tag:blogger.com,1999:blog-41407828155886729222024-03-19T02:47:57.900-07:00DESIGN and ART MAGAZINEEDITOR: JEANNE-MARIE CILENTOhttp://www.blogger.com/profile/14670620493771232966noreply@blogger.comBlogger376125tag:blogger.com,1999:blog-4140782815588672922.post-73749306832222611682024-03-18T20:01:00.000-07:002024-03-19T02:47:25.183-07:00The Art of Alchemy: Yuima Nakazato's Couture Evolution Exploring the Past, Creating the Future<p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3NV6OpRuOGzyS084aOOQemc4n9Sa8KYPZdy9KnzbcdZvjmhMfl9dGsY4ByDv4gTKf2LAzcHpU-QiDA8sqJ4Tg07Rd-SCSYkSvjvI72dDuy9uCCYmU4OYpCvEDCaZjToZifVjOVHkfuWZpOig0HiI7KI_oSWaS-Qnjo5ILZ7JoEE6Q2MrLa7JnFmGWlXQ/s700/DAM%20DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20PARIS%20HAUTE%20COUTURE%20SPRING%20SUMMER%202024%20%20%20050%C2%A9Elli_Ioannou_NAKAZATO.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="495" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3NV6OpRuOGzyS084aOOQemc4n9Sa8KYPZdy9KnzbcdZvjmhMfl9dGsY4ByDv4gTKf2LAzcHpU-QiDA8sqJ4Tg07Rd-SCSYkSvjvI72dDuy9uCCYmU4OYpCvEDCaZjToZifVjOVHkfuWZpOig0HiI7KI_oSWaS-Qnjo5ILZ7JoEE6Q2MrLa7JnFmGWlXQ/s16000/DAM%20DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20PARIS%20HAUTE%20COUTURE%20SPRING%20SUMMER%202024%20%20%20050%C2%A9Elli_Ioannou_NAKAZATO.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="color: #666666;"><i>The intensity and lyricism of Yuima Nakazato's Utakata haute couture show in Paris. Cover picture and photograph (above) by Elli Ioannou for DAM</i></span><i><br /></i></td></tr></tbody></table><i><br /></i><span style="font-size: x-large;"><b>It's already been an exciting year for Yuima Nakazato, he presented a celebrated show at Paris haute couture week in January, he designed the costumes for Mozart's Idomeneo which premiered at the Geneva Opera House in February and an exhibition about his work opens this summer in France. The Japanese couturier talks about his creative ideas as we look back at the highlights of the Spring/Summer 2024 collection. Story by<i> Jeanne-Marie Cilento</i>. Reporting by <i>Antonio Visconti</i>. Photography by <i>Elli Ioannou</i> and <i>Andrea Heinsohn</i></b></span><p></p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal"></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIkEXHzsXcx9XkiZFBlwZHzIsi5xtQ-F52PwC3RuAyMR-JnGKwVPM2LnBgfxnvKV9fx6rwkuSg4rzsrd651sgFKcRQKtssmsnjzACArmlqvbKeXNPoIMqPbcmTHJpfJJSUuqrJ3_XqC8AHC_czPwAdb_CG3_GID8eW_P6MjBg_eEr4uLwmUkTkOo50nLM/s700/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20PARIS%20HAUTE%20COUTURE%20SPRING%20SUMMER%202024%20%20%20%C2%A9Elli_Ioannou_NAKAZATO.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="531" data-original-width="700" height="304" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIkEXHzsXcx9XkiZFBlwZHzIsi5xtQ-F52PwC3RuAyMR-JnGKwVPM2LnBgfxnvKV9fx6rwkuSg4rzsrd651sgFKcRQKtssmsnjzACArmlqvbKeXNPoIMqPbcmTHJpfJJSUuqrJ3_XqC8AHC_czPwAdb_CG3_GID8eW_P6MjBg_eEr4uLwmUkTkOo50nLM/w400-h304/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20PARIS%20HAUTE%20COUTURE%20SPRING%20SUMMER%202024%20%20%20%C2%A9Elli_Ioannou_NAKAZATO.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: left;"><span style="color: #666666;"><i>Sculptural designs mix the diaphanous with <br />the dramatic. evoking a new urban armour. <br />Photograph: Elli Ioannou</i><br /><br /></span></td></tr></tbody></table><div><b><span>Y</span><span>uima Nakazato</span></b><span style="font-weight: 400;"> transforms textiles into lyrical poetry and creates designs that elicit potent emotion. Like an alchemist of fashion, he manages to </span><span style="font-weight: 400;">infuse his creations with a spirit that resonates beyond the confines of the runway.</span></div><div style="font-weight: bold;"><br /></div><div>Set against the backdrop of Mozart's <i>Idomeneo </i>and the haunting landscapes of Crete, Nakazato's new collection, <i>Utakata, </i>merges the realms of fashion, art, and performance
to explore history, and the development of couture. </div><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">“In the process of creating this collection, I came across
the Japanese word <i>utakata</i>, which means 'ephemeral,' " he explains. “This word
seemed to express the exact opposite of the trend seen in the evolution of
men's clothing, where functionality and durability are increasingly valued and prioritized. </p><p class="MsoNormal">"What I wanted to convey was a sort of
ephemeral armour, much like a delicate bubble formed on the surface of the
water, capable of vanishing in the blink of an eye. This approach also
represents a release from or renunciation of battle.”</p><p class="MsoNormal"><b><span style="font-size: x-large;"><i>Like an alchemist, the designer transforms textiles into poetry and creates designs that elicit strong emotion</i></span></b></p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal"></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2I-wKk3gKE1OlKFDplfi1h8LyLa3OnkSC-ZQrSmV4cpQULJIH3Mg7y_SXfsacaunXYwHnM-m5x8ahqsYL7qE8_HME4x8He6xqykSdo9kuwWtaPNbdj460UVK3sSm2GgwsqQPBRkFA5PWqQwMk3ZGNlhjvsEJnMwXNvNY5jLpqTG_W5IfuvghQw82IJ5U/s700/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20PARIS%20HAUTE%20COUTURE%20SPRING%20SUMMER%202024%20%C2%A9Elli_Ioannou_NAKAZATO.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="542" data-original-width="700" height="310" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2I-wKk3gKE1OlKFDplfi1h8LyLa3OnkSC-ZQrSmV4cpQULJIH3Mg7y_SXfsacaunXYwHnM-m5x8ahqsYL7qE8_HME4x8He6xqykSdo9kuwWtaPNbdj460UVK3sSm2GgwsqQPBRkFA5PWqQwMk3ZGNlhjvsEJnMwXNvNY5jLpqTG_W5IfuvghQw82IJ5U/w400-h310/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20PARIS%20HAUTE%20COUTURE%20SPRING%20SUMMER%202024%20%C2%A9Elli_Ioannou_NAKAZATO.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><div style="text-align: right;"><span style="color: #666666;"><i>Voluminous fabrics and striking abstract patterns </i></span></div><div style="text-align: right;"><span style="color: #666666;"><i>heightened the potent impact of the collection.</i></span></div><div style="text-align: right;"><span style="color: #666666;"><i>Photograph: Elli Ioannou</i></span></div></td></tr></tbody></table>At the heart of Nakazato's collection lies a reverence for
the past, entwined with an exploration of the future. <p></p><p class="MsoNormal">Inspired by the
ancient allure of Crete and the enduring legacy of Mozart's 1781 opera, the designer embarked on a quest to reinterpret history through the prism of contemporary consciousness and explore the composer's tale of human suffering from the disasters of the ancient Greek wars. </p><p class="MsoNormal">For the opera and ballet at Switzerland’s Grand Théâtre de Genève, he designed scintillating costumes, working with the Belgian choreographer and director Sidi Larbi Cherkaoui. "This show was created together with Sidi Larbi Cherkaoui as a sort of a non-verbal communication with modern society," the designer says. "There are no set answers, and the collection allows for various interpretations."</p><p class="MsoNormal">The odyssey of his creative trajectory took Nakazato from the shores of the Mediterranean to the hallowed halls of the Musée de l'Armée in Paris, where he unearthed the relics of antiquity with a discerning eye. What emerges from this journey is a tapestry of contradictions, where strength and vulnerability converge in a delicate dance of contrasts.</p><p class="MsoNormal"><span style="font-size: x-large;"><b><i>The odyssey of his creative trajectory took Nakazato from the shores of the Mediterranean to the hallowed halls of the Musée de l'Armée in Paris</i></b></span></p>
<p class="MsoNormal"></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1eCnsshG2B4HyVkEBOfp0yabj7TguTJZ_989lqBNF2hPg9Ie2GW5Uj1PQWyovHvIXNvS3VwLbZppDO9aiMNNxX6OpW8pLpCwZ3zkWSMMd7CQlaO9HICMTwjFBQBXGc4G-1imxKMCcNNoUvjJO1sMo7jCuzaQq36de3YA269QoYtiKF56RKObEe51dCq8/s700/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20PARIS%20HAUTE%20COUTURE%20SPRING%20SUMMER%202024%20%20@Andrea_Heinsohn_Yuima-Nakazato-29.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="525" data-original-width="700" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1eCnsshG2B4HyVkEBOfp0yabj7TguTJZ_989lqBNF2hPg9Ie2GW5Uj1PQWyovHvIXNvS3VwLbZppDO9aiMNNxX6OpW8pLpCwZ3zkWSMMd7CQlaO9HICMTwjFBQBXGc4G-1imxKMCcNNoUvjJO1sMo7jCuzaQq36de3YA269QoYtiKF56RKObEe51dCq8/w400-h300/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20PARIS%20HAUTE%20COUTURE%20SPRING%20SUMMER%202024%20%20@Andrea_Heinsohn_Yuima-Nakazato-29.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><div style="text-align: left;"><span style="color: #666666;"><i>Long, origami-like tunics adorned with </i></span></div><div style="text-align: left;"><span style="color: #666666;"><i>silvery, sculpted details elucidated the idea</i></span></div><div style="text-align: left;"><span style="color: #666666;"><i>of Nakazato's 'ephemeral armour.'</i></span></div><div style="text-align: left;"><i style="color: #666666;">Photograph: Andrea Heinsohn</i></div><br /></td></tr></tbody></table>“While designing the costumes for this opera, I visited
Crete, the Greek island in the Mediterranean where the story of Idomeneo
takes place,” remarks the designer. <p></p><p class="MsoNormal">“With a vista of transparent, turquoise
blue seas and groves of olive trees spread before me, I imagined the Trojan War
as it took place in this beautiful scenery during the Minoan civilization. </p><p class="MsoNormal">"These reflections led me to reconsider the state of our modern society
thousands of years later, which then became the starting point for this
collection."</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">The 'ephemeral armour' speaks to a new
paradigm of masculinity, one that embraces sensitivity and grace amid the chaos
of modernity. Each garment, painstakingly crafted from reclaimed textiles and
adorned with dramatic ceramics, is a testament to the
enduring power of real artistry in an age of transience.<o:p></o:p></p>
<p class="MsoNormal">“During my research, I was struck by the appearance of armour
from this period excavated from ancient ruins," Nakazato says. "It was so beautiful that I could
scarcely believe it had been designed for combat. I found myself wondering why
beauty was necessary for a garment intended for use in war. <o:p></o:p></p><p class="MsoNormal"><b><i><span style="font-size: x-large;">The collection's 'ephemeral armour' speaks to a new paradigm of masculinity that embraces sensitivity and grace amid the chaos of modernity</span></i></b></p>
<p class="MsoNormal"></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirvm-Zvymi0swdpGTLv_KzhoN_xQiclK6Px_8rWUYyNYDv6xA_z5hD0s0nqjymW59VAHF2el5t7VO-T_6uUWb1CaqRTv7embEEM3c57515Ap01933lTPW64NO0xsTVBqjjWR-ykYxwTL7dpexzju93lB8f2GSJtK47KKx6Ht4-K5R6vczhmWN1L79gWjs/s710/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20PARIS%20HAUTE%20COUTURE%20SPRING%20SUMMER%202024%20%20@Andrea_Heinsohn_Yuima-Nakazato-64.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="710" data-original-width="700" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirvm-Zvymi0swdpGTLv_KzhoN_xQiclK6Px_8rWUYyNYDv6xA_z5hD0s0nqjymW59VAHF2el5t7VO-T_6uUWb1CaqRTv7embEEM3c57515Ap01933lTPW64NO0xsTVBqjjWR-ykYxwTL7dpexzju93lB8f2GSJtK47KKx6Ht4-K5R6vczhmWN1L79gWjs/w394-h400/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20PARIS%20HAUTE%20COUTURE%20SPRING%20SUMMER%202024%20%20@Andrea_Heinsohn_Yuima-Nakazato-64.jpg" width="394" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><div style="text-align: right;"><span style="color: #666666;"><i>Pan Aran Gimeno on the runway with his </i></span></div><div style="text-align: right;"><span style="color: #666666;"><i>'blood-</i></span><i style="color: #666666;">soaked' feet leaving a poignant trail. </i></div><div style="text-align: right;"><i style="color: #666666;">Photograph: Andrea Heinsohn</i></div><br /><br /></td></tr></tbody></table>“Seeking answers, I visited the Musée de l'Armée in Paris to
investigate the evolution of men's clothing over the past 5,000 years. I
noticed that the decorative elements of battle wear are gradually eliminated as
societies grow more civilized and technology continues to develop. <p></p><p class="MsoNormal">"As a result,
repeated advances in functionality and rationality have culminated in the
current style of military wear. Interestingly, these garments have served as
prototypes for much of the clothing we wear today.”<o:p></o:p></p>
<p class="MsoNormal">As the models traversed the runway at Paris' Palais de Tokyo, accompanied by
the haunting strains of Tsubasa Hori's piano and the writhing movements of dancer Pau
Aran Gimeno, the audience was enthralled. </p><p class="MsoNormal">Nakazato's designs with their
sculptural silhouettes and intricate detailing, which invite contemplation and
introspection, evoke a visceral response in the viewer. Gimeno, dressed all in diaphanous white, stepped into centre of the red pool, and as he moved along the catwalk, he created seemingly bloodied footsteps.</p>
<p class="MsoNormal">Like all of his collections since he launched in 2016 on the official Paris haute couture schedule, Nakazato has made <i>Utakata</i> a manifesto for change, a call to arms for a
new era of sartorial expression. His commitment to sustainability and
innovation shines through all of his work, as he challenges the industry to
embrace a more conscious approach to producing and creating fashion. From his
pioneering use of fermented bacteria as compostable textiles to his revolutionary Type-1 system that does away with the needle and thread, Nakazato proves that fashion can be both visionary and
virtuous.</p><p class="MsoNormal"><b><span style="font-size: x-large;"><i>Utakata is a manifesto for change, a call to arms for a new era of sartorial expression that shows how fashion can be both visionary and virtuous</i></span></b></p>
<p class="MsoNormal"></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjme8xGaye_MF7BqxkZGXSQAtpaD25y3WkEwBonny5jLu7mDA7F3ggXDc44xt2DEtPjJLYya7Tes52EF8TTj1ldaP0wxDyVxqIZ9EtII7_01J7L3U7zaHSemmD-yNg8TYwR3_WtRH-XjS-NC-Z1hG-QB4z5XSLvqeUndDcSkZCNpCJTGSosRiwP4FByuIw/s1942/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20PARIS%20HAUTE%20COUTURE%20SPRING%20SUMMER%202024%20%20@Andrea_Heinsohn_Yuima-Nakazato-97.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1458" data-original-width="1942" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjme8xGaye_MF7BqxkZGXSQAtpaD25y3WkEwBonny5jLu7mDA7F3ggXDc44xt2DEtPjJLYya7Tes52EF8TTj1ldaP0wxDyVxqIZ9EtII7_01J7L3U7zaHSemmD-yNg8TYwR3_WtRH-XjS-NC-Z1hG-QB4z5XSLvqeUndDcSkZCNpCJTGSosRiwP4FByuIw/w400-h300/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20PARIS%20HAUTE%20COUTURE%20SPRING%20SUMMER%202024%20%20@Andrea_Heinsohn_Yuima-Nakazato-97.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><div style="text-align: left;"><span style="color: #666666;"><i>Designer Yuima Nakazato dips his brush into the </i></span></div><div style="text-align: left;"><span style="color: #666666;">r<i>ed pool at the finale of his show in Paris.</i></span></div><div style="text-align: left;"><span style="color: #666666;"><i>Photograph: Andrea Heinsohn</i></span></div></td></tr></tbody></table>In Paris, during the finale of the haute couture show at the
Palais de Tokyo, the designer ran out and dipped a brush into the blood-red pool at the heart of the catwalk. <div><br /></div><div>The audience erupted into applause, as he signed his name with a flourish on the white runway, amid the electric atmosphere created by the evocative collection, music and dance.</div><div><p></p><p class="MsoNormal">In our
transient world, Yuima Nakazato's creations show how art in fashion can not only inspire,
provoke and elevate the human spirit but also be a practical inspiration for
real change at the level of production and recycling. <o:p></o:p></p>
<p class="MsoNormal">“Through the contradictory existence of delicate, fragile
armour created by textiles shredded and reclaimed from worn-out uniforms and
workwear and decorated with ceramics, glass, and platinum, this collection
shows the evolution of clothing, " explains the couturier. "It is also an
attempt to fuse the delicate and fragile handwork elements of couture with the evolutionary path followed by men's clothing that has
continued since ancient times."</p>
<p class="MsoNormal">In the months to come, as Nakazato prepares for the premiere of his
first exhibition <i>Yuima Nakazato, Beyond Couture</i>, at the Cité de la Dentelle et de la Mode in Calais, and pushes the boundaries of couture, his work continues to be a beacon of innovation, creativity, and
above all, beauty. For in the fleeting moments of <i>Ukataka </i>and in the enduring collection of his designs, we glimpse the essence of fashion at its artistic best.</p><p class="MsoNormal" style="text-align: center;"><span style="color: #666666;"><i>See more highlights from Yuima Nakazato's Utakata SS24 Collection below.</i></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKuU9E_6sLqsYdReEyOFATjbC69Frl3-OSLw7D8Fo43ToaG3xj0x6Qo_xAkY4LXGDxgC9pSG0_Lyn44j-OPgetipotjz1T2Qc7oxLvYUDW1bw2E7h0LEeOiS1YbWbGC3T9Q2Z5wBYIVVUT83PaRjUojCJBhvaGQygG8EFqgSaqyQOZ2vlpUHHpwmnm8mY/s882/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20PARIS%20HAUTE%20COUTURE%20SPRING%20SUMMER%202024%20@Andrea_Heinsohn_Yuima-Nakazato-57.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="882" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKuU9E_6sLqsYdReEyOFATjbC69Frl3-OSLw7D8Fo43ToaG3xj0x6Qo_xAkY4LXGDxgC9pSG0_Lyn44j-OPgetipotjz1T2Qc7oxLvYUDW1bw2E7h0LEeOiS1YbWbGC3T9Q2Z5wBYIVVUT83PaRjUojCJBhvaGQygG8EFqgSaqyQOZ2vlpUHHpwmnm8mY/s16000/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20PARIS%20HAUTE%20COUTURE%20SPRING%20SUMMER%202024%20@Andrea_Heinsohn_Yuima-Nakazato-57.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="color: #666666;"><i>Utataka, Yuima Nakazato, Paris Haute Couture Spring/Summer 2024. Photograph: Andrea Heinsohn</i></span></td></tr></tbody></table><br /><p class="MsoNormal"><br /></p><br /><p class="MsoNormal"><br /></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEht5uHFpbDHJZwahbV4y-bUM0SDIE6mLJANUj3xN7qSva7RervvGqyw9q483SCpxYhoTIWbUtCPNkWra5iFlcSugC6v9y_lEqkTd98exTcAl-f29vJeaIdZt0ZZk-1JnzpQQkKy8OWFe_kFWxHNaeKtD0lz6hsJHclVn-ke6Q2G9TesFXHtWXVS7T7IpWw/s1050/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20PARIS%20HAUTE%20COUTURE%20SPRING%20SUMMER%202024%20%20%C2%A9Elli_Ioannou_NAKAZATO.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1050" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEht5uHFpbDHJZwahbV4y-bUM0SDIE6mLJANUj3xN7qSva7RervvGqyw9q483SCpxYhoTIWbUtCPNkWra5iFlcSugC6v9y_lEqkTd98exTcAl-f29vJeaIdZt0ZZk-1JnzpQQkKy8OWFe_kFWxHNaeKtD0lz6hsJHclVn-ke6Q2G9TesFXHtWXVS7T7IpWw/s16000/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20PARIS%20HAUTE%20COUTURE%20SPRING%20SUMMER%202024%20%20%C2%A9Elli_Ioannou_NAKAZATO.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="color: #666666;"><i>Utakata, Yuima Nakazato, Paris Haute Couture, Spring/Summer 2024. Photograph: Elli Ioannou<span> </span></i></span></td></tr></tbody></table><br /><p class="MsoNormal"><br /></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCmVXtp8EuHZLq2svFGRrCcKhKhFRz2sEopvtO20gN0HGKY05jlxwvRJl3KwImNB0x8oXo6IKwqiucJ8pWp3t4P23n9NzEtFkizo1TDddnOV84b3KdqEWn-3d9xgeRKoFqImERMwyMRnKAWuqjn3CRrpYMmH20-STN_peRJ3jd_0GUmIiUPg-xtaB-SGw/s990/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20PARIS%20HAUTE%20COUTURE%20SPRING%20SUMMER%202024%20%20SS24@Andrea_Heinsohn_Yuima-Nakazato-43.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="990" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCmVXtp8EuHZLq2svFGRrCcKhKhFRz2sEopvtO20gN0HGKY05jlxwvRJl3KwImNB0x8oXo6IKwqiucJ8pWp3t4P23n9NzEtFkizo1TDddnOV84b3KdqEWn-3d9xgeRKoFqImERMwyMRnKAWuqjn3CRrpYMmH20-STN_peRJ3jd_0GUmIiUPg-xtaB-SGw/s16000/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20PARIS%20HAUTE%20COUTURE%20SPRING%20SUMMER%202024%20%20SS24@Andrea_Heinsohn_Yuima-Nakazato-43.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="color: #666666;"><i>Utakata,<span> Yuima Nakazato, Paris Haute Couture, Spring/Summer 2024. Photograph: Andrea Heinsohn</span></i></span></td></tr></tbody></table><br /><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg61ookLvEvpeZEMg0dhY0ZgiBtJbmhS03bx6yzr-vlG_ca4xB-IdgH7qRvEP4uCaNtfYzeQzyiXH3Yb6C2NBRAHu1ZPu3zv5iltCupbp6wqoelRWgEGFoZwRGkaBcqlykTrMUZMhBw9zhbP0kT81qSIZtFz6TgUEp-5Uz5JogJWt_OI8ce6b3i0GJneNE/s978/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20PARIS%20HAUTE%20COUTURE%20SPRING%20SUMMER%202024%20%20@Andrea_Heinsohn_Yuima-Nakazato-74.