Exhibiting fashion on the heritage site: the interrelation between body, heritage space, and fashionable clothing

Traditional fashion studies often focus on production, consumption, and identity. However, the increasing exhibition of fashion in museums necessitates a shift towards fashion museology, which emphasizes the curatorial space's role in shaping audience experience. This article argues for a move beyond visual sensibility to encompass the haptic dimensions of this experience, particularly within heritage sites. These sites possess unique cultural residuals and historical meanings, transforming the viewing experience into a performative event. The authors propose that bodily movement within the heritage space articulates the cultural meaning of the displayed clothing, creating a hybrid space where the past and present intertwine. They advocate for an inclusive museum model, accessible to diverse audiences through bodily engagement, creating a democratic and interactive experience.

The literature review traces the evolution of fashion studies from analyzing clothing as material artifacts reflecting cultural identity (ethnicity, social status, etc.) to the current focus on fashion as a system, identity, and practice. It notes the growing trend of exhibiting fashion in museums, differentiating between traditional "dress museology" (emphasizing historical representation) and contemporary "fashion museology" (prioritizing atmosphere and audience engagement). The review highlights the shift from the visual to the haptic dimension of audience experience, acknowledging the often-overlooked tactile engagement with displayed garments. This haptic experience within the heritage site adds a layer of immediacy and multisensory engagement, enriching the understanding of the displayed clothing and its cultural context.

The research employs ethnographic methods, combining participant observation and archival research. Two case studies are presented: (1) Pierre Cardin's 1979 runway show in Beijing, analyzed through archival materials (photography and texts) from the National Library of China; and (2) the 2013 *Peking Express* exhibition at the Beijing Temple of Confucius, where one author was directly involved in the curation. For *Peking Express*, autoethnography is employed, utilizing the authors' personal experiences and observations (documented through photography) to understand the cultural and social meanings of the heritage site as a curatorial space. The selection of these two cases allows for a comparative analysis of direct versus indirect bodily engagement in fashion exhibitions within heritage settings, highlighting the body's role as designer, curator, audience, and researcher.

The analysis of Pierre Cardin's 1979 show reveals the significant role of audience engagement in its success. The show's vibrant colors and gendered styles, contrasting with the prevailing monochromatic Mao suits, created a powerful cultural and political statement. The audience's bodily presence and emotional response were integral to the show's impact, transforming it from a mere visual spectacle into a culturally embodied event. The *Peking Express* exhibition, held within the Beijing Temple of Confucius, illustrates the potential of haptic experience in fashion museology. The curatorial design actively encouraged bodily interaction, placing garments alongside stone tablets inscribed with Confucian classics. This juxtaposition fostered a multisensory encounter, prompting visitors to move around and touch the displayed clothing, creating an intimate and inclusive experience. The tactile interaction with both the garments and the heritage space itself generated a unique spatial storytelling, blurring the boundaries between past and present. This approach counters traditional museum practices that often isolate artifacts, emphasizing the importance of bodily involvement for a richer understanding of the cultural significance of fashion.

The findings demonstrate that fashion exhibitions in heritage sites offer a unique opportunity to create inclusive and engaging museum experiences. By shifting focus from purely visual appreciation to multisensory engagement, these exhibitions foster a deeper understanding of the cultural and historical significance of clothing. The dynamic interplay between heritage space, bodily movement, and displayed garments generates a powerful narrative, recontextualizing both the fashion and the site itself. The case studies suggest that curatorial strategies that actively encourage haptic experience can enhance the audience's understanding and appreciation of the exhibited artifacts, prompting a more meaningful and personally relevant experience. This approach aligns with the concept of an "inclusive museum," accessible to a wide range of audiences regardless of their backgrounds.

This research contributes to fashion museology by emphasizing the importance of haptic experience and bodily engagement in creating meaningful fashion exhibitions within heritage spaces. The study showcases how the interplay between the displayed clothing, the heritage setting, and the visitor's bodily interactions co-creates a dynamic and inclusive museum experience. Future research could explore similar approaches in diverse cultural contexts and investigate how digital technologies can further enhance the multisensory engagement of such exhibitions.

The study is limited by its focus on two specific case studies in the Chinese context. While these cases provide rich insights, further research is needed to generalize the findings to other cultural settings and types of fashion exhibitions. The autoethnographic approach, while valuable, introduces a degree of subjectivity that may influence the interpretations.