museums. This is going to have the same impact.”
For museum-goers and even those unfamiliar with the museum world, a simulcast featuring the trend-setting and enormously popular Vogue editor Hamish Bowles talking about Balenciaga might just take off big. Bowles guest curated Balenciaga and Spain and has already made a number of media appearances since he arrived in the Bay Area last week. The museum’s auditorium can seat an audience of 270 and the event sold out within an hour reported the FAMSF’s communications department. The FORA.tv option immediately makes the event accessible to an unlimited audience who can access the event at their leisure. The de Young Museum is already one of the highest profile museums in the country. Since it’s re-do six years ago, the latest statistics, current to 2010, show that it has attracted over 8 million visitors, and The Art Newspaper has ranked it as the 5th most highly attended museum in the country. Pay per view could bolster its popularity, especially if the programming has the popular (and non-academic) appeal of fashion.
Under the helm of FAMSF Director John Buchanan and FAMSF Board Chair De De (Diane) Wilsey, the de Young Museum has expanded its offerings to a number of tremendously popular shows addressing fashion–Nan Kempner: American Chic (2007), Vivien Westwood: 36 Years in Fashion (2007), Yves Saint Laurent (2008). Its sister institution, the Legion of Honor, has done the same and is currently offering Pulp Fashion: The Art of Isabelle de Borchgrave through June 5, 2011. ”I firmly believe that if you buy the best that money can buy and you show the best there is to show, people will come,” said De De Wilsey. “Fashion and art are completely intertwined and it’s been my mission to show people the very best art. The very best designers are true artists.”
Saturday’s symposium will examine the underlying themes in Balenciaga and Spain which kicks off with a gala on Thursday and opens to the public this Saturday and runs through July 4, 2011. The highly anticipated exhibition focuses on the remarkable oeuvre of Spanish haute couture designer Cristóbal Balenciaga. His now iconic “balloon” skirt, “baby doll” and “sack” dresses, the 7/8-length “bracelet sleeve,” and the “dropped waist” created a new silhouette for women. Born in 1895 in a remote fishing village in Spain, Balenciaga learned sewing and tailoring at his mother’s knee. From this humble start, the persistent young man, opened his own fashion house in Paris in 1937 where he was greeted with immediate success. In the years following World War II, he became one of the most influential haute couture fashion designers. Balenciaga was a sculptor with a strong and unique vision who worked with space, the female body and fabric. Balenciaga and Spain features nearly 120 haute couture garments, hats, and headdresses designed by Balenciaga, some of which have never been seen before. This exhibition, conceived by American fashion designer Oscar de la Renta for a show last fall at the Queen Sofia Spanish Institute in New York, will be nearly twice as large at the de Young and it includes 17 pieces from the private collection of Hamish Bowles. The exhibition explores Balenciaga’s expansive creativity and is the first to focus on the impact of Spain’s art, bullfighting, dance, regional costume, and the pageantry of the royal court and religious ceremonies. Pieces were selected from Balenciaga’s archives in France, private collections, the Costume Institute of the Metropolitan Museum, the Victoria and Albert Museum, as well as from the FAMSF’s immense collection of over 12,000 textiles.
Hamish Bowles, “Balenciaga and Spain: Cristóbal Balenciaga and the Power of the Spanish Identity” Hamish Bowles, fashion journalist, is the European editor at large for the American edition of Vogue. A graduate of the Saint Martin’s School of Art and Design, Bowles worked as a fashion editor and style director for Harpers and Queen from 1984 until 1992 and then joined Vogue in 1992.
Bowles is author and co-author of several books including Vogue Living: Houses, Gardens, People; Philip Treacy: “When I Met Isabella”; and Carolina Herrera: Portrait of a Fashion Icon. He also served as curator for the landmark exhibition Jacqueline Kennedy: The White House Years and as guest curator for Balenciaga and Spain.
Miren Arzalluz, ”Cristóbal Balenciaga. The Making of the Master (1895–1936)”
Miren Arzalluz studied History at the University of Deusto (Spain) and Comparative Politics at the London School of Economics before specializing in the history of dress and fashion at the Courtauld Institute of Art. After working in various British museums, such as the V&A and Kensington Palace, she became curator at the Balenciaga Foundation in 2007. Her research covers the history of fashionable dress on the 20th century with particular emphasis on the life and work of Balenciaga. She has recently published the book Cristóbal Balenciaga. La Forja del Maestro (1895–1936), which focuses on the life and professional development of Balenciaga before establishing his haute couture house in Paris, and she is currently working on the permanent exhibition and catalogue of the new Balenciaga Museum project in Getaria, the couturier´s hometown.
Lourdes Font, “Austere Splendor: Balenciaga’s Legacy of Spanish Court Costume”
This talk is a survey of costume at the Spanish court from the late 15th c. to the late 18th c. as seen in royal and aristocratic portraits, making connections with surviving garments and accessories and tracing the influence of this legacy on Balenciaga’s designs.
Lourdes Font is associate professor in the department of History of Art and in the M.A. program for Fashion and Textile Studies at the Fashion Institute of Technology. Among her recent publications are Fashion and Visual Art. Font is the co-editor of and contributor to the Grove Dictionary of Art Online. She has also contributed articles and essays to West 86: A Journal of Decorative Arts, Design History, and Material Culture, to the Cooper-Hewitt Museum’s exhibition catalogue Fashion in Colors, and to Fashion Theory.
Pamela Golbin, “Balenciaga’s Designs and Development (1937–1968)”
Pamela Goblin, chief curator of the Musée de la Mode et du Textile at the Louvre in Paris, is an internationally renowned figure in the fashion industry with extensive historical knowledge of cultural and design issues. She is a leading expert in contemporary fashion and has organized landmark exhibitions worldwide. Ms. Golbin has organized more than fifteen exhibitions, including major retrospectives on iconic fashions legends such as Balenciaga and Valentino. Her latest exhibition was an award-winning retrospective of Madeleine Vionnet.
To sign up for the Balenciaga and Spain symposium, click here and you will be directed to the FORA.tv’s webpage. The pay-per-view symposium streams live this saturday at 1 PM and is available for unlimited viewing until the exhibition closes.
Details: The de Young Museum is located at 50 Hagiwara Tea Garden Drive in Golden Gate Park, San Francisco, CA. Admission to Balenciaga and Spain is $25 adults and free for members and children 5 and under. There is a $5 discount for purchasing tickets in advance. Ticket includes admission to the special exhibition Olmec: Colossal Masterworks of Ancient Mexico through May 8, 2011.
For a complete listing of the numerous special events associated with the exhibition visit its webpage Balenciaga and Spain.