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="978" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg61ookLvEvpeZEMg0dhY0ZgiBtJbmhS03bx6yzr-vlG_ca4xB-IdgH7qRvEP4uCaNtfYzeQzyiXH3Yb6C2NBRAHu1ZPu3zv5iltCupbp6wqoelRWgEGFoZwRGkaBcqlykTrMUZMhBw9zhbP0kT81qSIZtFz6TgUEp-5Uz5JogJWt_OI8ce6b3i0GJneNE/s16000/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20PARIS%20HAUTE%20COUTURE%20SPRING%20SUMMER%202024%20%20@Andrea_Heinsohn_Yuima-Nakazato-74.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="color: #666666;"><i>Utakata, Yuima Nakazato, Paris Haute Couture, Spring/Summer 2024. Photograph: Andrea Heinsohn</i></span></td></tr></tbody></table><br /><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkMWGQ7XvSZoNAFMteNdOcyGhiEFTN0za8YwcfmbM4OLyadjtErZpjBqDsIJfqqok8hWFUYrit7jdC8YmgugkRJmcUHFRmZu5GY-owBNkNG0S7PgPpx8DD4e_BT_nVw5DWLRrqSf4piMKL6b8ZpU7w4IuKf1Po6i6HhjMiRtX0332SnOv-gqPEsBKI9v4/s700/DAM%20DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20PARIS%20HAUTE%20COUTURE%20SPRING%20SUMMER%202024%20%20@Andrea_Heinsohn_Yuima-Nakazato-84.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="467" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkMWGQ7XvSZoNAFMteNdOcyGhiEFTN0za8YwcfmbM4OLyadjtErZpjBqDsIJfqqok8hWFUYrit7jdC8YmgugkRJmcUHFRmZu5GY-owBNkNG0S7PgPpx8DD4e_BT_nVw5DWLRrqSf4piMKL6b8ZpU7w4IuKf1Po6i6HhjMiRtX0332SnOv-gqPEsBKI9v4/s16000/DAM%20DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20PARIS%20HAUTE%20COUTURE%20SPRING%20SUMMER%202024%20%20@Andrea_Heinsohn_Yuima-Nakazato-84.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="color: #666666;"><i>Utakata, Yuima Nakazato, Paris Haute Couture, Spring/Summer 2024. Photograph: Andrea Heinsohn</i></span></td></tr></tbody></table><br /><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjh1FPgeG0KgvyqcOF8lR2i_2ZeZwIQz9Dp0Hxam1lqN00Fo-16Wt3NQFqhiU1xAG3_0lQNhQu5wZLfsshoKCFuoyGBvrFsalqaOZW258X7Q-snq-H7s_SX5YkGt4LlJjvHD-lPVb7LTOcsi5EKZ6_cJt3KtjF3Pe9vnm2QAwXRPKSeigSnEPhyphenhyphenJb2K74c/s942/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20PARIS%20HAUTE%20COUTURE%20SPRING%20SUMMER%202024%20%20@Andrea_Heinsohn_Yuima-Nakazato-37.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="942" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjh1FPgeG0KgvyqcOF8lR2i_2ZeZwIQz9Dp0Hxam1lqN00Fo-16Wt3NQFqhiU1xAG3_0lQNhQu5wZLfsshoKCFuoyGBvrFsalqaOZW258X7Q-snq-H7s_SX5YkGt4LlJjvHD-lPVb7LTOcsi5EKZ6_cJt3KtjF3Pe9vnm2QAwXRPKSeigSnEPhyphenhyphenJb2K74c/s16000/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20PARIS%20HAUTE%20COUTURE%20SPRING%20SUMMER%202024%20%20@Andrea_Heinsohn_Yuima-Nakazato-37.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i><span style="color: #666666;">Utakata, Yuima Nakazato, Paris Haute Couture, Spring/Summer 2024. Photograph: Andrea Heinsohn</span></i></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOmF1ET9SRnCOwoxlvilGadD9lrZrLaaF8zA1DM68pHNw2h6Z88oHyBidFd5c2IQkUf4QPLyBZSqidvB24VLopC7scgHSkkj8ZLrDQ7o-9p3-uWItnblxp9jVen1-cI8h3Hb0HX3rRIBWprSQS4VlxwTiutru3jv1YjBHXlnOKz4bxKh1Fh_oo_D_Z8hg/s975/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20PARIS%20HAUTE%20COUTURE%20SPRING%20SUMMER%202024%20%20@Andrea_Heinsohn_Yuima-Nakazato-4.jpg" style="clear: left; display: inline; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="975" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOmF1ET9SRnCOwoxlvilGadD9lrZrLaaF8zA1DM68pHNw2h6Z88oHyBidFd5c2IQkUf4QPLyBZSqidvB24VLopC7scgHSkkj8ZLrDQ7o-9p3-uWItnblxp9jVen1-cI8h3Hb0HX3rRIBWprSQS4VlxwTiutru3jv1YjBHXlnOKz4bxKh1Fh_oo_D_Z8hg/s16000/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20PARIS%20HAUTE%20COUTURE%20SPRING%20SUMMER%202024%20%20@Andrea_Heinsohn_Yuima-Nakazato-4.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="color: #666666;"><i>Utakata, Yuima Nakazato, Paris Haute Couture, Spring/Summer 2024. Photograph: Andrea Heinsohn</i></span></td></tr></tbody></table><br /><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBI3STdZHO4xOsiwcw4tN3cc6ltmEO-rkNqxqxjRx-oIRj2SSFwyT8KL-9I8dhBhWRlDYDJ94-K88gxhWCLZm45gRSo7wXU0TwWDa002xwwlvlAol0GHBCKR9xxJFgCF8GVeCex_R1ceP0AgB65SaoMQZSUi80BOM5pu4k2XCkdRbqZ8f6yS1O0XbJQOA/s982/@Andrea_Heinsohn_Yuima-Nakazato-23.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="982" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBI3STdZHO4xOsiwcw4tN3cc6ltmEO-rkNqxqxjRx-oIRj2SSFwyT8KL-9I8dhBhWRlDYDJ94-K88gxhWCLZm45gRSo7wXU0TwWDa002xwwlvlAol0GHBCKR9xxJFgCF8GVeCex_R1ceP0AgB65SaoMQZSUi80BOM5pu4k2XCkdRbqZ8f6yS1O0XbJQOA/s16000/@Andrea_Heinsohn_Yuima-Nakazato-23.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="color: #666666;"><i>Utakata, Yuima Nakazato, Paris Haute Couture, Spring/Summer 2024. Photograph: Andrea Heinsohn</i></span></td></tr></tbody></table><br /><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzeHW8a11EC9sKDWFolr_wTW3M6egrsB5GARfz0BMrbyg79Yg_p8I1a5KV77XoL_Y7VTfJ0f82VrStAFdwi4g5Kspkq-6l8G05N_KO7SltbfoIZg__T_vREw1DiylidO19tpg5UmaJZbIQxfqr2jteU-t9HHoJLSanCzJLkJhKskNPT5llXz3dOLxjudU/s934/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20PARIS%20HAUTE%20COUTURE%20SPRING%20SUMMER%202024%20%20014%C2%A9Elli_Ioannou_NAKAZATO.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="934" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzeHW8a11EC9sKDWFolr_wTW3M6egrsB5GARfz0BMrbyg79Yg_p8I1a5KV77XoL_Y7VTfJ0f82VrStAFdwi4g5Kspkq-6l8G05N_KO7SltbfoIZg__T_vREw1DiylidO19tpg5UmaJZbIQxfqr2jteU-t9HHoJLSanCzJLkJhKskNPT5llXz3dOLxjudU/s16000/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20PARIS%20HAUTE%20COUTURE%20SPRING%20SUMMER%202024%20%20014%C2%A9Elli_Ioannou_NAKAZATO.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="color: #666666;"><i>Utakata,Yuima Nakazato, Paris Haute Couture, Spring/Summer 2024. Photograph: Elli Ioannou</i></span></td></tr></tbody></table><br /><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtN9KlGDR_xy5vDgw6mnkj9D_MBNqCvm2V859Thudk0b-Hy58JnXhWRNgOhSfwX6P8KSc65DwjmtOj6SwBIwcqdTudPBlJwjW_EdYif-xkAIDsbV9w0serErVOARrUhOEeYOh-NL9D09Iyq9R6eGU8UrHUyx4gg-1pEYSzpFk5HTfWcuiZtb50f6MMnaw/s700/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20PARIS%20HAUTE%20COUTURE%20SPRING%20SUMMER%202024%20%20028%C2%A9Elli_Ioannou_NAKAZATO.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="467" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtN9KlGDR_xy5vDgw6mnkj9D_MBNqCvm2V859Thudk0b-Hy58JnXhWRNgOhSfwX6P8KSc65DwjmtOj6SwBIwcqdTudPBlJwjW_EdYif-xkAIDsbV9w0serErVOARrUhOEeYOh-NL9D09Iyq9R6eGU8UrHUyx4gg-1pEYSzpFk5HTfWcuiZtb50f6MMnaw/s16000/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20PARIS%20HAUTE%20COUTURE%20SPRING%20SUMMER%202024%20%20028%C2%A9Elli_Ioannou_NAKAZATO.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="color: #666666;"><i>Utakata, Yuima Nakazato, Paris Haute Couture, Spring/Summer 2024. Photograph: Elli Ioannou</i></span></td></tr></tbody></table><br /><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDp8RfVi6RvCsNqpyrWvqMbbl4WkuIT81pixNYBJoih9Um2BacG0GcovXbgFwiEXu-hHB7lLS0iS3pDfbUnKfviwETnVG9ryz-8R93vIyA-qdVu_B5vRmRGfrr14-sXWJpXC8SaEKpxcMScVGjdhyAXAiFh8T4qksm5b0-6hXwqWp32Dg9X5P_3LH1p8s/s1066/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20PARIS%20HAUTE%20COUTURE%20SPRING%20SUMMER%202024%20%20036%C2%A9Elli_Ioannou_NAKAZATO.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1066" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDp8RfVi6RvCsNqpyrWvqMbbl4WkuIT81pixNYBJoih9Um2BacG0GcovXbgFwiEXu-hHB7lLS0iS3pDfbUnKfviwETnVG9ryz-8R93vIyA-qdVu_B5vRmRGfrr14-sXWJpXC8SaEKpxcMScVGjdhyAXAiFh8T4qksm5b0-6hXwqWp32Dg9X5P_3LH1p8s/s16000/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20PARIS%20HAUTE%20COUTURE%20SPRING%20SUMMER%202024%20%20036%C2%A9Elli_Ioannou_NAKAZATO.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="color: #666666;"><i>Utakata, Yuima Nakazato, Paris Haute Couture, Spring/Summer 2024. Photograph; Ell Ioannou</i></span></td></tr></tbody></table><br /><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7o4Rvq4aTKF1kFOEGQduw6-U7XlsgVbJQfihIN-fkesGTIiqy_KDl0wUjC26_2l3RbrkOnDWnmW-TAhgVEkHJtAbnRaljzbK79qEXzYzF-ZgOP9dFhgF4-U-UALDUTEpVYZc63iAEJEsFFxp6LtbVWCfamrRD5bkqD5CKNUuQRYqxaVGseWLpcpIo1Hk/s1051/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20PARIS%20HAUTE%20COUTURE%20SPRING%20SUMMER%202024%20%20009%C2%A9Elli_Ioannou_NAKAZATO.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1051" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7o4Rvq4aTKF1kFOEGQduw6-U7XlsgVbJQfihIN-fkesGTIiqy_KDl0wUjC26_2l3RbrkOnDWnmW-TAhgVEkHJtAbnRaljzbK79qEXzYzF-ZgOP9dFhgF4-U-UALDUTEpVYZc63iAEJEsFFxp6LtbVWCfamrRD5bkqD5CKNUuQRYqxaVGseWLpcpIo1Hk/s16000/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20PARIS%20HAUTE%20COUTURE%20SPRING%20SUMMER%202024%20%20009%C2%A9Elli_Ioannou_NAKAZATO.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="color: #666666;"><i>Utakata, Yuima Nakazato, Paris Haute Couture, Spring/Summer 2024. Photograph: Elli Ioannou</i></span></td></tr></tbody></table><br /><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMtfdv51SUAdYNgk7jHgatSjR7NcKtOv4GwKS_EbkITuNyaqMyO4_phyFLMD-aiuAYMSaniF_mBgrYcdRDoh5bXpzY350E7MJOZStb6sOoKERZGZS11Gq6N2UhleNoxhr6KcxU2jyv6sLLk0FQwmWEg7DL7_jkTBdU-mRalpR-CZIX-FQOV7-yTUqA8m0/s700/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20PARIS%20HAUTE%20COUTURE%20SPRING%20SUMMER%202024%20%20002%C2%A9Elli_Ioannou_NAKAZATO.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="467" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMtfdv51SUAdYNgk7jHgatSjR7NcKtOv4GwKS_EbkITuNyaqMyO4_phyFLMD-aiuAYMSaniF_mBgrYcdRDoh5bXpzY350E7MJOZStb6sOoKERZGZS11Gq6N2UhleNoxhr6KcxU2jyv6sLLk0FQwmWEg7DL7_jkTBdU-mRalpR-CZIX-FQOV7-yTUqA8m0/s16000/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20PARIS%20HAUTE%20COUTURE%20SPRING%20SUMMER%202024%20%20002%C2%A9Elli_Ioannou_NAKAZATO.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="color: #666666;"><i>Utakata, Yuima Nakazato, Paris Haute Couture, Spring/Summer 2024. Photograph: Elli Ioannou<br /></i><br /></span></td></tr></tbody></table><br /><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4tnnbIT75_LF-uaS6q8oohJGlEFkHXs0uGLCZnFfJ2rHo7798o28i0lTEWmoHkUM6TMaN0md5bH6cs80UVGVMxRFuf1dYjv1D0sNZ2_OHrRYW1AWxsDqcO0zHoQh36D8KtxNOHeziLRuSJRcjLqVCYqz1NU8uCA42CsMwLT5w8e6RqVL5rfvPi3ldwi8/s822/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20PARIS%20HAUTE%20COUTURE%20SPRING%20SUMMER%202024%20%20@Andrea_Heinsohn_Yuima-Nakazato-61.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="822" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4tnnbIT75_LF-uaS6q8oohJGlEFkHXs0uGLCZnFfJ2rHo7798o28i0lTEWmoHkUM6TMaN0md5bH6cs80UVGVMxRFuf1dYjv1D0sNZ2_OHrRYW1AWxsDqcO0zHoQh36D8KtxNOHeziLRuSJRcjLqVCYqz1NU8uCA42CsMwLT5w8e6RqVL5rfvPi3ldwi8/s16000/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20PARIS%20HAUTE%20COUTURE%20SPRING%20SUMMER%202024%20%20@Andrea_Heinsohn_Yuima-Nakazato-61.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="color: #666666;"><i>Utakata, Yuima Nakazato, Paris Haute Couture, Spring/Summer 2024. Photograph: Andrea Heinsohn</i></span></td></tr></tbody></table><br /><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigAep1Jv3AaQdm97tA2-HAMsyajvMDag8YNTIZrnHlIj1TbFd92KtJOMeid5X_PtFX0dpX3oNqXtt-40JGuz8CkV1F0-0hn_CCTM5maQOL0mKktN7m-ufR1bSeC7Nl5llH6aOIARixL8b3QPXl0d1ccUE3SkyxeB44XckXoLBNZO48Eyl0BVz5kfja12M/s700/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20PARIS%20HAUTE%20COUTURE%20SPRING%20SUMMER%202024%20@Andrea_Heinsohn_Yuima-Nakazato-66.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="587" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigAep1Jv3AaQdm97tA2-HAMsyajvMDag8YNTIZrnHlIj1TbFd92KtJOMeid5X_PtFX0dpX3oNqXtt-40JGuz8CkV1F0-0hn_CCTM5maQOL0mKktN7m-ufR1bSeC7Nl5llH6aOIARixL8b3QPXl0d1ccUE3SkyxeB44XckXoLBNZO48Eyl0BVz5kfja12M/s16000/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20PARIS%20HAUTE%20COUTURE%20SPRING%20SUMMER%202024%20@Andrea_Heinsohn_Yuima-Nakazato-66.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="color: #666666;"><i>Utakata, Yuima Nakazato, Paris Haute Couture, Spring/Summer 2024. Photograph; Andrea Heinsohn</i></span></td></tr></tbody></table><br /><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwXY0E1qlyacBKuhhux6Z3ZYEFvGcWDDH7zrgEpCcnDP2TmMVSVtQCn8SLVnlSpLBr9kP7G-qgPgqDysXtUWIxxvbUoqiuOM9XWT9HKRfjc589emeW8y42bvqNiN7P-CNq-IzwsULHOHFG4Q8jlgIhr9vAj7I5QNfjj6K0obcjo7ZFpHn48DGVG53NzIg/s700/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20PARIS%20HAUTE%20COUTURE%20SPRING%20SUMMER%202024%20%20@Andrea_Heinsohn_Yuima-Nakazato-102.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="467" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwXY0E1qlyacBKuhhux6Z3ZYEFvGcWDDH7zrgEpCcnDP2TmMVSVtQCn8SLVnlSpLBr9kP7G-qgPgqDysXtUWIxxvbUoqiuOM9XWT9HKRfjc589emeW8y42bvqNiN7P-CNq-IzwsULHOHFG4Q8jlgIhr9vAj7I5QNfjj6K0obcjo7ZFpHn48DGVG53NzIg/s16000/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20PARIS%20HAUTE%20COUTURE%20SPRING%20SUMMER%202024%20%20@Andrea_Heinsohn_Yuima-Nakazato-102.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="color: #666666;"><i>Utakata, Yuima Nakazato, Paris Haute Couture, Spring/Summer 2024. Photograph: Andrea Heinsohn</i></span></td></tr></tbody></table><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div></div>EDITOR: JEANNE-MARIE CILENTOhttp://www.blogger.com/profile/14670620493771232966noreply@blogger.comtag:blogger.com,1999:blog-4140782815588672922.post-35691874215672660232024-03-11T19:37:00.000-07:002024-03-14T20:07:17.906-07:00Oppenheimer’s Triumph, A stunning First Nations performance, and Lots of Sparkles: Five Experts on the 2024 Oscars<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRveSnRpAyJCZwtKrjLh_-8FVA9mTQvb7Ntdpp9d3zLEqqD3vokpHzank2bBzN3uu-AqXDB_ZrSlnrOg5LtbzQWjCzZ9F2oV4aH9j7Lkx4DRh0qaEr2qqDog34FRPr-_UTdvCOVSeqHsU4uYyVcGHAROYOkuLQkwK0SXFfR-RXEkH-mkDBqRpilB_TCOA/s700/DAM%20DESIGN%20ART%20MODA%20MAGAZINE%20OSCARS%20WINNERS%202024.jpg" style="clear: left; display: inline; margin-bottom: 1em; margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="467" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRveSnRpAyJCZwtKrjLh_-8FVA9mTQvb7Ntdpp9d3zLEqqD3vokpHzank2bBzN3uu-AqXDB_ZrSlnrOg5LtbzQWjCzZ9F2oV4aH9j7Lkx4DRh0qaEr2qqDog34FRPr-_UTdvCOVSeqHsU4uYyVcGHAROYOkuLQkwK0SXFfR-RXEkH-mkDBqRpilB_TCOA/s16000/DAM%20DESIGN%20ART%20MODA%20MAGAZINE%20OSCARS%20WINNERS%202024.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: left;"><span style="color: #666666;">At the Academy Awards in Los Angeles, Roberty Downey Jr. (from left) won best supporting actor for <i>Oppenheimer,</i> Da'Vine Joy Randolph won best supporting actress for <i>The Holdovers</i>, Emma Stone won best actress for <i>Poor Things</i> and Cillian Murphy won best actor for <i>Oppenheimer.</i> Photo by Jordan Strauss/Invision/AP</span></td></tr></tbody></table>
<span>By Ari Mattes, <em>University of Notre Dame Australia</em>; Alison Cole, <em>University of Sydney</em>; Bronwyn Carlson, <em>Macquarie University</em>; Harriette Richards, <em>RMIT University</em>, and Tom Clark, <em>Victoria University</em></span>
<p><b>Like most biopics, Christopher Nolan’s Oppenheimer – which won seven awards, including the big one, Best Picture – seems kind of silly, an exercise in dress up. We watch “serious” actors like Robert Downey Jr. (who won Best Supporting Actor) and Cillian Murphy (Best Actor) go to extraordinary lengths to essentially imitate real life people, inevitably failing to be 100% true to life.</b></p>
<p>Similarly, the narrative – tracing the involvement of J. Robert Oppenheimer in the Manhattan Project, which developed the atomic bomb that would eventually devastate Hiroshima and Nagasaki – plods along in a way true story narratives often do. </p>
<p>There’s none of the precision and wit that often characterise genre films, their entanglement with questions of narrative and aesthetic form necessitated by their highly formulaic nature. </p>
<p>Yet Oppenheimer winning Best Picture is no travesty; in fact, it makes a lot of sense. </p>
<p>It works well as an engaging exercise in image and sound, a viscerally charged and hypnotic spectacle shimmering on the big screen shot in glorious 70mm film. </p>
<p>Typically for a Nolan film, it is pretentious and heavy-handed, and seems to think it is more important than it actually is. But as a fun romp through the 1950s – that perennially fetishished period in American cinema and culture – it works splendidly. </p>
<p>It was certainly not the best film nominated, nor the best film of 2023, but it does work as a piece of cinema. </p>
<p>There’s something refreshing about this fact alone: the Academy has eschewed the tedium of the usual didactic, message-driven cinema that has dominated recent years and have rewarded a technically and formally accomplished work, something that actually considers its medium and effectively works within it. </p>
<p>–<em>Ari Mattes</em></p>
<h2>On the red carpet: red pins and black gowns</h2>
<p>Awards ceremonies are often taken as opportunities to make political statements through dress. At the Oscars, these statements usually take the form of subtle pins or ribbons. In 2021, multiple attendees wore blue #withrefugees ribbons in support of Ukraine following the Russian invasion. </p>
<p>This year, in response to the ongoing Israeli assault on Gaza, numerous attendees, including Billie Eilish (in Chanel) and Finneas O'Connell, Ava DuVernay (in custom Louis Vuitton), Ramy Youssef (in a chic black thobe by Zegna), Mahershala Ali, Riz Ahmed and Mark Ruffalo donned red Artists4Ceasefire pins. </p>
<p>Other statements are made through design itself. </p>
<p>For Lily Gladstone, the first Native American to be nominated in the Best Actress category, this meant wearing a chic black Gucci column dress featuring a stunning midnight blue train with beading by Indigenous Mohawk, Cree & Comanche artist Joe Big Mountain of Ironhorse Quillwork. </p>
<p>Despite the political nature of these examples, the Academy Awards is conventionally a rather conservative affair. This year was no different. The dominant colour choice for all genders was black, sparkles abounded, and silhouettes were chic, albeit predictable. </p>
<p>Some of the standouts in this sea of monochrome predictability were ensembles by Jonathan Anderson at Loewe. Greta Lee oozed easy elegance in a black and white draped gown straight from the Fall 2024 runway, Celine Song continued her commitment to tailoring in a sharp skirt and blazer, and Andrea Riseborough broke through the shine and shimmer with a long-sleeved plaid dress unlike anything else on the red carpet. </p>
<p>Other highlights included Sandra Hüller in custom Schiaparelli, with sharply winged sleeve detail reminiscent of a gown by Gilbert Adrian worn by American socialite Millicent Rogers in 1947, Emma Stone in mint green Louis Vuitton with a peplum that recalled the exuberant sleeve detailing of her Best Costume Design award-winning costumes in Poor Things, and Wim Wenders in the same Yohji Yamamoto outfit he modelled on the catwalk back in January. </p>
<p>– <em>Harriette Richards</em></p>
<h2>The power of First Nations voices</h2>
<p>In a truly historic moment, the Oscars included a powerful performance by Osage musician and composer Scott George with the Osage Tribal Singers performing Wahzhazhe (A Song for My People) from Killers of the Flower Moon.</p>
<p>Wahzhazhe is a song for public consumption, not for ceremonial purposes, and with it George is the first Native American man to receive an Oscar nomination for best original song, losing out to Billie Elish.</p>
<p>The Oscars requires music be submitted for consideration in written form. However, the Osage do not generally keep written music — rather, it is kept in memory. George told Billboard it took “three or four days” to write the work down in musical notation.</p>
<p></p>
<p>Killers of the Flower Moon was nominated for 10 Oscars, including Best Actress for Piegan Blackfeet and Nez Perce actor Lily Gladstone who plays Mollie Burkhart. Unbelievably, Gladstone is the first Native American woman to be nominated for best actress in a leading role, but unfortunately missed out on the Oscar, to Emma Stone of Poor Things.</p>
<p>Indigenous communities globally were waiting with bated breath – but regardless of no Oscar, everyone was excited to see her nominated. </p>
<p>Stories like Killer of the Flower Moon, about the “Reign of Terror” where dozens of Osage were brutally murdered, need to be told so that they don’t get to be forgotten. It is both overdue and exciting to see more Indigenous peoples taking leading roles in films, and the success of Killers of the Flower Moon should make Hollywood pay attention that people want these stories to be told.</p>
<p>Even without winning big at these Oscars, Killers of the Flower Moon includes a wonderful cast of Native American actors including Tantoo Cardinal who plays Lizzie Q, mother to Gladstone’s character Mollie Burkhart, and her sisters who are played by Cara Jade Myers (Anna), JaNae Collins (Reta) and Jillian Dion (Minnie). </p>
<p><em>– Bronwyn Carlson</em></p>
<h2>Four nominees for Most Impassioned Speech</h2>
<p>“In the beginning was the Word, and the Word was with God, and the Word was God.” Da’Vine Joy Randolph gave the first acceptance speech at this year’s Oscars ceremony, awarded Best Supporting Actress for her role in The Holdovers, and she led it with thanks to God.</p>
<p></p>
<p>The ceremony’s 45 second limit on acceptance speeches gives more opportunities for meaningful comment to the presenters than the winners. </p>
<p>Host Jimmy Kimmel’s opening roast was generous towards the Barbie movie, a nod to its gender-inclusive feminism that drew loud applause. He unloaded on Donald Trump near the show’s end, to politically aligned chuckles. More striking, the In Memoriam section led with a cameo from Alexei Navalny that epitomised what polemic can put at stake to move us.</p>
<p></p>
<p>I counted four nominees for the Most Impassioned Acceptance Speech. </p>
<p>Cord Jefferson (Best Adapted Screenplay for American Fiction) advocated that movie financiers be more ready to take risks by backing less experienced movie-makers. </p>
<p>Jonathan Glazer (Best International Feature Film) positioned his film about Auschwitz, The Zone of Interest, as a call for an end to the mutual dehumanisation that sustains the long war in Israel and in Palestine. </p>
<p>Mstyslav Chernov (Best Documentary) wished he had never had the cause to make a film so successful as 20 Days in Mariupol, his response to Russia’s invasion of Ukraine. </p>
<p></p>
<p>These were passionate and heartfelt speeches, while Randolph’s was passionate, heartfelt and mesmerising.</p>
<p>For the rest, it was largely acceptances by the numbers. There were variously entertaining, grandiose, self-deprecating and anecdote-rich versions of “thank you” from people who make it their life’s work to imbue set-piece moments with meaning.</p>
<p>– <em>Tom Clark</em></p>
<h2>Powerful songs and mesmerising performances</h2>
<p>Ryan Gosling’s performance of I’m Just Ken, written and produced by Mark Ronson and Andrew Wyatt, was the definite standout Best Original Song performance of the 2024 Oscars. </p>
<p></p>
<p>I’m Just Ken was one of two songs nominated from Barbie, alongside Billie Eilish and Finneas O'Connell’s What Was I Made For. They were joined by Becky G’s The Fire Inside from Flamin’ Hot, Jon Batiste’s It Never Went Away from American Symphony, and Wahzhazhe (A Song for My People) from Killers of the Flower Moon. </p>
<p>Becky G celebrated her Mexican American heritage with a passionate performance of The Fire Inside, accompanied beautifully by a choir of Latino children and a blazing visual backdrop.</p>
<p></p>
<p>Jon Batiste’s mesmerising performance of It Never Went Away from American Symphony brought home the deep love and devotion he has for his wife, Suleika Jaouad. </p>
<p>Billie Eilish’s ballad What Was I Made For ultimately won the award for best original song. Her performance was emotional, with her co-writer and producer brother, Finneas O’Connell, accompanying her on the piano. A beautiful orchestral arrangement brought flair and gravitas to the stage. </p>
<p></p>
<p>Scott George and the Osage Tribal Singers performance of Wahzhazhe (A Song For My People) from Killers Of The Flower Moon was a powerful statement of the strength of what energy collective singers and percussion bring to a performance. </p>
<p>But as the Oscars performances reminded us, sometimes the intimacy of quiet drama sends the loudest message.</p>
<p><em>– Alison Cole</em><!--Below is The Conversation's page counter tag. Please DO NOT REMOVE.--><img alt="The Conversation" height="1" referrerpolicy="no-referrer-when-downgrade" src="https://counter.theconversation.com/content/221493/count.gif?distributor=republish-lightbox-basic" style="border: none; box-shadow: none; margin: 0px; max-height: 1px; max-width: 1px; min-height: 1px; min-width: 1px; opacity: 0; outline: none; padding: 0px;" width="1" /><!--End of code. If you don't see any code above, please get new code from the Advanced tab after you click the republish button. The page counter does not collect any personal data. More info: https://theconversation.com/republishing-guidelines--></p>
<p><span>Ari Mattes, Lecturer in Communications and Media, <em>University of Notre Dame Australia</em>; Alison Cole, Composer and Lecturer in Screen Composition, Sydney Conservatorium of Music, <em>University of Sydney</em>; Bronwyn Carlson, Professor, Indigenous Studies and Director of The Centre for Global Indigenous Futures, <em>Macquarie University</em>; Harriette Richards, Lecturer, Fashion Enterprise, <em>RMIT University</em>, and Tom Clark, Chair of Academic Board, <em>Victoria University</em></span></p>
<p><span style="color: #999999;">This article is republished from The Conversation under a Creative Commons license. </span></p>
EDITOR: JEANNE-MARIE CILENTOhttp://www.blogger.com/profile/14670620493771232966noreply@blogger.comtag:blogger.com,1999:blog-4140782815588672922.post-65782175052972397372024-03-04T20:36:00.000-08:002024-03-08T20:43:06.827-08:00Paris: Schiaparelli Ready-to-Wear Collection Autumn/Winter 2024 by Daniel Roseberry<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHJ4KpgnzFwjCWgU2X38PZ_8zfF3xksswW6xhqb3T7p75Rb821yyHnF51kvXxcb2RYx1b_4oG8aKPZS7BPVpTG4l03IgYX4SywJCCTNdgRStRQtumplwP1P9CsKFUJSSWvJMIKNULBlEQk3RlArCkxePQdBG8Cwb8tcZhVrKJv1fv0RPhZwlgq1SMr5Ws/s1050/SCHIAPARELLI_FW24_LOOK_01.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1050" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHJ4KpgnzFwjCWgU2X38PZ_8zfF3xksswW6xhqb3T7p75Rb821yyHnF51kvXxcb2RYx1b_4oG8aKPZS7BPVpTG4l03IgYX4SywJCCTNdgRStRQtumplwP1P9CsKFUJSSWvJMIKNULBlEQk3RlArCkxePQdBG8Cwb8tcZhVrKJv1fv0RPhZwlgq1SMr5Ws/s16000/SCHIAPARELLI_FW24_LOOK_01.JPG" /></a></div><br /><div class="separator" style="clear: both; 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text-align: center;"><br /></div><br />EDITOR: JEANNE-MARIE CILENTOhttp://www.blogger.com/profile/14670620493771232966noreply@blogger.comtag:blogger.com,1999:blog-4140782815588672922.post-65809299688926388212024-02-27T00:41:00.000-08:002024-02-27T00:43:44.842-08:00A World Through the Eyes of Botanical Artist Marianne North at Kew Gardens<figure><img src="https://images.theconversation.com/files/415796/original/file-20210812-17-1uhi1tt.jpg?ixlib=rb-1.1.0&rect=12%2C15%2C2023%2C1278&q=45&auto=format&w=754&fit=clip" />
<figcaption><span style="color: #999999;">
Marianne North Gallery at Kew Gardens.
</span><span class="attribution"><span style="color: #999999;">Flickr/Helen.2006, CC BY-NC</span>. <i><span style="color: #666666;">Cover picture: Stephane Rolland Haute Couture in Paris by Andrea Heinsohn</span></i></span></figcaption>
</figure>
<span>By Mary Voice, <em>The University of Melbourne</em></span><p><b>Have you ever entered a gallery, cathedral or grand old ballroom and drawn breath with surprise? Usually, it is opulence, vastness or one stunning painting or sculpture that evokes this response — think Michelangelo’s David, or Chartres Cathedral or the hall of mirrors at Versailles</b>.</p>
<p>In London, an extraordinary gallery draws gasps because there is none like it anywhere else. It is like entering a giant “globe” covered in paintings of faraway places and plants. You can walk from South America to North America to Asia in a few paces. </p>
<p>All the paintings are by the Victorian-era female botanical artist and explorer Marianne North. The small gallery nestles in a stunning natural setting — Kew Gardens beside the Thames River.</p>
<h2>A very intrepid painter</h2>
<p>The design of the gallery and the layout of the 800-plus paintings were largely North’s idea, assisted by Kew Gardens staff. Though she was a largely self-taught botanical illustrator, she also discovered four specimens that were named in her honour.</p>
<figure class="align-right zoomable">
<a href="https://images.theconversation.com/files/415791/original/file-20210812-20-1gzn2je.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="woman with palm trees" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" src="https://images.theconversation.com/files/415791/original/file-20210812-20-1gzn2je.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" srcset="https://images.theconversation.com/files/415791/original/file-20210812-20-1gzn2je.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=893&fit=crop&dpr=1 600w, https://images.theconversation.com/files/415791/original/file-20210812-20-1gzn2je.jpeg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=893&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/415791/original/file-20210812-20-1gzn2je.jpeg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=893&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/415791/original/file-20210812-20-1gzn2je.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1122&fit=crop&dpr=1 754w, https://images.theconversation.com/files/415791/original/file-20210812-20-1gzn2je.jpeg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1122&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/415791/original/file-20210812-20-1gzn2je.jpeg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1122&fit=crop&dpr=3 2262w" /></a>
<figcaption>
<span class="caption">Victorian-era adventurer and artist Marianne North, photographed at her home in Ceylon by Julia Margaret Cameron around the 1870s.</span>
<span class="attribution">Wikimedia Commons</span>
</figcaption>
</figure>
<p>I remember my first impression of the peacefulness and softness on entering the gallery, elicited by a timber-panelled gallery covered top-to-bottom with paintings. It is a tightly packed mosaic of artworks.</p>
<p>Then I notice the gold lettering of countries and continents above the panels —America, Australia, Japan, Jamaica — and begin to explore the natural world as it was in Victorian times.</p>
<p>The vibrancy, colour and beauty in each individual painting emerges on closer viewing.</p>
<p>I walk from one continent to another noticing the unique vegetation of each, but also the similarity and diversity of natural forms — when these paintings were being created and collated, Charles Darwin had already written:</p>
<blockquote>
<p>[…] endless forms most beautiful and most wonderful have been, and are being, evolved.</p>
</blockquote>
<p>The gallery displays this exquisitely, from a grand avenue of Indian rubber trees in Ceylon (Sri Lanka), medicinal plants from the tropics, vivid tangerine flowers on coral trees in Brazil, early coffee plantations in Jamaica, to a tall and majestic monkey puzzle tree in Chile. Australian banksia, bottle tree and bottle-brush are accurately and beautifully depicted. </p>
<p>Within the walls of the gallery, I can even travel back in time to see what Mudgee in NSW looked like in the late 1800s.</p>
<figure>
<iframe allowfullscreen="" frameborder="0" height="260" src="https://www.youtube.com/embed/YmF_6KAkvck?wmode=transparent&start=0" width="440"></iframe>
<figcaption><span class="caption">Over 14 years, Marianne North visited 15 countries and created more than 800 detailed paintings.</span></figcaption>
</figure>
<p>Then there are the four specimens named in North’s honour. <em>Kniphofia northiae</em>, discovered in South Africa, now grows in many gardens with the common name red hot poker (Painting no. 367). <em>Northia seychellana</em> is also called the capucin tree Painting no. 501). <em>Nepenthes northiana</em>, a large and unusual pitcher plant, was discovered by Marianne in Borneo (Painting no. 561). And <em>crinum northianum</em> , in the lily family (Painting no. 602), comes from Sarawak, Borneo.</p>
<figure class="align-right zoomable">
<a href="https://images.theconversation.com/files/415794/original/file-20210812-14-18qzmef.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="pitcher plant drawing" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" src="https://images.theconversation.com/files/415794/original/file-20210812-14-18qzmef.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" srcset="https://images.theconversation.com/files/415794/original/file-20210812-14-18qzmef.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=846&fit=crop&dpr=1 600w, https://images.theconversation.com/files/415794/original/file-20210812-14-18qzmef.jpeg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=846&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/415794/original/file-20210812-14-18qzmef.jpeg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=846&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/415794/original/file-20210812-14-18qzmef.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1063&fit=crop&dpr=1 754w, https://images.theconversation.com/files/415794/original/file-20210812-14-18qzmef.jpeg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1063&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/415794/original/file-20210812-14-18qzmef.jpeg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1063&fit=crop&dpr=3 2262w" /></a>
<figcaption>
<span class="caption">A New Pitcher Plant from the Limestone Mountains of Sarawak Borneo, painted by Marianne North, circa 1876.</span>
<span class="attribution">Wikimedia Commons/Royal Botanic Gardens Kew</span>
</figcaption>
</figure>
<h2>When Charles met Marianne</h2>
<p>North was one of several Victorian-era British female explorers. She was born (1830) into a wealthy family and had early connections to Kew gardens since her father knew its first director, Sir William Hooker. </p>
<p>Her interest in botanical art grew as an educational activity and as a means of passing on knowledge in pre-photography times. She made nearly 900 works from across the continents and larger islands.</p>
<p>North set out on her first main botanical tours in the 1870s, 40 years after Darwin sailed on HMS Beagle, determined to “paint from nature”. Her paintings of vegetation, birds, mammals and terrain, depicted with close accuracy, helped to foster awareness of the evolutionary connections between plants, animals and environment. </p>
<p>North and Darwin were in fact acquainted. In 1880 they met and discussed her paintings and he advised her to see and paint the Australian vegetation “which was unlike that of any other country”. North took Darwin’s advice, and returned to Down house in 1881 with a new collection spanning Townsville to Perth.</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/415797/original/file-20210812-26-1tl43cs.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="painting of flowers and landscape" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" src="https://images.theconversation.com/files/415797/original/file-20210812-26-1tl43cs.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/415797/original/file-20210812-26-1tl43cs.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=435&fit=crop&dpr=1 600w, https://images.theconversation.com/files/415797/original/file-20210812-26-1tl43cs.jpeg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=435&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/415797/original/file-20210812-26-1tl43cs.jpeg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=435&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/415797/original/file-20210812-26-1tl43cs.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=547&fit=crop&dpr=1 754w, https://images.theconversation.com/files/415797/original/file-20210812-26-1tl43cs.jpeg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=547&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/415797/original/file-20210812-26-1tl43cs.jpeg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=547&fit=crop&dpr=3 2262w" /></a>
<figcaption>
<span class="caption">View near Brighton, Victoria by Marianne North, circa 1879.</span>
<span class="attribution">Wikimedia Commons/Royal Botanic Gardens Kew</span>
</figcaption>
</figure>
<h2>The world through her eyes</h2>
<p>North gifted her botanical collection to Kew Gardens along with a gallery to house it. She arranged the paintings and also the decorations surrounding the doors to the gallery. Hence the unique design and global feel of the gallery interior. It opened in 1882.</p>
<p>Some 140 years later, we can explore her adventurous life and travels and view a global nature study in one gallery. With today’s technology we can see much of it online, which is handy during lockdown. I wonder what human expansion and global warming have done to those special places? If I could retrace North’s steps, what would I see?</p>
<p>After “browsing the continents”, you can exit the gallery into Kew Gardens. Among the 50,000 plants at the World Heritage site, you can search for the rare Australian Wollemi Pine, growing quite vigorously in the grounds.</p>
<p>The words of Darwin in 1859’s Origin of Species come to mind: “There is grandeur in this view of life”.<!--Below is The Conversation's page counter tag. Please DO NOT REMOVE.--><img alt="The Conversation" height="1" referrerpolicy="no-referrer-when-downgrade" src="https://counter.theconversation.com/content/165663/count.gif?distributor=republish-lightbox-basic" style="border: none; box-shadow: none; margin: 0px; max-height: 1px; max-width: 1px; min-height: 1px; min-width: 1px; opacity: 0; outline: none; padding: 0px;" width="1" /><!--End of code. If you don't see any code above, please get new code from the Advanced tab after you click the republish button. The page counter does not collect any personal data. More info: https://theconversation.com/republishing-guidelines--></p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/415799/original/file-20210812-15-s32y6.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="tree painting" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" src="https://images.theconversation.com/files/415799/original/file-20210812-15-s32y6.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/415799/original/file-20210812-15-s32y6.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=421&fit=crop&dpr=1 600w, https://images.theconversation.com/files/415799/original/file-20210812-15-s32y6.jpeg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=421&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/415799/original/file-20210812-15-s32y6.jpeg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=421&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/415799/original/file-20210812-15-s32y6.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=529&fit=crop&dpr=1 754w, https://images.theconversation.com/files/415799/original/file-20210812-15-s32y6.jpeg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=529&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/415799/original/file-20210812-15-s32y6.jpeg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=529&fit=crop&dpr=3 2262w" /></a>
<figcaption>
<span class="caption">African Baobab Tree in the Princess’s Garden at Tanjore, India. Painted by Marianne North, circa 1878.</span>
<span class="attribution">Wikimedia Commons/Royal Botanic Gardens Kew</span>
</figcaption>
</figure>
<p><span>Mary Voice, Lecturer - Climate (Honorary), <em>The University of Melbourne</em></span></p>
<p><br /></p>EDITOR: JEANNE-MARIE CILENTOhttp://www.blogger.com/profile/14670620493771232966noreply@blogger.comtag:blogger.com,1999:blog-4140782815588672922.post-14105638124846374742024-02-14T17:27:00.000-08:002024-02-14T17:28:50.549-08:00TRAVEL: How Social Media is Breathing New Life into Bhutan’s Unwritten Local Languages<figure><img src="https://images.theconversation.com/files/549925/original/file-20230925-25-7tl134.jpg?ixlib=rb-1.1.0&rect=0%2C5%2C3840%2C5748&q=45&auto=format&w=754&fit=clip" />
<figcaption>
<span class="attribution"><span class="source">Shutterstock</span></span>
</figcaption>
</figure>
<span>By Tashi Dema, <em>University of New England</em></span>
<p><b>Dechen, 40, grew up in Thimphu, the capital city of Bhutan. Her native language was Mangdip, also known as Nyenkha, as her parents are originally from central Bhutan. She went to schools in the city, where the curriculum was predominantly taught in Dzongkha, the national language, and English</b>. </p>
<p>In Dechen’s house, everyone spoke Dzongkha. She only spoke her mother tongue when she had guests from her village, who could not understand Dzongkha and during her occasional visits to her village nestled in the mountains. Her mother tongue knowledge was limited.</p>
<p>However, things have now changed.</p>
<p>With 90% of Bhutanese people using social media and social media penetrating all remotes areas in Bhutan, Dechen’s relatives in remote villages are connected on WeChat.</p>
<p>She is in three WeChat groups where people usually communicate through voice messages in their native language. Most WeChat users in rural parts of the country communicate in their oral native language.</p>
<p>“I learn many words. I learnt how to say a lot of things in my own language,” the mother of two now living in Western Australia told me.</p>
<p>Dechen’s story is not isolated. Social media is giving a new lifeline to Bhutan’s native languages, which do not have written script and lack proper documentation. By communicating through voice messages, social media is giving Bhutanese people in both urban and rural areas a new opportunity to use their local language.</p>
<h2>Losing Bhutan’s languages</h2>
<p>Bhutan is a tiny Himalayan nation with a population of under 800,000 people. Internet and television was introduced <a href="https://fid4sa-repository.ub.uni-heidelberg.de/2656/1/Bhutanese_Media.pdf">only in 1999</a> and mobile phones in 2004.</p>
<p>The country has more than 20 local languages, but only Dzongkha has written text and is promoted as the national language. </p>
<p>The country struggles to promote the national language and its usage against English. Today most urban residents, especially the elites, speak English as <a href="https://factsanddetails.com/south-asia/Bhutan/People_Bhutan/entry-7897.html">their primary language</a>. </p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/549923/original/file-20230925-17-1tbu3z.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="A Bhutanese woman on a phone." sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" src="https://images.theconversation.com/files/549923/original/file-20230925-17-1tbu3z.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/549923/original/file-20230925-17-1tbu3z.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=600&fit=crop&dpr=1 600w, https://images.theconversation.com/files/549923/original/file-20230925-17-1tbu3z.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=600&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/549923/original/file-20230925-17-1tbu3z.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=600&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/549923/original/file-20230925-17-1tbu3z.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=754&fit=crop&dpr=1 754w, https://images.theconversation.com/files/549923/original/file-20230925-17-1tbu3z.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=754&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/549923/original/file-20230925-17-1tbu3z.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=754&fit=crop&dpr=3 2262w" /></a>
<figcaption>
<span class="caption">WeChat users can send each other voice messages in their local language.</span>
<span class="attribution"><span class="source">Shutterstock</span></span>
</figcaption>
</figure>
<p>Many languages – especially minority languages – are vanishing or becoming endangered as younger generations switch to Dzongkha and English.</p>
<p>The medium of instruction in schools is mostly in English; Dzongkha is taught only as grammar and literature. Students are shamed and often punished for <a href="https://kuenselonline.com/language-policy-decolonising-the-mind/">using their local languages</a>. </p>
<p>The preservation and promotion of local languages, therefore, depends on the speakers. A language faces extinction when its speakers die out or switch to another language. </p>
<p>Linguist <a href="https://scholar.google.com/citations?user=PrIZwrkAAAAJ&hl=en">Pema Wangdi</a> has researched languages in Bhutan, and he told me many people are losing their native language.</p>
<p>“When we lose our language, we lose a piece of our national identity,” he told me.</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/549926/original/file-20230925-20-4nntn1.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="Masked dance of Dochula Tsechu." sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" src="https://images.theconversation.com/files/549926/original/file-20230925-20-4nntn1.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/549926/original/file-20230925-20-4nntn1.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=400&fit=crop&dpr=1 600w, https://images.theconversation.com/files/549926/original/file-20230925-20-4nntn1.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=400&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/549926/original/file-20230925-20-4nntn1.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=400&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/549926/original/file-20230925-20-4nntn1.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=503&fit=crop&dpr=1 754w, https://images.theconversation.com/files/549926/original/file-20230925-20-4nntn1.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=503&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/549926/original/file-20230925-20-4nntn1.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=503&fit=crop&dpr=3 2262w" /></a>
<figcaption>
<span class="caption">Languages are an important part of cultural identities.</span>
<span class="attribution"><a class="source" href="https://unsplash.com/photos/dtwwEJcr8R8">Pema Gyamtsho/Unsplash</a></span>
</figcaption>
</figure>
<p>Wangdi has identified there are no longer any speakers of Olekha, an indigenous dialect of Rukha in Wangdu Phodrang. </p>
<p>“The loss of a single language is a loss of a piece of our national linguistic heritage and identity,” he said. “When a language is lost, cultural traditions which are tied to that language such as songs, myths and poetry will be lost forever.”</p>
<p>Other Bhutanese languages – including Tshophu language of Doyaps in Samtse, Monpa language of central Bhutan, and Gongdukha of Mongar – are endangered and at the <a href="https://www.dzongkha.gov.bt/uploads/files/articles/A_Paper_on_Language_Policy_&_Planning_in_Bhutan_by_Pema_Wangdi_c8e8caeee831129a3be15aa6e99732c2.pdf">brink of extinction</a>.</p>
<h2>Preservation of local languages</h2>
<p>The future of the minority languages are at threat. <a href="https://en.wikipedia.org/wiki/Constitution_of_Bhutan">The Constitution of Bhutan</a> mandates the preservation and promotion of local languages, but there are no official efforts to preserve native languages. </p>
<p>But encouraging people to speak their native languages can have far reaching benefits in preserving and promoting Bhutan’s rich culture and tradition. Language embodies identity, ethnicity and cultural values: a thriving local language would help transfer this intangible wealth to the younger generation. </p>
<p>Social media could be an invaluable tool in this preservation.</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/549927/original/file-20230925-17-2bc1di.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="Bhutanese man checking his mobile phone next a white stone wall." sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" src="https://images.theconversation.com/files/549927/original/file-20230925-17-2bc1di.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/549927/original/file-20230925-17-2bc1di.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=400&fit=crop&dpr=1 600w, https://images.theconversation.com/files/549927/original/file-20230925-17-2bc1di.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=400&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/549927/original/file-20230925-17-2bc1di.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=400&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/549927/original/file-20230925-17-2bc1di.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=503&fit=crop&dpr=1 754w, https://images.theconversation.com/files/549927/original/file-20230925-17-2bc1di.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=503&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/549927/original/file-20230925-17-2bc1di.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=503&fit=crop&dpr=3 2262w" /></a>
<figcaption>
<span class="caption">Social media could be an invaluable tool in the preservation of languages.</span>
<span class="attribution"><span class="source">Shutterstock</span></span>
</figcaption>
</figure>
<p>Bhutan could save its languages from becoming extinct with promotion of social media usages and language education could be done on the social media platforms. With both young and old people glued to social media, encouraging more people to use local languages in social media could generate interest among the youth to learn their local languages. </p>
<p>It could also help in documenting the endangered local languages as the older generation can record their voices on WeChat.</p>
<p>Many elder citizens feel strongly about their language and emphasise teaching their mother tongue to the younger generation and their grandchildren. Social media – joining the younger generation on platforms where they feel at home – could be the way forward.<!--Below is The Conversation's page counter tag. Please DO NOT REMOVE.--><img alt="The Conversation" height="1" referrerpolicy="no-referrer-when-downgrade" src="https://counter.theconversation.com/content/210280/count.gif?distributor=republish-lightbox-basic" style="border: none; box-shadow: none; margin: 0px; max-height: 1px; max-width: 1px; min-height: 1px; min-width: 1px; opacity: 0; outline: none; padding: 0px;" width="1" /><!--End of code. If you don't see any code above, please get new code from the Advanced tab after you click the republish button. The page counter does not collect any personal data. More info: https://theconversation.com/republishing-guidelines--></p>
<p><span>Tashi Dema, PhD Candidate in Language and Politics, <em>University of New England</em></span></p>
<p><br /></p>EDITOR: JEANNE-MARIE CILENTOhttp://www.blogger.com/profile/14670620493771232966noreply@blogger.comtag:blogger.com,1999:blog-4140782815588672922.post-76296675842954235242024-01-23T05:22:00.000-08:002024-01-30T10:01:05.780-08:00Imane Ayissi's Colourful and Dynamic Collection for Paris Haute Couture Spring/Summer 2024<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjS72GVyvDEVxy5MAePDLL1bb-8Yp9jCurowntaY6AiR2pOwkJY39k006VC-Dhfy0DtS2DeG3-SMC-TLNVahDF0zJLFqxlOAXQCnbEUcS-7FOxsba05KLfXCJ0RYF4-LOflErVmnpHonz3pOcKsWHxPyxLWcHQd8aEbkujILwd42J7uc8LMrcsSOtgvjCA/s700/DAM%20DESIGN%20ART%20MODA%20MAGAZINE%20PARIS%20HAUTE%20COUTURE%20SS24%20iman-ayissi-andreaheinson-paris_-2%20FIXED.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="467" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjS72GVyvDEVxy5MAePDLL1bb-8Yp9jCurowntaY6AiR2pOwkJY39k006VC-Dhfy0DtS2DeG3-SMC-TLNVahDF0zJLFqxlOAXQCnbEUcS-7FOxsba05KLfXCJ0RYF4-LOflErVmnpHonz3pOcKsWHxPyxLWcHQd8aEbkujILwd42J7uc8LMrcsSOtgvjCA/s16000/DAM%20DESIGN%20ART%20MODA%20MAGAZINE%20PARIS%20HAUTE%20COUTURE%20SS24%20iman-ayissi-andreaheinson-paris_-2%20FIXED.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="color: #666666;"><i>Raffia used in a creative way at the SS24 haute couture collection of Imane Ayissi in Paris. Photograph by Andrea Heinsohn. Cover picture by Elli Ioannou for DAM</i></span></td></tr></tbody></table><br /><b><span style="font-size: x-large;">Imane Ayissi’s Spring-Summer 2024 collection was a highlight of Paris Haute Couture Week. A tribute to the richness of African textiles and craftsmanship, the Cameroonian designer mixed brilliant colours with strong prints, diaphanous silhouettes, and unique textiles. He included traditional fabrics, illustrating how they can be used to preserve Africa’s heritage and inspire the next generation, writes <i>Jeanne-Marie Cilento</i>. Photography by <i>Elli Ioannou</i> & <i>Andrea </i></span></b><span style="font-size: x-large;"><b><i>Heinsohn</i></b></span><div><br /></div><div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7VI-n-K8WbvFJIPeEmjg4VbEIW3FvnzejH_9s0blx_wovkMyRe6ToLrpHKfF84RKUTnlQYdS5-SZN0i82IApU48MLP_KSdTniMWqkfK8zC4lisHcdz9Jl3GpwRPu7ZUb0zNVmHVM_8-WASQLyHH86YIG-BnIUm22KSKMVbGsC-JPyxvdF71531VNOSUI/s700/DAM%20DESIGN%20ART%20MODA%20MAGAZINE%20PARIS%20HAUTE%20COUTURE%20WEEK%20SPRING%20SUMMER%202024%20SS24%20%20iman-ayissi-andreaheinson-paris_-29.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="469" data-original-width="700" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7VI-n-K8WbvFJIPeEmjg4VbEIW3FvnzejH_9s0blx_wovkMyRe6ToLrpHKfF84RKUTnlQYdS5-SZN0i82IApU48MLP_KSdTniMWqkfK8zC4lisHcdz9Jl3GpwRPu7ZUb0zNVmHVM_8-WASQLyHH86YIG-BnIUm22KSKMVbGsC-JPyxvdF71531VNOSUI/w400-h268/DAM%20DESIGN%20ART%20MODA%20MAGAZINE%20PARIS%20HAUTE%20COUTURE%20WEEK%20SPRING%20SUMMER%202024%20SS24%20%20iman-ayissi-andreaheinson-paris_-29.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><div style="text-align: left;"><i><span style="color: #666666;">Designer Imane Ayissi at the finale of his Paris </span></i></div><div style="text-align: left;"><i><span style="color: #666666;">show.</span></i><i><span style="color: #666666;">Photograph by Andrea Heinsohn</span></i></div></td></tr></tbody></table><b>A vivid and engaging celebration of African textiles</b>, Imane Ayissi's new collection of dynamic designs was a standout during Paris Haute Couture Week.</div><div><br /></div><div>With the collection, Ayissi wove a story that beautifully intertwined tradition with contemporary haute couture. </div><div><br /></div><div>The runway pulsated with bright colors, under Ayissi's sure hand the purples, shimmering pinks and turquoise formed a cohesive whole and made a salient contrast to the all-black designs. </div><div><br /></div><div>The collection showcased twenty-six looks that cleverly mixed surprising fabric combinations with bold prints and elegant draping which enfolded the body. Ayissi's use of traditional African fabrics, was notable, particularly the Kente cloth from Ghana. Narrow skirts topped by short but voluminous jackets were especially effective using the African textiles. </div><div><br /></div><div><i><b><span style="font-size: x-large;">The collection showcased twenty-six looks which cleverly mixed surprising fabric combinations with bold prints and elegant draping</span></b></i></div><div><br /></div><div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP9sweD2HXAyQk7kQfKp4m_01qE0O8iRWWSQ-H_3UK5eXOdEpNYd8Vpg-hNT0sIFE3WoOQjvxg7VNWrfonlm0U4yniltKZj_H6IL5HXESRfdQZjeozABOSviTlupQJFuMkgHgsmQPCR6QF2-MF6UvJ9zBnRpJuxuMz4wTE1U2CaVnMWVac-z6ArSZYULs/s700/DAM%20DESIGN%20ART%20MODA%20MAGAZINE%20PARIS%20HAUTE%20COUTURE%20WEEK%20SPRING%20SUMMER%202024%20SS24%20%20003%C2%A9ELLI-IOANNOU-IMANE-AYISSI%20fixed.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="474" data-original-width="700" height="271" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP9sweD2HXAyQk7kQfKp4m_01qE0O8iRWWSQ-H_3UK5eXOdEpNYd8Vpg-hNT0sIFE3WoOQjvxg7VNWrfonlm0U4yniltKZj_H6IL5HXESRfdQZjeozABOSviTlupQJFuMkgHgsmQPCR6QF2-MF6UvJ9zBnRpJuxuMz4wTE1U2CaVnMWVac-z6ArSZYULs/w400-h271/DAM%20DESIGN%20ART%20MODA%20MAGAZINE%20PARIS%20HAUTE%20COUTURE%20WEEK%20SPRING%20SUMMER%202024%20SS24%20%20003%C2%A9ELLI-IOANNOU-IMANE-AYISSI%20fixed.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: right;"><span style="color: #666666;"><i>Traditional African fabrics were a feature <br />of the collection. Photograph by Elli Ioannou</i></span></td></tr></tbody></table>The designer's use of Faso Dan Fani, a traditional fabric from Burkina Faso, was included in patchwork designs that had a subtle play of hues and textures. </div><div><br /></div><div>The collection also featured panels of woven materials and the use of raffia, another everyday material that is part of Ayissi's design canon. A vibrant orange minidress with raffia knotted down the front demonstrated the designer's capacity to use quotidian materials for haute couture.</div><div><br /></div><div>Imane Ayissi's dedication to using and exploring African textiles means he is aiming to find high-quality materials from Africa. He is also a pioneer in integrating bamboo fibre into his work as part of his concern for the environment. </div><div><br /></div><div>The designer, who was the first from Sub-Saharan Africa to be included on the official Paris Haute Couture Week schedule four years ago, says he wants to recover and preserve Africa's textile heritage. Ayissi has said Africans need to embrace their history along with the economic potential of the fashion industry. </div><div><br /></div><div><i><b><span style="font-size: x-large;">Ayissi is challenging the fashion industry to recognize the value of Africa's textile expertise and encouraging Africans to take pride in their identity and heritage</span></b></i></div><div><br /></div><div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0LnWBtRCqcXR3ZftJDREHV_dmYN4asTvL3n6kEiOkszGhwTbcQw4kPdheAV0MTrpGiVi8nUY8Uj9t49fx_DhDbKa5dlEzxJXWnezza8Avv1GAUnlA2EcxXZPGtsmhIycls2jWZeCdYPkLnTW1ghnTYxBLdzcuSFwtPtWHbJgSKDfvRsgNN2vmf9sg3LY/s700/DAM%20DESIGN%20ART%20MODA%20MAGAZINE%20PARIS%20HAUTE%20COUTURE%20WEEK%20SPRING%20SUMMER%202024%20SS24%20%20015%C2%A9ELLI-IOANNOU-IMANE-AYISSI.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="496" data-original-width="700" height="284" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0LnWBtRCqcXR3ZftJDREHV_dmYN4asTvL3n6kEiOkszGhwTbcQw4kPdheAV0MTrpGiVi8nUY8Uj9t49fx_DhDbKa5dlEzxJXWnezza8Avv1GAUnlA2EcxXZPGtsmhIycls2jWZeCdYPkLnTW1ghnTYxBLdzcuSFwtPtWHbJgSKDfvRsgNN2vmf9sg3LY/w400-h284/DAM%20DESIGN%20ART%20MODA%20MAGAZINE%20PARIS%20HAUTE%20COUTURE%20WEEK%20SPRING%20SUMMER%202024%20SS24%20%20015%C2%A9ELLI-IOANNOU-IMANE-AYISSI.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: left;"><i><span style="color: #666666;">The striking raffia orange minidress.<br />Photograph by Elli Ioannou</span></i></td></tr></tbody></table>This Spring/Summer 2024 collection captivated the audience but also served as a call for the conservation and promotion of Africa's textiles. </div><div><br /></div><div>The designer's ability to use satins and silks with these local fabrics to create soigne gowns evinces his ability to bring a fresh vision to haute couture. </div><div><br /></div><div>As a couturier, Ayissi is not just creating fashion; he is leading a movement, challenging the industry to recognize the value of Africa's textile expertise and encouraging Africans to take pride in their identity and heritage.</div><div><br /></div><div style="text-align: center;"><span style="color: #666666;"><i><br /></i></span></div><div style="text-align: center;"><span style="color: #666666;"><i>Scroll down to see more highlights from Imane Ayissi's Spring/Summer 2024 collection in Pari</i>s </span></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlpZEm5K9bo3C6H3s_AaIxrXAjKJZWJaEPbsrXEE4aTX7b0K_91oJUn7iXmACshJQw1yDKnBoVB2TfK1-AdQFo2Ml4Z-tbpjT9-APwTRRZNoKxpJOxK904MNLKW2cU4LfPB-RGR8lXFnvW_D1M_r-8gsEZyt2Qaw_HQFI_yT2CDkamCJHEbtS8oRCGGBc/s1035/DAM%20DESIGN%20ART%20MODA%20MAGAZINE%20PARIS%20HAUTE%20COUTURE%20WEEK%20SPRING%20SUMMER%202024%20SS24%20%20iman-ayissi-andreaheinson-paris_-19%20fixed.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1035" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlpZEm5K9bo3C6H3s_AaIxrXAjKJZWJaEPbsrXEE4aTX7b0K_91oJUn7iXmACshJQw1yDKnBoVB2TfK1-AdQFo2Ml4Z-tbpjT9-APwTRRZNoKxpJOxK904MNLKW2cU4LfPB-RGR8lXFnvW_D1M_r-8gsEZyt2Qaw_HQFI_yT2CDkamCJHEbtS8oRCGGBc/s16000/DAM%20DESIGN%20ART%20MODA%20MAGAZINE%20PARIS%20HAUTE%20COUTURE%20WEEK%20SPRING%20SUMMER%202024%20SS24%20%20iman-ayissi-andreaheinson-paris_-19%20fixed.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="color: #666666;"><i>Imane Ayissi Paris Haute Couture Spring/Summer 2024. Photograph by Andrea Heinsohn </i></span></td></tr></tbody></table><br /><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEic1yXEF5Re3JgEaEkf8HWf_QVj1c8zfkqFpzCvsfoNKQOIxApwt2Hndn1WaEeqEwEGghcNTsJ3kx6BUkGkYEVDP74cssbGUxesdN5baim_NxVrLCftUbNDwTwSqDKKsvFfhQ-LBoLLcrVhsS6KzL-DWprwscJV24yfV3QsYHikhI6REswSVukqc1yPG3E/s1050/DAM%20DESIGN%20ART%20MODA%20MAGAZINE%20PARIS%20HAUTE%20COUTURE%20WEEK%20SPRING%20SUMMER%202024%20SS24%20%20007%C2%A9ELLI-IOANNOU-IMANE-AYISSI.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1050" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEic1yXEF5Re3JgEaEkf8HWf_QVj1c8zfkqFpzCvsfoNKQOIxApwt2Hndn1WaEeqEwEGghcNTsJ3kx6BUkGkYEVDP74cssbGUxesdN5baim_NxVrLCftUbNDwTwSqDKKsvFfhQ-LBoLLcrVhsS6KzL-DWprwscJV24yfV3QsYHikhI6REswSVukqc1yPG3E/s16000/DAM%20DESIGN%20ART%20MODA%20MAGAZINE%20PARIS%20HAUTE%20COUTURE%20WEEK%20SPRING%20SUMMER%202024%20SS24%20%20007%C2%A9ELLI-IOANNOU-IMANE-AYISSI.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="color: #666666;"><i>Imane Ayissi Paris Haute Couture Spring/Summer 2024. Photograph by Elli Ioannou</i></span></td></tr></tbody></table><br /><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzL0GglDNBWIGokW_Oa9MmpL6xNr4WdOuVmcCIdGeLezndUFKXW7pbAdQ47JRJKEht3e5cq2dIbfnYneQXQx8vPGDJio7-T3I-KIHZcwJWP71EK-GGQDEL5giWOxOs_OgPH5NlyNQlQQmoeDGq8eIxSyALIWyj6YzCk9O1M5_qbCUE2cAPynhXOG8W6mY/s1050/DAM%20DESIGN%20ART%20MODA%20MAGAZINE%20PARIS%20HAUTE%20COUTURE%20WEEK%20SPRING%20SUMMER%202024%20SS24%20%20034%C2%A9ELLI-IOANNOU-IMANE-AYISSI.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1050" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzL0GglDNBWIGokW_Oa9MmpL6xNr4WdOuVmcCIdGeLezndUFKXW7pbAdQ47JRJKEht3e5cq2dIbfnYneQXQx8vPGDJio7-T3I-KIHZcwJWP71EK-GGQDEL5giWOxOs_OgPH5NlyNQlQQmoeDGq8eIxSyALIWyj6YzCk9O1M5_qbCUE2cAPynhXOG8W6mY/s16000/DAM%20DESIGN%20ART%20MODA%20MAGAZINE%20PARIS%20HAUTE%20COUTURE%20WEEK%20SPRING%20SUMMER%202024%20SS24%20%20034%C2%A9ELLI-IOANNOU-IMANE-AYISSI.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="color: #666666;"><i>Imane Ayissi Paris Haute Couture Spring/Summer 2024. Photograph by Elli Ioannou</i></span></td></tr></tbody></table><br /><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhx2jnEiS3iQc5a00VI0T6SJAOMRuJsOGTum6wIPbzd1guNNnPlhEQomgBBYIxYOQIHI36LyXCxoMjJZVbwqKxg0q6AObPnsnTrroZgPUWhl-kh3MnXk3VItxsrHqb8icX0aGZP85vqflJMgtLwUx__g28mmYu6KBbc51-B-45lc5dOMbs6_7vCIuLjbc8/s1017/DAM%20DESIGN%20ART%20MODA%20MAGAZINE%20PARIS%20HAUTE%20COUTURE%20WEEK%20SPRING%20SUMMER%202024%20SS24%20%20010%C2%A9ELLI-IOANNOU-IMANE-AYISSI.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1017" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhx2jnEiS3iQc5a00VI0T6SJAOMRuJsOGTum6wIPbzd1guNNnPlhEQomgBBYIxYOQIHI36LyXCxoMjJZVbwqKxg0q6AObPnsnTrroZgPUWhl-kh3MnXk3VItxsrHqb8icX0aGZP85vqflJMgtLwUx__g28mmYu6KBbc51-B-45lc5dOMbs6_7vCIuLjbc8/s16000/DAM%20DESIGN%20ART%20MODA%20MAGAZINE%20PARIS%20HAUTE%20COUTURE%20WEEK%20SPRING%20SUMMER%202024%20SS24%20%20010%C2%A9ELLI-IOANNOU-IMANE-AYISSI.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="color: #666666;"><i>Imane Ayissi Paris Haute Couture Spring/Summer 2024. Photograph by Elli Ioannou</i></span></td></tr></tbody></table><br /><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-nykn-p9TkYG-RAy_WQSggJc4uIGa6wMes6VK5yhGbWb0XfFmeGv-2lAyOw6oeztVbtQNW7DjCE3GoYXAEutCPsHgTA8P36RdG7BO3cONaIypay6_VdX56NmtgJCSwLwxPqhNNeAcY16H8p0_FsdF_QzsLRW6e0XWDopmJWseMP-rv30tSJ6dxi2fB8I/s1014/DAM%20DESIGN%20ART%20MODA%20MAGAZINE%20PARIS%20HAUTE%20COUTURE%20WEEK%20SPRING%20SUMMER%202024%20SS24%20%20iman-ayissi-andreaheinson-paris_-6.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1014" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-nykn-p9TkYG-RAy_WQSggJc4uIGa6wMes6VK5yhGbWb0XfFmeGv-2lAyOw6oeztVbtQNW7DjCE3GoYXAEutCPsHgTA8P36RdG7BO3cONaIypay6_VdX56NmtgJCSwLwxPqhNNeAcY16H8p0_FsdF_QzsLRW6e0XWDopmJWseMP-rv30tSJ6dxi2fB8I/s16000/DAM%20DESIGN%20ART%20MODA%20MAGAZINE%20PARIS%20HAUTE%20COUTURE%20WEEK%20SPRING%20SUMMER%202024%20SS24%20%20iman-ayissi-andreaheinson-paris_-6.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="color: #666666;"><i>Imane Ayissi Paris Haute Couture Spring/Summer 2024. Photograph by Andrea Heinsohn</i></span></td></tr></tbody></table><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_18Kl9MztGSzyzUKeQUtl8SVAW0s7NfeyDacjiQLsrbfNBOMRQXi3HqD-a2CTowZ_e6llIiDDGqtvOCHa3EefDf0nCRmWWKqDznjeC_zLnGmOOlUkOxFA9_f-82U8OwcdDggabejEUE36EwNO81fpNG3rPKHW8Ys7FAB9VPAc5040viksqs4I6D-ca3o/s1050/DAM%20DESIGN%20ART%20MODA%20MAGAZINE%20PARIS%20HAUTE%20COUTURE%20WEEK%20SPRING%20SUMMER%202024%20SS24%20%20iman-ayissi-andreaheinson-paris_-8.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1050" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_18Kl9MztGSzyzUKeQUtl8SVAW0s7NfeyDacjiQLsrbfNBOMRQXi3HqD-a2CTowZ_e6llIiDDGqtvOCHa3EefDf0nCRmWWKqDznjeC_zLnGmOOlUkOxFA9_f-82U8OwcdDggabejEUE36EwNO81fpNG3rPKHW8Ys7FAB9VPAc5040viksqs4I6D-ca3o/s16000/DAM%20DESIGN%20ART%20MODA%20MAGAZINE%20PARIS%20HAUTE%20COUTURE%20WEEK%20SPRING%20SUMMER%202024%20SS24%20%20iman-ayissi-andreaheinson-paris_-8.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="color: #666666;"><i>Imane Ayissi Paris Haute Couture Spring/Summer 2024. 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Photograph by Andrea Heinsohn</i></span></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><br /></div>EDITOR: JEANNE-MARIE CILENTOhttp://www.blogger.com/profile/14670620493771232966noreply@blogger.comtag:blogger.com,1999:blog-4140782815588672922.post-41705538394422995192024-01-21T10:30:00.000-08:002024-01-30T11:05:45.441-08:00What was the Mantua? How a 17th-century Gown Transformed Dressmaking and Ushered in Financial Freedom for Women<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTfWk_NYJ592eT5QZf89SVZC8_QAMZk-1Q4w5_Rys-J8SXzVU3rBWOXi-QpxWMRc_SnrqJDp_PUpRcLBI46mFHu2I1Kiz0ASlhp2OPP91cVmCPJfTa5aSeFNQ83KNGOO0iGzf83ZX1y01EH1mdtRgxQosvsQrBhYQCalOSqTNCmknw9SWcZB75LIPIiYI/s896/Diego%20Vel%C3%A1zquez,%20Portrait%20of%20the%20Infanta%20Maria%20Theresa,%20Philip%20IV%E2%80%99s%20daughter%20with%20Elisabeth%20of%20France.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="896" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTfWk_NYJ592eT5QZf89SVZC8_QAMZk-1Q4w5_Rys-J8SXzVU3rBWOXi-QpxWMRc_SnrqJDp_PUpRcLBI46mFHu2I1Kiz0ASlhp2OPP91cVmCPJfTa5aSeFNQ83KNGOO0iGzf83ZX1y01EH1mdtRgxQosvsQrBhYQCalOSqTNCmknw9SWcZB75LIPIiYI/s16000/Diego%20Vel%C3%A1zquez,%20Portrait%20of%20the%20Infanta%20Maria%20Theresa,%20Philip%20IV%E2%80%99s%20daughter%20with%20Elisabeth%20of%20France.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="color: #666666;"><i>Diego Velázquez, Portrait of the Infanta Maria Theresa of Spain, 1653, an early version of the mantua</i></span></td></tr></tbody></table><br /><h1 class="legacy"><br /></h1>
<figure><br /></figure>
<span>By Sarah Bendall, <em>Australian Catholic University</em></span>
<p><b>If you’ve watched many period dramas, you’ve probably seen a mantua before. Originating in France in the 1670s, this women’s garment consisted of lengths of t-shaped fabric that were pleated to create an unstiffened bodice with attached overskirts. </b></p>
<p>This gown was worn over a pair of stays (corset) and an often contrasting petticoat. The draping and folding of fabric created a front-opening gown.</p>
<p>What many people don’t realise, however, is how fundamentally this item of clothing altered women’s involvement in the fashion industry – and represented a ticket to financial freedom for an industry of female mantua makers.</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/557950/original/file-20231107-267416-94pua8.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="The _Robe à la Française_ featured back pleats that draped to the floor." sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" src="https://images.theconversation.com/files/557950/original/file-20231107-267416-94pua8.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/557950/original/file-20231107-267416-94pua8.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=750&fit=crop&dpr=1 600w, https://images.theconversation.com/files/557950/original/file-20231107-267416-94pua8.jpeg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=750&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/557950/original/file-20231107-267416-94pua8.jpeg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=750&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/557950/original/file-20231107-267416-94pua8.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=943&fit=crop&dpr=1 754w, https://images.theconversation.com/files/557950/original/file-20231107-267416-94pua8.jpeg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=943&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/557950/original/file-20231107-267416-94pua8.jpeg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=943&fit=crop&dpr=3 2262w" /></a>
<figcaption>
<span class="caption">The <em>robe à la française</em> was a mantua style that featured loose back pleats that draped to the floor.</span>
<span class="attribution">The Met/Purchase, Irene Lewisohn Bequest, 1954</span>
</figcaption>
</figure>
<h2>What was the mantua?</h2>
<p>After its invention in the 1670s, the new gown became immediately popular among fashionable Parisian women.</p>
<p>Although strict dress codes at the Versailles court of French King Louis XIV prohibited the wearing of mantuas, women at the English court helped popularise it in England. </p>
<p>By the 1680s, the mantua was widely worn in Western and Central Europe, as well as in European colonies around the world. It soon became the basis for all women’s gowns in the 18th century. </p>
<p>Popular versions of the mantua in 18th century included:</p>
<ul>
<li><p>the loose style called a <em>robe volante</em></p></li>
<li><p>the iconic <em>robe à la française</em> (sometimes called a sack gown) with its back pleats that draped to the floor, and</p></li>
<li><p>the tighter fitting <em>robe à la anglaise </em> (also known as English or Italian gowns).</p></li>
</ul>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/557951/original/file-20231107-17-w6ojrl.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="The _robe à l’anglaise_ was tighter fitting than its French counterpart." sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" src="https://images.theconversation.com/files/557951/original/file-20231107-17-w6ojrl.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/557951/original/file-20231107-17-w6ojrl.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=825&fit=crop&dpr=1 600w, https://images.theconversation.com/files/557951/original/file-20231107-17-w6ojrl.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=825&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/557951/original/file-20231107-17-w6ojrl.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=825&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/557951/original/file-20231107-17-w6ojrl.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1037&fit=crop&dpr=1 754w, https://images.theconversation.com/files/557951/original/file-20231107-17-w6ojrl.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1037&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/557951/original/file-20231107-17-w6ojrl.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1037&fit=crop&dpr=3 2262w" /></a>
<figcaption>
<span class="caption">The <em>robe à l’anglaise</em> had fitted back pleats and was tighter compared to its French counterpart.</span>
<span class="attribution">The Met/Purchase, Irene Lewisohn Bequest, 2018</span>
</figcaption>
</figure>
<h2>Tailors vs mantua makers</h2>
<p>As well as changing the look of western fashions, the mantua radically changed women’s involvement in the fashion industry.</p>
<p>Before the 17th century, outer garments were usually made by male tailors. Apprenticeships and membership of guilds – the organisations that controlled most craft trades – were restricted to boys and men.</p>
<p>Women did participate informally in these professions. They sometimes worked alongside tailor family members (and some were fined for doing so) and widows were permitted to carry on the businesses of their deceased husbands. </p>
<p>Women had also historically worked as seamstresses or “silkwomen” making small linen or silk goods like underwear and accessories.</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/558181/original/file-20231107-15-oe546c.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="A blue loose 1730s style called a _robe volante_." sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" src="https://images.theconversation.com/files/558181/original/file-20231107-15-oe546c.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/558181/original/file-20231107-15-oe546c.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=300&fit=crop&dpr=1 600w, https://images.theconversation.com/files/558181/original/file-20231107-15-oe546c.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=300&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/558181/original/file-20231107-15-oe546c.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=300&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/558181/original/file-20231107-15-oe546c.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=377&fit=crop&dpr=1 754w, https://images.theconversation.com/files/558181/original/file-20231107-15-oe546c.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=377&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/558181/original/file-20231107-15-oe546c.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=377&fit=crop&dpr=3 2262w" /></a>
<figcaption>
<span class="caption">This loose 1730s style was called a <em>robe volante</em>.</span>
<span class="attribution">The Met/Purchase, Friends of The Costume Institute Gifts, 2010</span>
</figcaption>
</figure>
<p>However, this began to change in the late 17th century during what came to be known as the consumer revolution – a period, beginning in the 1600s, that saw a significant jump in the consumption of luxury goods.</p>
<p>Significantly, in 1675, women in Paris and Rouen acquired their own, independent couturière (dressmaking) guilds and began to take over making women’s clothing from male tailors. </p>
<p>In London, guilds with dwindling memberships also began to permit paying female members. </p>
<p>Due to the considerable influence of France on western fashions, women in London began to train under French dressmakers, giving rise to what were known in English as mantua makers. </p>
<figure>
<iframe allowfullscreen="" frameborder="0" height="260" src="https://www.youtube.com/embed/qqaX2WPxv8k?wmode=transparent&start=0" width="440"></iframe>
</figure>
<h2>Dressmaking and financial freedom</h2>
<p>From the 18th to 20th centuries, dressmaking and other fashion or textile-related industries were the main source of formal employment for women in Britain, Australia and the United States (alongside teaching and domestic service). </p>
<p>New training opportunities in dressmaking – coupled with historical peculiarities such as London’s <em>feme sole</em> status, which allowed married women to run businesses and have finances independent of their husbands – meant many women began to open their own businesses.</p>
<p>Single women often lived in houses with other mantua makers and their apprentices, working as teams. Married women usually operated in workshops in the family home alongside their husbands, many of whom worked as tailors. </p>
<p>By the mid-18th century, manuals instructing parents on craft apprenticeships for their children noted mantua making was a large trade</p>
<blockquote>
<p>reckoned a genteel, as well as profitable Employ [for women], many of them living well and saving Money.</p>
</blockquote>
<p>But several male tailoring guilds in Europe attempted to stop women working as mantua makers, claiming they were taking away their business. Additionally, many women who worked in the garment-making industries were poorly paid and often worked in cramped conditions. </p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/557966/original/file-20231107-23-rovwj4.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="Mantuas were sometimes pinned up at the back." sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" src="https://images.theconversation.com/files/557966/original/file-20231107-23-rovwj4.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/557966/original/file-20231107-23-rovwj4.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=750&fit=crop&dpr=1 600w, https://images.theconversation.com/files/557966/original/file-20231107-23-rovwj4.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=750&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/557966/original/file-20231107-23-rovwj4.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=750&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/557966/original/file-20231107-23-rovwj4.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=943&fit=crop&dpr=1 754w, https://images.theconversation.com/files/557966/original/file-20231107-23-rovwj4.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=943&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/557966/original/file-20231107-23-rovwj4.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=943&fit=crop&dpr=3 2262w" /></a>
<figcaption>
<span class="caption">Mantuas were sometimes pinned up at the back like this 1690s example.</span>
<span class="attribution">The Met/Rogers Fund, 1933</span>
</figcaption>
</figure>
<p>Yet, many did rise above. French mantua makers were particularly popular, with women in London paying substantially more for gowns made by French women with access to the latest fashion knowledge in Paris. </p>
<p>Some became confidants of queens. The famous fashion merchant Marie-Jeanne “Rose” Bertin designed many of French queen Marie Antoinette’s gowns (her detractors labelled her the queen’s “minister of fashion”).</p>
<p>These networks gave these women access to vast amounts of clients and social capital. By the 19th century, senior dressmakers and milliners called modistes often ran their own luxury fashion houses in the West End of London. </p>
<p>Mantua making was also a significant business opportunity for women in Australia. </p>
<p>“M. Hayes”, Catherine Mellon and Martha Matthews were all “mantua makers and milliners” who advertised their services in the early years of the Sydney colony.</p>
<h2>Legacies of mantua makers</h2>
<p>During the early years of the 19th century, mantuas fell out of use as new styles appeared. The term “dressmaker” also came to slowly replace the term “mantua maker”. </p>
<p>However, the gendered segregation of labour remained. During much of the 19th and 20th centuries, men were more likely to be tailors and have their clothing made by tailors. Women were more likely to be dressmakers and have their clothing made by dressmakers. The skills and techniques of each profession remained quite different. </p>
<p>With the advent of modern fast fashion, the skills of both tailors and dressmakers are fast being lost, and with it the knowledge of this revolutionary trade for women.<!--Below is The Conversation's page counter tag. Please DO NOT REMOVE.--><img alt="The Conversation" height="1" referrerpolicy="no-referrer-when-downgrade" src="https://counter.theconversation.com/content/215153/count.gif?distributor=republish-lightbox-basic" style="border: none; box-shadow: none; margin: 0px; max-height: 1px; max-width: 1px; min-height: 1px; min-width: 1px; opacity: 0; outline: none; padding: 0px;" width="1" /><!--End of code. If you don't see any code above, please get new code from the Advanced tab after you click the republish button. The page counter does not collect any personal data. More info: https://theconversation.com/republishing-guidelines--></p>
<p><span style="color: #666666;"><i>Sarah Bendall, Research Fellow, Gender and Women's History Research Centre, Institute for Humanities and Social Sciences, Australian Catholic University</i></span></p>EDITOR: JEANNE-MARIE CILENTOhttp://www.blogger.com/profile/14670620493771232966noreply@blogger.comtag:blogger.com,1999:blog-4140782815588672922.post-49406031514210672662024-01-17T02:50:00.000-08:002024-01-18T03:01:18.926-08:00Paris Men's Fashion Week: Kidill's Autumn-Winter 2024 Collection: A Tribute to Punk's Unchanging Spirit and Renewed Rebellion<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjawOJJlhv3QX8iWQbyEnzlkijzhl19i96V61K8scRSY_i_V_KMUY5lJyPwqQNG0K0hMe4Cp7xesJqX9bwMEfmPR58b9LzDluZQPvKgdOoL9v9VnfalOnOFQAyO6CYMocBtJtmfKJG8MGL-BAe6ZyvKlBaaiq4o2VTyZofcN8IwlUQBbWAi0TTZAFJ2eJs/s1050/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20MENS%20FASHION%20WEEK%20PARIS%20AUTUMN%20WINTER%202024%20%20PFW%20KIDILL_24FW_07.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1050" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjawOJJlhv3QX8iWQbyEnzlkijzhl19i96V61K8scRSY_i_V_KMUY5lJyPwqQNG0K0hMe4Cp7xesJqX9bwMEfmPR58b9LzDluZQPvKgdOoL9v9VnfalOnOFQAyO6CYMocBtJtmfKJG8MGL-BAe6ZyvKlBaaiq4o2VTyZofcN8IwlUQBbWAi0TTZAFJ2eJs/s16000/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20MENS%20FASHION%20WEEK%20PARIS%20AUTUMN%20WINTER%202024%20%20PFW%20KIDILL_24FW_07.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i><span style="color: #666666;">One of the new punk-inspired designs from Hiroaki Sueyasu new collection in Paris</span></i></td></tr></tbody></table><br /><p class="MsoNormal"><br /></p>
<p class="MsoNormal"><br /></p>
<p class="MsoNormal"><br /></p><p class="MsoNormal"><br /></p><p class="MsoNormal"><b><span style="font-size: x-large;">Embodying the essence of punk, Hiroaki Sueyasu, the
visionary force behind Kidill, not only commemorates its rebellious legacy but also reshapes the narrative for a new era. The resonance of the Autumn/Winter 2024 collection extends beyond fashion and is more of a cultural
manifesto, an impassioned ode to punk's indomitable spirit, writes <i>Antonio Visconti</i></span></b></p><p class="MsoNormal"></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgThjfO_F713a4nhR3d40jUWHGAFR5sFZqlxHTFv5C1eeaBjGWv3eVGd8q9Eg85nUgRAsRm1SaBzw6AjD3niywW4SSx4Yzm9u3tbCFKZmEe9XZc_mgIrQjek44f87qEr0mEm7msEl9VzVGy6NZ1P5B4gEOAQwRSqR6nE-k2PwgYNpT-k7yCHBBz-UjGawQ/s713/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20MENS%20FASHION%20WEEK%20PARIS%20AUTUMN%20WINTER%202024%20%20KIDILL.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="713" data-original-width="700" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgThjfO_F713a4nhR3d40jUWHGAFR5sFZqlxHTFv5C1eeaBjGWv3eVGd8q9Eg85nUgRAsRm1SaBzw6AjD3niywW4SSx4Yzm9u3tbCFKZmEe9XZc_mgIrQjek44f87qEr0mEm7msEl9VzVGy6NZ1P5B4gEOAQwRSqR6nE-k2PwgYNpT-k7yCHBBz-UjGawQ/w393-h400/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20MENS%20FASHION%20WEEK%20PARIS%20AUTUMN%20WINTER%202024%20%20KIDILL.jpg" width="393" /></a></td></tr><tr><td class="tr-caption" style="text-align: left;"><span style="color: #666666;"><i>Portrait of Japanese designer Hiroaki Sueyasu</i></span></td></tr></tbody></table><b>IN the dynamic realm of fashion</b>, where trends ebb and flow
like the tide, Kidill's new collection emerges as a testament to
the enduring spirit of punk. <p></p><p class="MsoNormal">The recent passing of Jamie Reid, the iconic
British artist known for his collaboration with the Sex Pistols, has cast a
poignant shadow over the fashion landscape. </p><p class="MsoNormal">For Hiroaki Sueyasu, Kidill’s
artistic director, this loss marks not just the departure of an influential
figure but the unraveling of a personal journey that began in collaboration
with Reid for Autumn/Winter 2020.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">In Sueyasu's own words, "Jamie was my very starting
point." The profound impact of Reid's work and the collective influence of
the early punk movement have left a void, one that Sueyasu poignantly
describes as a tremendous loss. Reid was more than an artist to Sueyasu; he was a
reflection, a portrayal of the self.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">Acknowledging the departure of remarkable figures who shaped
early punk, Sueyasu speaks of a duty to ensure that the essence of punk, a
force that has influenced our time and people, remains alive. In
offering condolences that transcend the inimitable, Sueyasu declares, 'they are
eternal,' affirming a commitment to immortalizing the legacy of punk pioneers.</p><p class="MsoNormal"><b><span style="font-size: x-large;"><i>The profound impact of Reid's work and the collective influence of the early punk movement have left a tremendous void</i></span></b></p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal"></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbR_Bs6e6IGwhW99c_IfWqRSH_booPrgxLsOSyfB8Mfk1HUsqNRrh7QjlF99tdZnfIpyncRQLvyH7nt-UL8dPJvmbTYZ0Wok89JJs3dhFyC1hJijSz_iS5IKPVRSjV6mnxDmqqt-QpfAPw9aVqlKaNpIKNKMdjj1HUMwqlxzf1ZHKiGIv74TSucHvQcuk/s1050/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20MENS%20FASHION%20WEEK%20PARIS%20AUTUMN%20WINTER%202024%20%20KIDILL_24FW_09.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1050" data-original-width="700" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbR_Bs6e6IGwhW99c_IfWqRSH_booPrgxLsOSyfB8Mfk1HUsqNRrh7QjlF99tdZnfIpyncRQLvyH7nt-UL8dPJvmbTYZ0Wok89JJs3dhFyC1hJijSz_iS5IKPVRSjV6mnxDmqqt-QpfAPw9aVqlKaNpIKNKMdjj1HUMwqlxzf1ZHKiGIv74TSucHvQcuk/w266-h400/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20MENS%20FASHION%20WEEK%20PARIS%20AUTUMN%20WINTER%202024%20%20KIDILL_24FW_09.jpg" width="266" /></a></td></tr><tr><td class="tr-caption" style="text-align: right;"><span style="color: #666666;"><i>Punk for a new era</i></span></td></tr></tbody></table>Sueyasu delves into the dichotomy of classic styles,
recognizing the risk of becoming mere iconography over time. However, he asserts that stylized beauty has the capacity to absorb contemporary diversity
and persist into the future yet anchored in the present. <p></p><p class="MsoNormal">This
philosophical underpinning sets the stage for the preeminent theme of the new collection: celebration of the positive energy of those who
continue to breathe life into the rebellion embodied by punk.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">The collection, a vibrant tapestry of DIY-inspired
embellishments, prints, and jacquard weaves, crafted by Japanese artisans,
serves as an exploration of the intersection between early punk classicism and
the modern design ethos. </p><p class="MsoNormal">Sueyasu pays homage to punk through deconstruction and the revival of ripped denim that is vintage and resewn, evoking the raw essence of the
punk movement.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">The direct message of this season’s collection
resonates with the half-century history of punk, emphasizing its signature identity and attitude. Once perceived as a subculture confined
to specific appearances, punk has transcended insularity. </p><p class="MsoNormal">It has been inherited by
many as a spirit of protest, propelling the evolution of a
modern, independent culture. As articulated by Sueyasu, it has become a
value system that respects individuality through freedom and expression.</p><p class="MsoNormal"><b><i><span style="font-size: x-large;">The new collection crafted by Japanese artisans, serves as an exploration of the intersection between early punk classicism and the modern design ethos</span></i></b></p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal"></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEic_L8-07KaIAU1FRfeL_POOfjdegzojyZpxI5ZOxGi1ZLBnRLnqPGB7KKMkTOae1ZaqrwW2iBZWFVhbFH0QNl4TuDjwTuZ7YQt8LFqNSpJCfzImF3_V_wdsYgFBdATo36OFaUBheP8FcE5gB60TlmYLjZmRfyhJQiKZUMKMgf_gLSZDRPqvnIsTE2jhH4/s1050/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20MENS%20FASHION%20WEEK%20PARIS%20AUTUMN%20WINTER%202024%20KIDILL_24FW_10.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1050" data-original-width="700" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEic_L8-07KaIAU1FRfeL_POOfjdegzojyZpxI5ZOxGi1ZLBnRLnqPGB7KKMkTOae1ZaqrwW2iBZWFVhbFH0QNl4TuDjwTuZ7YQt8LFqNSpJCfzImF3_V_wdsYgFBdATo36OFaUBheP8FcE5gB60TlmYLjZmRfyhJQiKZUMKMgf_gLSZDRPqvnIsTE2jhH4/w266-h400/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20MENS%20FASHION%20WEEK%20PARIS%20AUTUMN%20WINTER%202024%20KIDILL_24FW_10.jpg" width="266" /></a></td></tr><tr><td class="tr-caption" style="text-align: left;"><span style="color: #666666;"><i>Rebellion is the heart of punk</i></span></td></tr></tbody></table>Sueyasu's return to the roots signifies more than a
nostalgic homage; it is a channeling of origins, a rebirth and
renewal of the brand. "As a matter of fact, my initial
impulse and resistance remain the same." This
simplicity becomes a poignant statement in a fashion
landscape often dominated by complexity and change.<p></p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">Born in Fukuoka, Japan, Sueyasu's journey from Omura Beauty
and Fashion College to the vibrant streets of London in 2002 laid the
foundation for a self-educated designer with a profound respect for the graphic
artists of the punk age. Kidill, launched in 2014, draws inspiration from London punk, post-punk, and grunge cultures.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">From the first runway collection in Tokyo for the 2014-15 Autumn/Winter season to the opening of the flagship store, Kidill Room, in Tokyo's Shibuya in
2016, Sueyasu's trajectory has been marked by accolades, including design awards and the governors prize for the Tokyo New Designer Fashion
Grand Prix. Collaborations with respected artists include Dennis Morris, Public
Image Limited, Sheila Rock, and Jamie Reid, among others.</p><p class="MsoNormal">Kidill's independent showcase in Paris since Spring/Summer 2021 and its
inclusion on the official schedule for Paris Fashion Week from the Autumn/Winter 2021 underscore the label's growing influence on the global fashion stage. In paying
homage to punk's roots, Sueyasu and Kidill not only celebrate a storied past
but redefine rebellion for a new era. The latest collection is not
just a fashion statement; it is more of a cultural manifesto, an ode to punk's
unyielding spirit. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpJXO958jINZxsU_CzKIq8vH7LaXixkzwzr7cRzFZnbCbSVJtZWlXO3AeGePiRKyGFTs2ikuGKi9SuzriaSDQ2zczTY21-QC516UktHBqaL6Qtc3LYdpmJYmmdktxIh-ETi2Qg2tUj1iahWG8pHCS61QOIFufPTN6zacQeL8Lm_KRMcmYACufTXfIbWxQ/s1050/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20MENS%20FASHION%20WEEK%20PARIS%20AUTUMN%20WINTER%202024%20%20KIDILL_24FW_29.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1050" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpJXO958jINZxsU_CzKIq8vH7LaXixkzwzr7cRzFZnbCbSVJtZWlXO3AeGePiRKyGFTs2ikuGKi9SuzriaSDQ2zczTY21-QC516UktHBqaL6Qtc3LYdpmJYmmdktxIh-ETi2Qg2tUj1iahWG8pHCS61QOIFufPTN6zacQeL8Lm_KRMcmYACufTXfIbWxQ/s16000/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20MENS%20FASHION%20WEEK%20PARIS%20AUTUMN%20WINTER%202024%20%20KIDILL_24FW_29.jpg" /></a></div><br /><div class="separator" style="clear: both; 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margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1050" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiit2ShHieWdLV7UP1wSjwGRAog6CKXhZrB7M_BBmos2jwKGsaebpcY-_nIgAlrxvZxcQCIqI0y77UbrEuAtDq99bXiiADLH1GsMyRmrUVv7YY4VcAJ-XkhbhtGXTbU4flepVSAT2_xipg2JNxRHdLKqP8SjshnJNB6EvZyOEReKaM9WU3Lg-nxkDKUAJw/s16000/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20MENS%20FASHION%20WEEK%20PARIS%20AUTUMN%20WINTER%202024%20%20KIDILL_24FW_06.jpg" /></a></div><br /><p class="MsoNormal"><br /></p>EDITOR: JEANNE-MARIE CILENTOhttp://www.blogger.com/profile/14670620493771232966noreply@blogger.comtag:blogger.com,1999:blog-4140782815588672922.post-75384652471986196002024-01-08T04:32:00.000-08:002024-01-13T03:22:49.232-08:00Backstage with Timothée Chalamet in Los Angeles <p></p><div class="separator" style="clear: both; text-align: center;"><p class="MsoNormal" style="text-align: left;"><b><span style="font-size: x-large;"></span></b></p><p class="MsoNormal"><o:p></o:p></p><p class="MsoNormal" style="text-align: left;"><span style="text-align: center;"></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwS4WghD-ca4uYdPK0w4cRU-SqYvL_Fj9qadHmiKfqgOOKelHxlLF3BIx_b06eAiZGAKuZSHPjd131TVbI0z3LbIroPdX1viJKmTbYmtImY2XXFayJ-bqAdDNN5U00Gkemva2GrrQyg3fizUobblTThs5HnuitDoQb96avjDgApA9c_hV-t-pI_d_Iq_4/s700/DESIGN%20ART%20MAGAZINE%20DAM%20TChalamet_Globes_24_08__Julian%20Ungano%20CROPPED.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="639" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwS4WghD-ca4uYdPK0w4cRU-SqYvL_Fj9qadHmiKfqgOOKelHxlLF3BIx_b06eAiZGAKuZSHPjd131TVbI0z3LbIroPdX1viJKmTbYmtImY2XXFayJ-bqAdDNN5U00Gkemva2GrrQyg3fizUobblTThs5HnuitDoQb96avjDgApA9c_hV-t-pI_d_Iq_4/s16000/DESIGN%20ART%20MAGAZINE%20DAM%20TChalamet_Globes_24_08__Julian%20Ungano%20CROPPED.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: left;"><span style="color: #666666; font-size: large;"><i>Timothee Chalamet relaxes and plays the piano in LA as he gets ready for the Golden Globes in Celine Homme by Hedi Slimane.Photographs by Julian Ungano</i></span></td></tr></tbody></table><span style="text-align: center;"><br /><br /></span><p></p></div><div class="separator" style="clear: both; text-align: center;"><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal"><o:p></o:p></p><p class="MsoNormal" style="text-align: left;"><span style="text-align: center;"><b><span style="font-size: x-large;">As the curtain closed on the 81st Annual Golden Globe Awards
in Los Angeles, the spotlight remained on the effortlessly stylish Timothée
Chalamet. While the accolade for Best Actor may have slipped through his
fingers, the backstage glimpse into his pre-awards preparation reveals a star
who shines just as bright offstage, writes <i>Antonio Visconti</i></span></b></span></p><p class="MsoNormal" style="text-align: left;"><span style="text-align: center;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEig_jiIopsY6YDklVoa2n5iLfwqphWTGFnmHjt65O9DtqtInbOBLQM6jacllrNJgKYJR52dtTOh2odjpUUkSDUljCSzRZHMaxf5mMPrijWNSeHfupZE0FBConNWPNKSSXLeyGs6EwpmuQHnEVx1CfGkoNl5ZPmRP4yvFYq-2bmmuv5Tajs57aKCWFIeGcA/s875/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20TChalamet_Globes_24_04_Julian%20Ungano%201.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="875" data-original-width="700" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEig_jiIopsY6YDklVoa2n5iLfwqphWTGFnmHjt65O9DtqtInbOBLQM6jacllrNJgKYJR52dtTOh2odjpUUkSDUljCSzRZHMaxf5mMPrijWNSeHfupZE0FBConNWPNKSSXLeyGs6EwpmuQHnEVx1CfGkoNl5ZPmRP4yvFYq-2bmmuv5Tajs57aKCWFIeGcA/w320-h400/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20TChalamet_Globes_24_04_Julian%20Ungano%201.jpg" width="320" /></a></div><div style="text-align: left;"><b>CAPTURED</b> by the lens
of the talented Julian Ungano, our exclusive behind-the-scenes look showcases
Chalamet in the final moments before stepping onto the red carpet. Dressed in a
meticulously curated ensemble by Hedi Slimane for Celine Homme, Chalamet exuded
an air of understated confidence.</div><p></p><p class="MsoNormal" style="text-align: left;"><span style="text-align: center;">The embroidered jacket in wool gabardine, a
striking creation in classic black, stole the show backstage. The intricate
detailing and tailored fit hinted at the craftsmanship that goes into every
Celine Homme piece, setting the tone for an evening of sartorial style.</span></p><p class="MsoNormal" style="text-align: left;">Beneath the jacket, the loose shirt in cotton poplin took
centre stage. In the moments before the grand reveal, Chalamet
showcased how comfort and style effortlessly coalesce. The black shirt,
elegantly unbuttoned, offered a glimpse of the actor's laid-back yet refined
approach to fashion.</p><p class="MsoNormal" style="text-align: left;"><o:p></o:p></p>
<p class="MsoNormal" style="text-align: left;"><o:p> </o:p>As the final touches were added, the classic tux trousers in grain de poudre wool completed the ensemble with a nod to elegance. Chalamet's choice of black-on-black proved to be a good choice,
creating a look that was sophisticated yet relaxed.</p><p class="MsoNormal" style="text-align: left;"><o:p></o:p></p>
<p class="MsoNormal" style="text-align: left;">The drugstore Chelsea boots in calfskin, signature pieces from Hedi Slimane's
design repertoire, added a contemporary edge and served as a
testament to Chalamet's willingness to embrace avant-garde elements within
traditional menswear. </p><p class="MsoNormal" style="text-align: left;"><span style="text-align: center;">In the heart of Los Angeles, on the eve of the Golden Globes, Chalamet's backstage preparation unfolded giving a glimpse of his
commitment to both craft and style. Though the Best Actor trophy eluded him and went to Paul Giametti,
his Celine ensemble and the meticulous attention to detail provided a
glimpse into a fashion-forward approach that resonates beyond the confines
of the red carpet. As the curtain falls on this year's awards, one
thing is certain: Timothée Chalamet's style steals the spotlight, both on and
off the stage.</span></p><p class="MsoNormal" style="text-align: left;"><i><span style="color: #666666;"><span style="text-align: center;">Scroll down or tap photographs to see more of </span>Timothée Chalamet preparing for the awards ceremony.</span></i></p></div><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcF_SrjPRQ3bnx3VGGHFpAJO347fObgRfux52VnTTShOGhlfjV8w5_uLMtFWj55MVy0ZA-C9U3H8lDWCVnwpqQLwbDOMD9cyM8FibF7TJt5SJXevf4T48qHFK8VA0hkzDoQ-yzor9nmqnvUsJwByOhD_W9LLTfVJq8gpKMEFaVp_8VgNx1c2_DaAlFT9M/s875/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20Chalamet_Globes_24_03_Julian%20Ungano.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="875" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcF_SrjPRQ3bnx3VGGHFpAJO347fObgRfux52VnTTShOGhlfjV8w5_uLMtFWj55MVy0ZA-C9U3H8lDWCVnwpqQLwbDOMD9cyM8FibF7TJt5SJXevf4T48qHFK8VA0hkzDoQ-yzor9nmqnvUsJwByOhD_W9LLTfVJq8gpKMEFaVp_8VgNx1c2_DaAlFT9M/s16000/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20Chalamet_Globes_24_03_Julian%20Ungano.jpg" /></a></div><br /><div class="separator" style="clear: both; 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display: inline; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1050" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbT4y-HPHmbmZpbtm89v6XYfBt6pUYiwuIFZ8BghQMxV9I_S4HY49OAmr_y0mUGAsPSfKBixMqpZ3po0w681hObNJi40LNnOZpptToXFWyHLQfoH8CbEH2WTfb4mRNDfvfxe6evms-xoqIOY5mGkLFHvBH3uYzGZ_NFhLeNGukKxSDiuM84DjtcPN5sz8/s16000/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20CELINE_VIP_07012024_TIMOTHEE_CHALAMET_02.jpg" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div>EDITOR: JEANNE-MARIE CILENTOhttp://www.blogger.com/profile/14670620493771232966noreply@blogger.comtag:blogger.com,1999:blog-4140782815588672922.post-69337294130253246342024-01-05T04:45:00.000-08:002024-01-05T06:45:41.101-08:00 Harmonizing Heritage and Haute Couture: Erdem's Ode to Maria Callas Pre-Fall 2024<b><span style="font-size: x-large;"><div class="separator" style="clear: both; text-align: justify;"><b style="font-size: medium; text-align: left;"><span style="font-size: x-large;"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgl4V649_DRFr8zC6C1aMcjklyo12UUj0hTACXgd6wIkx1-A_HnpV_DuC7ohWKIqz5j1ynii6Ig6bcOPLhvbRqihhn0MQCdGCqdtBPzQSV88frdHpzfwni9H3ZFpCvQhIEApzPlxUTWx-ga7dVjb2WFPOGKAZE7wtgfVfgPNBYl09nkpszA6AAAbFev54c/s1002/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20ERDEM%20Pre%20Fall%202024%20-%20Photographed%20by%20Sonia%20Szostak%20-%20Look%2012%20short.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1002" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgl4V649_DRFr8zC6C1aMcjklyo12UUj0hTACXgd6wIkx1-A_HnpV_DuC7ohWKIqz5j1ynii6Ig6bcOPLhvbRqihhn0MQCdGCqdtBPzQSV88frdHpzfwni9H3ZFpCvQhIEApzPlxUTWx-ga7dVjb2WFPOGKAZE7wtgfVfgPNBYl09nkpszA6AAAbFev54c/s16000/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20ERDEM%20Pre%20Fall%202024%20-%20Photographed%20by%20Sonia%20Szostak%20-%20Look%2012%20short.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i><span style="color: #999999;">Erdem's new collection inspired by the mid-century European world of Maria Callas</span></i></td></tr></tbody></table></span></b><span style="text-align: left;"><div style="text-align: left;"><span>Fashion meets opera in Erdem Moralioglu's new Pre-Fall 2024 collection, weaving threads of inspiration from the legendary Maria Callas. A diva whose on-stage prowess belied a life fraught with insecurity and tragedy, Callas's voice possessed an electric capacity to project complex emotional states. While the opera singer has been the muse for other fashion designers this season, Erdem takes a more abstract approach, writes </span><i>Antonio Visconti</i><span>. Photographs by </span><i>Sonia Szostak</i></div></span></div></span></b><div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXjvyyc1vg9ospZub4boegm8qxbigsXOS_XfYe4RIq7JpAuzDK6ysCvku-mICz_t4Jktd-tV6BeK3befxFQKswOzp5TdkoJmCP4dd5pvY1a35uA6PDhz3mezukPM73WCcLPvqrbrGPWShxxiJqmRiPoRcFW3yPhWLnKcoDtHJlXMSNtAaNy_cSQZrbtbs/s875/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20%20ERDEM%20Pre%20Fall%202024%20-%20Photographed%20by%20Sonia%20Szostak%20-%20Look%2021.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="875" data-original-width="700" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXjvyyc1vg9ospZub4boegm8qxbigsXOS_XfYe4RIq7JpAuzDK6ysCvku-mICz_t4Jktd-tV6BeK3befxFQKswOzp5TdkoJmCP4dd5pvY1a35uA6PDhz3mezukPM73WCcLPvqrbrGPWShxxiJqmRiPoRcFW3yPhWLnKcoDtHJlXMSNtAaNy_cSQZrbtbs/w320-h400/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20%20ERDEM%20Pre%20Fall%202024%20-%20Photographed%20by%20Sonia%20Szostak%20-%20Look%2021.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><div style="text-align: left;"><i style="color: #666666;">One of the dreamy silk dresses in Erdem's</i></div><span style="color: #666666;"><div style="text-align: left;"><i>latest collection scattered with flowers.</i></div></span></td></tr></tbody></table><b>Erdem's </b>latest collection is a sartorial exploration of how Callas dressed and carried herself, drawing from the singer's style and mid-century motifs. </div><div><br /></div><div>The juxtaposition of structure and drapery, tailoring and organic shapes, creates an intriguing dance of contrasts, reminiscent of Fifties and Sixties silhouettes: cocoon shapes, boat-neck dresses, and felted pea coats with voluminous backs.</div><div><br /></div><div>The overall sensation is one of decadence tempered with an austere edge. In Erdem's vision, each ensemble is a play between the controlled and the wild. A sleek black dresss with an oversized fuchsia bow, evinces the contrasts. </div><div><br /></div><div>Monastic dresses adorned with built-in bows and capes featuring jewel-encrusted shoulders, exude elegance tinged with exuberance. A cloqué gown, with exaggerated bows on the shoulders, showcases Erdem's masterful touch in navigating a delicate line between the extravagant and something more refined. </div><div><br /></div><div>A black duchesse dress, complete with a structured bustier and waist, has a sculptural quality. Whereas knits paired with mint-green draped skirts bridge both the casual and formal. Flower motifs, predominantly roses, are used as symbols, scattered across silk dresses, in blurred motion, as if caught mid-flight from audience to star. A long gown, entirely covered with hand-dyed applique roses in varying shades from red to pink, has a certain poetic expression. </div><div><br /></div><div><span style="font-size: x-large;"><i><b>The juxtaposition of structure and drapery, tailoring and organic shapes, creates an intriguing dance of contrasts, reminiscent of Fifties and Sixties silhouettes</b></i></span></div><div><div class="separator" style="clear: both; text-align: center;"><br /></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBRSRd_IJDyTEwgVQDQacBwGPTL9EztjUcxgtP0ZX28jr8Gxkfj8JQhIv3FwzPD1P_2zNiiGCpC_era5Zli6kdHhWapMimhd-MlO8liTPEryL2XFy8xBU-n_uv0OE7-3mq8GLEujr39pzQGtiGLd9u0myQIv7-nrxkyeyeGKyS5XXJ1Q1aHcoabfUIH7E/s875/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20%20ERDEM%20Pre%20Fall%202024%20-%20Photographed%20by%20Sonia%20Szostak%20-%20Look%2019.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="875" data-original-width="700" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBRSRd_IJDyTEwgVQDQacBwGPTL9EztjUcxgtP0ZX28jr8Gxkfj8JQhIv3FwzPD1P_2zNiiGCpC_era5Zli6kdHhWapMimhd-MlO8liTPEryL2XFy8xBU-n_uv0OE7-3mq8GLEujr39pzQGtiGLd9u0myQIv7-nrxkyeyeGKyS5XXJ1Q1aHcoabfUIH7E/w320-h400/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20%20ERDEM%20Pre%20Fall%202024%20-%20Photographed%20by%20Sonia%20Szostak%20-%20Look%2019.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><div style="text-align: right;"><i><span style="color: #666666;">Roses adorn this gown inspired by the</span></i></div><i><div style="text-align: right;"><i><span style="color: #666666;">mid-century style of Maria Callas</span></i></div></i></td></tr></tbody></table>Silk-printed roses beneath black tulle skirts, and a black peplum suit jacket adorned with hundreds of black crushed flowers, almost camouflaged in their abundance. The collection creatively interprets the wardrobe of Maria Callas, who lived life both in the glare of the theatre and under the spotlight of high society. </div><div><br /></div><div>Erdem's designs blur the threshold between on and off stage making his creations very wearable along with being an homage to Maria Callas. </div><div><br /></div><div>The designer's own narrative has its drama, as he was born in Montreal, later traversing continents, honing his craft under fashion luminaries like Vivienne Westwood in the United Kingdom. </div><div><br /></div><div>His trajectory from London to New York and back, culminated in the launch of ERDEM in 2005, Accolades such as the British Fashion Council’s Women’s Wear Designer of the Year in 2014 and an MBE in 2020 underscore his impact on fashion.</div><div><br /></div><div>Creavity and elegance converge in Erdem's collections which are full of emotion. As Pre-Fall '24 unfolds, Erdem continues to be both curator and composer, weaving a tapestry that explores though the medium of fashion the enduring legacy of Maria Callas.</div><div><br /></div><div style="text-align: center;"><span style="color: #666666;"><i>See more highlights from Erdem's collection below </i></span></div><div style="text-align: center;"><span style="color: #666666;"><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVqufyg0EfB3Uc2cV0E9HT1dGnRgpksEOZmfUqoq6w7w-z2sK-1PXI-zT6V9iTojcSnb2JF-BQNX_1Fh43ttEVmpebeQTwonPD12OmBha10tQS8AFR-23PGA-zw5LT2Gv-0iOBSDXerzFRSuRh7NDx5hwAPHI0PRY8F7iKaghmEvHs6RQI4N5LldhWKXY/s875/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20%20ERDEM%20Pre%20Fall%202024%20-%20Photographed%20by%20Sonia%20Szostak%20-%20Look%201.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="875" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVqufyg0EfB3Uc2cV0E9HT1dGnRgpksEOZmfUqoq6w7w-z2sK-1PXI-zT6V9iTojcSnb2JF-BQNX_1Fh43ttEVmpebeQTwonPD12OmBha10tQS8AFR-23PGA-zw5LT2Gv-0iOBSDXerzFRSuRh7NDx5hwAPHI0PRY8F7iKaghmEvHs6RQI4N5LldhWKXY/s16000/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20%20ERDEM%20Pre%20Fall%202024%20-%20Photographed%20by%20Sonia%20Szostak%20-%20Look%201.jpg" /></a></div><br /><i><br /></i></span></div><div><div class="separator" style="clear: both; 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text-align: center;"><br /></div><p> </p>EDITOR: JEANNE-MARIE CILENTOhttp://www.blogger.com/profile/14670620493771232966noreply@blogger.comtag:blogger.com,1999:blog-4140782815588672922.post-39936187732755095462024-01-04T23:35:00.000-08:002024-01-04T23:40:25.234-08:00Four Ways to Tell the Designer Fashion Items Worth Investing in from the Ones that are not<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAX933oDMocgNqYaRJMj7vlETfzt3EyqX1W92NA4pzq-U5OZMwrY3D5087k3hhDvc-vQ6kYYnzqwvbSJvvXReX4iDRSJzD-HLHBMZ6GoG8hw6fWj1b7uKVQJt3Bz2Vc72vshX9hEvN-ti1ocu2otslsXTg6VRaBnIz0s6dSfN80uTw222IAB66lZaNR9k/s700/DAM%20DESIGN%20ART%20MODA%20MAGAZINE.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAX933oDMocgNqYaRJMj7vlETfzt3EyqX1W92NA4pzq-U5OZMwrY3D5087k3hhDvc-vQ6kYYnzqwvbSJvvXReX4iDRSJzD-HLHBMZ6GoG8hw6fWj1b7uKVQJt3Bz2Vc72vshX9hEvN-ti1ocu2otslsXTg6VRaBnIz0s6dSfN80uTw222IAB66lZaNR9k/s16000/DAM%20DESIGN%20ART%20MODA%20MAGAZINE.jpg" /></a></div><br /><h1 class="legacy"><br /></h1>
<figure><br /><figcaption><br /></figcaption>
</figure>
<span>By Naomi Braithwaite, <em>Nottingham Trent University</em></span>
<p><b>Whether it’s aspiring to the “quiet luxury” or “old money” looks taking over TikTok or cringing at the “ludicrously capacious bag” scene in the last season of Succession, designer clothes and accessories have been a hot topic in 2023. </b>But with continued sales growth in designer fashion, and concerns about shopping more sustainably, it’s worth considering investing your money in products that will last longer.</p>
<p>Sales in luxury fashion have increased significantly since the pandemic. Louis Vuitton, for example, has increased its sales from 2019. And British luxury brand, Burberry, reported sales growth to be 86% higher in the year following the pandemic (though there has been another dip in sales more recently). </p>
<p>The rise of athleisure in fashion and designer collaborations such as Manolo Blahnik for Birkenstock, Gucci x Adidas and Burberry x Supreme have made luxury more available. But prices are still high, so how can you know whether a purchase will stand the test of time and become an investment piece or a fashion flop? Here are four key factors to consider when making a designer purchase.</p>
<hr />
<figure class="align-right"></figure>
<h2>1. Resale value</h2>
<p>An expensive purchase price may not guarantee that your product will hold its value. A key factor to consider is what the resale value of your purchase will be, as this will indicate the item’s investment potential.</p>
<p>A fashion investment piece tends to be a luxury product with a higher price ticket. Prices of luxury fashion have increased over the last decade. Chanel bags, for example, have almost doubled in price. Chanel’s iconic medium flap bag has increased from £7,550 in 2022 to £8,530 in 2023 and is considered to be one of the most covetable designs in the resale market. </p>
<figure class="align-center">
<img alt="Orange Birkin bag." sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" src="https://images.theconversation.com/files/558676/original/file-20231109-17-olg7k0.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/558676/original/file-20231109-17-olg7k0.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=398&fit=crop&dpr=1 600w, https://images.theconversation.com/files/558676/original/file-20231109-17-olg7k0.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=398&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/558676/original/file-20231109-17-olg7k0.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=398&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/558676/original/file-20231109-17-olg7k0.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=500&fit=crop&dpr=1 754w, https://images.theconversation.com/files/558676/original/file-20231109-17-olg7k0.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=500&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/558676/original/file-20231109-17-olg7k0.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=500&fit=crop&dpr=3 2262w" />
<figcaption>
<span class="caption">The Hermes Ostrich Birkin bag.</span>
<span class="attribution">Wen-Cheng Liu/flickr, CC BY-SA</span>
</figcaption>
</figure>
<p>Similarly, Hermès’ famous Birkin and Kelly bag designs, renowned for their quality, are undoubtedly investment pieces. Despite the high price ticket, Birkin bags are in demand. They are the most collectable and classic of designer bags, with an average retail price of USD$10,000 (£8,237), which can double in the resale market.</p>
<p>Luxury fashion resaler Vestiaire, along with online marketplaces like eBay, are useful sources for researching and calculating what the value of your purchase will be in the resale market. While designer bags can hold their value post-purchase, clothes can be less straightforward and will depend on the other following factors.</p>
<h2>2. Quality and style</h2>
<p>A 2023 report has stated that the overt use of logos in recent years, from brands such as Balenciaga and Louis Vuitton, has been replaced by an interest in quiet luxury. </p>
<p>Quiet luxury means more simplistic, classic and timeless styling. The focus on exquisite fabrics and design gives a sense of fashion that is not disposable and durable. A cashmere sweater from Lorna Piana may cost over £1,700 but its quality and classic styling will ensure it’s an investment piece that transcends fashion trend cycle.</p>
<p>Consideration of fabrics, styling and design aesthetic are all key in ensuring your fashion investment has longevity.</p>
<h2>3. Brand authenticity</h2>
<p>Heritage and authenticity can secure the value of fashion purchases. Brands that have a strong heritage – that have been around and respected for a long time – are better investment pieces, particularly in the categories of watches, jewellery and handbags. Rolex watches are renowned as investment pieces, with models that are most rare commanding the higher appreciation values.</p>
<figure class="align-center">
<img alt="A man holding a Rolex watch." sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" src="https://images.theconversation.com/files/558677/original/file-20231109-17-79jnnu.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/558677/original/file-20231109-17-79jnnu.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=400&fit=crop&dpr=1 600w, https://images.theconversation.com/files/558677/original/file-20231109-17-79jnnu.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=400&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/558677/original/file-20231109-17-79jnnu.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=400&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/558677/original/file-20231109-17-79jnnu.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=503&fit=crop&dpr=1 754w, https://images.theconversation.com/files/558677/original/file-20231109-17-79jnnu.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=503&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/558677/original/file-20231109-17-79jnnu.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=503&fit=crop&dpr=3 2262w" />
<figcaption>
<span class="caption">Rolex watches are renowned as investment pieces.</span>
<span class="attribution">Enjoy The Life/Shutterstock</span>
</figcaption>
</figure>
<p>In the realm of clothing, Burberry’s iconic trench coat – which has remained largely untouched in design terms for over 100 years – has been reported to be a good wardrobe investment by Vogue. The trench’s timeless design, alongside its long history, has secured its place as an investment product. </p>
<p>However, when it comes to making the purchase it is important to go with Burberry’s original design, rather than the fashion-led versions whose value may diminish as seasonal trends move on.</p>
<h2>4. Product endorsement</h2>
<p>Celebrity endorsement is a popular brand strategy for increasing the value of fashion products. While it may drive sales, it is important to consider what effect it will have on investment quality. </p>
<p>A recent example was when the British pop star Harry Styles wore the luxe Adidas x Gucci Gazelle trainers, during his 2023 tour, resulting in a reported 100% increase in sales of the trainer. </p>
<p>While sneakers have previously had a bouyant resale market, that is now declining, raising questions as to whether they will continue to be positive investment pieces. Celebrities may create hype – but their endorsement does not always ensure the longevity of a product’s value.</p>
<p></p>
<p>In 1999, Dior’s saddle bag was featured on US TV series Sex and the City, securing its place as an iconic designer bag. While this increased its value and desirability at the time, the bag eventually faded from view, until 2018, when Maria Grazia Chiuri, Dior’s current design director, relaunched it. This resulted in a frenzy of interest in the original Galliano designs.</p>
<p>Endorsement creates hype and desirability, but occasionally it can also create a classic too. But this takes time, and it’s best to consider other factors including brand authenticity, quality and style when planning an investment purchase. </p>
<p>Also, value does not always have to have a price attributed to it. In the world of designer fashion, it is important not to overlook the significance of the emotional durability of our purchases and how that can ensure an enduring value and longevity.</p>
<hr />
<figure class="align-left"><span style="color: #999999;"><em>.</em><!--Below is The Conversation's page counter tag. Please DO NOT REMOVE.--><img alt="The Conversation" height="1" referrerpolicy="no-referrer-when-downgrade" src="https://counter.theconversation.com/content/215831/count.gif?distributor=republish-lightbox-basic" style="border: none; box-shadow: none; margin: 0px; max-height: 1px; max-width: 1px; min-height: 1px; min-width: 1px; opacity: 0; outline: none; padding: 0px;" width="1" />Naomi Braithwaite, Associate Professor in Fashion Marketing and Branding, <em>Nottingham Trent University</em></span></figure>EDITOR: JEANNE-MARIE CILENTOhttp://www.blogger.com/profile/14670620493771232966noreply@blogger.comtag:blogger.com,1999:blog-4140782815588672922.post-76992747110094193782024-01-01T17:48:00.000-08:002024-01-18T02:31:50.569-08:00Art Exhibition Australia: Fairy Tales at QAGOMA How We Revived these Stories with New Myths, New Media and New Quirks<span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgc64qE-XmMAAEQg5uaKMSTGu13s-hsGq4JFmeM1aMs4Zf5zIFR1GzrAJaFWcrpQRRbZpeaYm9pHVzWbW1IEpDkHPJ7MBn8PWxqtmQijXJVuqFZP3G-fUA0OEq0V4tZl2sNoI9FPIhTBuGLnmFqlWdXg_e6L4ULZWjNO9UiGn7OJsVwG2_fJ90NntXXsoU/s700/QAGOMA%20FAIRY%20TALES.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="469" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgc64qE-XmMAAEQg5uaKMSTGu13s-hsGq4JFmeM1aMs4Zf5zIFR1GzrAJaFWcrpQRRbZpeaYm9pHVzWbW1IEpDkHPJ7MBn8PWxqtmQijXJVuqFZP3G-fUA0OEq0V4tZl2sNoI9FPIhTBuGLnmFqlWdXg_e6L4ULZWjNO9UiGn7OJsVwG2_fJ90NntXXsoU/s16000/QAGOMA%20FAIRY%20TALES.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><div style="text-align: left;"><span style="color: #666666;">Henrique Oliveira, Brazil b.1973, Corupira 2023, commissioned for Fairy Tales installation (detail) by the Gallery of Modern Art (GOMA) Brisbane. Plywood, talumes and tree branches. </span>C<span><span style="color: #666666;">ourtesy: © Henrique Oliveira. Photo: C. Callistemon ©
QAGOMA.</span><span style="color: #666666;"> </span></span></div> </td></tr></tbody></table><br /><b>By Wes Hill, <em>Southern Cross University</em></b></span><b>
</b><p><b>Fairy Tales, the latest exhibition at Queensland Art Gallery | Gallery of Modern Art (QAGOMA), gives off the pleasurable hum of remix culture, artists riffing on a core theme in numerous ways. </b></p>
<p>Overseen by the gallery’s cinematheque curator Amanda Slack-Smith, Fairy Tales focuses on how artists, designers and filmmakers have taken inspiration from fantasy motifs, adapting the fairy tale vocabulary of extremes (light and dark, good and evil, rich and poor) to their own artistic needs.</p>
<p>Based in handed-down oral traditions, fairy tales share characteristics with all manner of fables, folk stories and mythological narratives throughout the world. </p>
<p>These stories, which were initially rarely intended for children (yet featured them as central characters in easy-to-understand plots), made their way into print from the 17th century. </p>
<p>After the coining of the word “folklore” in 1846, colonisation, advertising and the international spread of mass culture drove folklorists and creatives to praise the authenticity of localised oral traditions. </p>
<p>This seductively designed show at QAGOMA makes clear that, rather than fairy tales being simply preserved, the modern age revived them with new myths, new media and new individualistic quirks, from Hans Christian Andersen to Walt Disney and beyond.</p>
<h2>Creatures in the night</h2>
<p>Brazilian artist Henrique Oliveira sets the mood of the exhibition brilliantly with his gnarled and twisted woodland, Corupira (2023). </p>
<p>The sculpture builds slowly as you enter the corridors of the space and culminates in a meeting of massive tree branches that have burst through the gallery walls. Oliveira’s title refers to a Brazilian folk story about red-haired satyr-like creatures who, living in the Amazon forest, deceive hunters and loggers from the shadows, killing them – or at least putting any potential coloniser off course. </p>
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<a href="https://images.theconversation.com/files/564726/original/file-20231211-21-tm8qr4.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" src="https://images.theconversation.com/files/564726/original/file-20231211-21-tm8qr4.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/564726/original/file-20231211-21-tm8qr4.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=400&fit=crop&dpr=1 600w, https://images.theconversation.com/files/564726/original/file-20231211-21-tm8qr4.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=400&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/564726/original/file-20231211-21-tm8qr4.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=400&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/564726/original/file-20231211-21-tm8qr4.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=503&fit=crop&dpr=1 754w, https://images.theconversation.com/files/564726/original/file-20231211-21-tm8qr4.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=503&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/564726/original/file-20231211-21-tm8qr4.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=503&fit=crop&dpr=3 2262w" /></a>
<figcaption>
<span class="caption">Henrique Oliveira, Brazil b.1973. Corupira 2023, commissioned for ‘Fairy Tales’, installation (detail), Gallery of Modern Art (GOMA) Brisbane 2023. Plywood, tapumes veneer and tree branches. Courtesy: Henrique Oliveira. © Henrique Oliveira. Photograph: C Callistemon © QAGOMA.</span>
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<p>It is a great opener to the show because it metaphorically turns viewers into fairy tale wanderers, and artists into tricksters and spell-makers.</p>
<p>Oliveira’s work chimes perfectly with The Nightwatch (2004) by Belgian artist Francis Alÿs, consisting of surveillance video footage of a fox the artist released into London’s National Portrait Gallery (with the gallery’s permission) during the night. Alÿs’s fox continues the fairy tale tradition of depicting forest animals as actively engaging with human societies.</p>
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<p>Alÿs self-consciously titled his work after a 17th century painting by <a href="https://www.rijksmuseum.nl/en/collection/SK-C-5">Rembrandt van Rijn</a> in which citizens are depicted serving as defenders and official volunteers for their city. Alÿs might be suggesting the contemporary artist is like a public servant whose job, like the fox in the video, is to intrude on the prized traditions supported by museums. </p>
<p>Australian artist Abdul Abdullah’s provocative photograph Troubling the Margins (from the Interloper series) (2022) follows a similar idea. Abdullah literally shows himself as a fox in a henhouse. </p>
<p>The artist-as-fox smiles maliciously at the viewer as if saying to the art world: “I can’t believe you let me in here.”</p>
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<figcaption>
<span class="caption">Abdul Abdullah, Australia b.1986. Troubling the margins (from ‘Interloper’ series) 2022. Digital print, 162.5 x 130cm; made with the assistance of David Charles Collins. Courtesy: The artist and Yavuz Gallery, Sydney. © Abdul Abdullah.</span>
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<h2>Uncanny images</h2>
<p>One of many terrific sculptural works in the exhibition, Jana Sterbak’s Inside (1990) is an empty glass coffin seemingly pregnant with a smaller mirrored coffin inside. </p>
<p>A reversed imagining of life in death, the piece responds to the many glass coffins in fairy and folk tales (such as Sleeping Beauty, Snow White and the Grimm’s Brothers The Glass Coffin), exploring the uncanny idea of death being put on permanent display for the living.</p>
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<a href="https://images.theconversation.com/files/564728/original/file-20231211-19-23r8j8.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" src="https://images.theconversation.com/files/564728/original/file-20231211-19-23r8j8.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/564728/original/file-20231211-19-23r8j8.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=899&fit=crop&dpr=1 600w, https://images.theconversation.com/files/564728/original/file-20231211-19-23r8j8.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=899&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/564728/original/file-20231211-19-23r8j8.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=899&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/564728/original/file-20231211-19-23r8j8.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1130&fit=crop&dpr=1 754w, https://images.theconversation.com/files/564728/original/file-20231211-19-23r8j8.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1130&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/564728/original/file-20231211-19-23r8j8.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1130&fit=crop&dpr=3 2262w" /></a>
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<span class="caption">Patricia Piccinini, Australia b.1965. Enchanted Field (installation view, detail) 2023. Fairy Tales, GOMA, Brisbane. Collection: The artist © Patricia Piccinini. Image: C Callistemon © QAGOMA.</span>
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<p>It’s not a coffin but a caravan in Patricia Piccinini’s The Couple (2018), where two realistically rendered hybrid human-animal lovers are frozen in a serene moment cuddling on a fold-out bed, their clawed feet sticking out from under the sheets. </p>
<p>Piccinini’s works often centre on hyperreal figures that look genetically altered. These sculptures are at their most interesting when they make viewers aware of themselves. I felt stupid for it, but I couldn’t help feeling guilty for gawking too long at the sweet-looking couple’s physical deformations.</p>
<p>Projected behind a huge semi-transparent curtain, an exquisitely staged installation of Jean Cocteau’s 1946 film Beauty and the Beast is situated in relation to costumes and props from its production. This and other displays of material from fairy-tale-inspired films Where the Wild Things Are (2009) and The Labyrinth (1986) are among the most engaging cinema-themed pieces in the exhibition.</p>
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<h2>The capacity of anything to intrigue</h2>
<p>In my 2015 publication about the relationship between folk art and fine art, I argued art critics and art historians in the 19th and 20th centuries narrowly discussed oral traditions and amateur cultural creations in anthropological terms. </p>
<p>By their reasoning, these were artefacts that failed to live up to the special insights and feelings expected of fine art. </p>
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<a href="https://images.theconversation.com/files/564730/original/file-20231211-19-ykan71.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" src="https://images.theconversation.com/files/564730/original/file-20231211-19-ykan71.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/564730/original/file-20231211-19-ykan71.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=487&fit=crop&dpr=1 600w, https://images.theconversation.com/files/564730/original/file-20231211-19-ykan71.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=487&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/564730/original/file-20231211-19-ykan71.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=487&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/564730/original/file-20231211-19-ykan71.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=612&fit=crop&dpr=1 754w, https://images.theconversation.com/files/564730/original/file-20231211-19-ykan71.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=612&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/564730/original/file-20231211-19-ykan71.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=612&fit=crop&dpr=3 2262w" /></a>
<figcaption>
<span class="caption">Gustave Doré, France 1832–83. Little Red Riding Hood c.1862. Oil on canvas, 65.3 x 81.7cm. Gift of Mrs S Horne, 1962. Collection: National Gallery of Victoria, Melbourne.</span>
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<p>This school of thought is no longer the case. Fairy Tales is a good example of the recent expansion of art-history-based curating into larger visual culture frameworks. Clothing, relics, paintings, literary documents, installations, videos and filmic props now all cohabit the museum in non-hierarchical ways, staging not the inherent value of specific material so much as the capacity of anything to intrigue.</p>
<p>For a show about timeless human fears and fantasies, Fairy Tales may be curiously timely.</p>
<p><em>Fairy Tales is at QAGOMA, Brisbane, until April 28, 2024.</em><!--Below is The Conversation's page counter tag. Please DO NOT REMOVE.--><img alt="The Conversation" height="1" referrerpolicy="no-referrer-when-downgrade" src="https://counter.theconversation.com/content/219228/count.gif?distributor=republish-lightbox-basic" style="border: medium; box-shadow: none; margin: 0px; max-height: 1px; max-width: 1px; min-height: 1px; min-width: 1px; opacity: 0; outline: currentcolor; padding: 0px;" width="1" /><!--End of code. If you don't see any code above, please get new code from the Advanced tab after you click the republish button. The page counter does not collect any personal data. More info: https://theconversation.com/republishing-guidelines--></p>
<p><span style="color: #999999;">Wes Hill, Associate Professor, art history and visual culture, <em>Southern Cross University</em></span></p>EDITOR: JEANNE-MARIE CILENTOhttp://www.blogger.com/profile/14670620493771232966noreply@blogger.comtag:blogger.com,1999:blog-4140782815588672922.post-79241494795136331612023-12-25T23:43:00.000-08:002024-01-01T18:40:33.075-08:00The Boy and the Heron is an Autobiographical Reflection by Hayao Miyazaki <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKfQMC-D2DiDvZSH1S-pGdbY72sTCNgyE4YC_-ixo2pjnPeOgEO_V3ZIzPW7_UBoXvDEeqjtmFoFALwDSvr0KilkaMMqtMf3I26S5xAPypudUdGw6nNr9eyUsILFgwdDshuMKgArw1qiQvJ-UCKeM0DEOjI-wQfMRgCvanHJpz6kW-6ksGipcQOd5bKL4/s700/DAM%20DESIGN%20ART%20MAGAZINE%20MODA%20Hayao%20Miyazaki%20The%20Boy%20and%20the%20Heron.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="420" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKfQMC-D2DiDvZSH1S-pGdbY72sTCNgyE4YC_-ixo2pjnPeOgEO_V3ZIzPW7_UBoXvDEeqjtmFoFALwDSvr0KilkaMMqtMf3I26S5xAPypudUdGw6nNr9eyUsILFgwdDshuMKgArw1qiQvJ-UCKeM0DEOjI-wQfMRgCvanHJpz6kW-6ksGipcQOd5bKL4/s16000/DAM%20DESIGN%20ART%20MAGAZINE%20MODA%20Hayao%20Miyazaki%20The%20Boy%20and%20the%20Heron.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="color: #666666;">© 2023 Studio Ghibli.<i> Cover Picture: Anna Nguyen.</i></span></td></tr></tbody></table><br /><figure><br /></figure><p>By Tets Kimura, Flinders University</p><p><b>Much about Hayao Miyazaki’s latest film, The Boy and the Heron, remained a mystery until its premiere in Japanese theatres on July 14. </b></p>
<p>The title <em>Kimi tachi wa do ikiruka</em>, or How do you live?, was revealed in 2017. (The Boy and the Heron is the English title.) No trailer was produced for a Japanese audience and there were no announcements regarding the film’s plot, voice actors or production team. The involvement of Joe Hisaishi, who has been composing music for Miyazaki’s films since Nausicaä of the Valley of the Wind (1984), was confirmed on July 4, a mere 10 days prior to the film release.</p>
<p>Mystery served as a strategic promotional tool for the film. After the release on July 14, Studio Ghibli discouraged the public from making any comments about the film’s contents on social media. No pamphlet – a popular publication typically available at Japanese movie theatres – was produced for this film. An official guidebook was only made available for sale at the start of November. </p>
<p>Miyazaki wanted the audience to see his film with no preconceived expectations. </p>
<h2>A coming-of-age story</h2>
<p>Genzaburo Yoshino’s novel How do you live? was published in 1937, four years before Japan joined the second world war. The book follows a teenage boy as he navigates the big questions about how to live your life through interactions with his friends, housekeepers and family, particularly an uncle who acts as a guide. It was originally intended to be an ethics book for young adults, rather than a work of literature, and Miyazaki held a deep fondness for the book during his childhood.</p>
<p>While the film is an original story and not a remake of the novel, it shares numerous similarities. Both narratives feature a teenage boy on a coming-of-age journey, seeking the meaning of life, and are set in a similar historical era. </p>
<p>The novel unfolds in the 1930s, a period when Japan was increasingly embracing militarism. The animation film is set during the second world war, likely in 1944 or 1945, following the Fall of Saipan when American military aircraft began civilian-targeted firebombing. The film’s main character, Mahito, experiences the tragic loss of his mother in a fire, presumably caused by firebombing, early in the story.</p>
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<p>While the historical background of the film is obvious to a domestic audience in Japan, it may not be immediately apparent to many foreign viewers. There is no guiding narrative to explain the historical background in the film. Miyazaki’s use of the title from the novel reflects on Yoshino’s anti-war stance, but this connection is not clear in the English title.</p>
<p>The new title, The Boy and the Heron, is unrelated to the Japanese original. It was possibly crafted to appeal to an international audience unfamiliar with the novel. Here, the boy symbolises Miyazaki himself, a child who, having lost his mother and been compelled to leave Tokyo during wartime evacuations, continues to yearn for motherly comfort.</p>
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<a href="https://images.theconversation.com/files/563244/original/file-20231204-27-cbsiyt.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="The boy." sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" src="https://images.theconversation.com/files/563244/original/file-20231204-27-cbsiyt.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/563244/original/file-20231204-27-cbsiyt.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=324&fit=crop&dpr=1 600w, https://images.theconversation.com/files/563244/original/file-20231204-27-cbsiyt.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=324&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/563244/original/file-20231204-27-cbsiyt.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=324&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/563244/original/file-20231204-27-cbsiyt.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=408&fit=crop&dpr=1 754w, https://images.theconversation.com/files/563244/original/file-20231204-27-cbsiyt.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=408&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/563244/original/file-20231204-27-cbsiyt.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=408&fit=crop&dpr=3 2262w" /></a>
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<span class="caption">The boy is compelled to leave Tokyo during wartime evacuations.</span>
<span class="attribution"><span class="source">© 2023 Studio Ghibli</span></span>
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<p>The boy embarks on a journey into an alternate world. A talking heron disrupts his journey, yet is crucial for the journey to reach completion. The encounter with the heron poignantly depicts how we can simultaneously embody friendship and opposition, mirroring the complexities of the real world.</p>
<p>The story serves as both a life lesson and an autobiographical reflection constructed by Miyazaki in the twilight of his life. It is a journey through time, an endeavour where he traverses decades to delve into his memories. For fervent Miyazaki enthusiasts, it offers a treasure trove that unveils the roots of his upbringing.</p>
<p>But the raw portrayal of Miyazaki’s past emotions might evoke discomfort. Some may feel reluctant to witness Miyazaki in such a vulnerable state, exposing aspects of himself they may not have anticipated encountering. </p>
<p>Born in 1941, the year when Japan entered the second world war, Miyazaki might have felt compelled to document his memories. Only a small fraction of today’s generations lived through the war; even fewer retain personal memories of that time. The opportunity to learn firsthand from direct experiences and oral histories is rapidly dwindling.</p>
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<a href="https://images.theconversation.com/files/563245/original/file-20231204-21-tdmlj9.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="A scary bird." sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" src="https://images.theconversation.com/files/563245/original/file-20231204-21-tdmlj9.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/563245/original/file-20231204-21-tdmlj9.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=324&fit=crop&dpr=1 600w, https://images.theconversation.com/files/563245/original/file-20231204-21-tdmlj9.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=324&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/563245/original/file-20231204-21-tdmlj9.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=324&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/563245/original/file-20231204-21-tdmlj9.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=408&fit=crop&dpr=1 754w, https://images.theconversation.com/files/563245/original/file-20231204-21-tdmlj9.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=408&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/563245/original/file-20231204-21-tdmlj9.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=408&fit=crop&dpr=3 2262w" /></a>
<figcaption>
<span class="caption">The boy meets various people and creatures in his quest to answer life’s big questions.</span>
<span class="attribution"><span class="source">© 2023 Studio Ghibli</span></span>
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<h2>Awaiting another film</h2>
<p>After 2013’s The Wind Rises, Miyazaki spent ten years creating The Boy and the Heron. During this time, speculations this might be his final film circulated in Japanese media. </p>
<p>Now 82 years old, Miyazaki has surprised many by already confirming his motivation to embark on his next cinematic endeavour. Despite his age, he has made clear his intent to create another film. </p>
<p>But The Boy and the Heron feels like the concluding work of his long journey, packed with messages to younger generations. His unusual request to not share any details of the film on social media suggests he wants his audience to individually consider the important issue of how to live your own life. While it is nice to feel connected, there should also be time to be on your own, and think. <!--Below is The Conversation's page counter tag. Please DO NOT REMOVE.--><img alt="The Conversation" height="1" referrerpolicy="no-referrer-when-downgrade" src="https://counter.theconversation.com/content/219117/count.gif?distributor=republish-lightbox-basic" style="border: none; box-shadow: none; margin: 0px; max-height: 1px; max-width: 1px; min-height: 1px; min-width: 1px; opacity: 0; outline: none; padding: 0px;" width="1" /><!--End of code. If you don't see any code above, please get new code from the Advanced tab after you click the republish button. The page counter does not collect any personal data. More info: https://theconversation.com/republishing-guidelines--></p>
<p><span style="color: #999999;">Tets Kimura, Adjunct Lecturer, Creative Arts, <em>Flinders University</em></span></p>
EDITOR: JEANNE-MARIE CILENTOhttp://www.blogger.com/profile/14670620493771232966noreply@blogger.comtag:blogger.com,1999:blog-4140782815588672922.post-11988912182632164122023-12-15T21:37:00.000-08:002023-12-17T11:32:32.664-08:00 Harmonizing Heritage and Haute Couture: Erdem's Ode to Maria Callas Pre-Fall 2024<b><span style="font-size: x-large;"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgl4V649_DRFr8zC6C1aMcjklyo12UUj0hTACXgd6wIkx1-A_HnpV_DuC7ohWKIqz5j1ynii6Ig6bcOPLhvbRqihhn0MQCdGCqdtBPzQSV88frdHpzfwni9H3ZFpCvQhIEApzPlxUTWx-ga7dVjb2WFPOGKAZE7wtgfVfgPNBYl09nkpszA6AAAbFev54c/s1002/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20ERDEM%20Pre%20Fall%202024%20-%20Photographed%20by%20Sonia%20Szostak%20-%20Look%2012%20short.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1002" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgl4V649_DRFr8zC6C1aMcjklyo12UUj0hTACXgd6wIkx1-A_HnpV_DuC7ohWKIqz5j1ynii6Ig6bcOPLhvbRqihhn0MQCdGCqdtBPzQSV88frdHpzfwni9H3ZFpCvQhIEApzPlxUTWx-ga7dVjb2WFPOGKAZE7wtgfVfgPNBYl09nkpszA6AAAbFev54c/s16000/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20ERDEM%20Pre%20Fall%202024%20-%20Photographed%20by%20Sonia%20Szostak%20-%20Look%2012%20short.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i><span style="color: #999999;">Erdem's new collection inspired by the mid-century European world of Maria Callas</span></i></td></tr></tbody></table><div class="separator" style="clear: both; text-align: justify;"><p class="MsoNormal" style="text-align: left;">Fashion meets opera in Erdem Moralioglu's new Pre-Fall 2024
collection, weaving threads of inspiration from the legendary Maria Callas. A
diva whose on-stage prowess belied a life fraught with insecurity and tragedy,
Callas's voice possessed an electric capacity to project complex emotional
states. While the opera singer has been the muse for other fashion
designers this season, Erdem takes a more abstract approach, writes <i>Antonio
Visconti</i>. Photographs by <i>Sonia Szostak</i></p></div></span></b><div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXjvyyc1vg9ospZub4boegm8qxbigsXOS_XfYe4RIq7JpAuzDK6ysCvku-mICz_t4Jktd-tV6BeK3befxFQKswOzp5TdkoJmCP4dd5pvY1a35uA6PDhz3mezukPM73WCcLPvqrbrGPWShxxiJqmRiPoRcFW3yPhWLnKcoDtHJlXMSNtAaNy_cSQZrbtbs/s875/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20%20ERDEM%20Pre%20Fall%202024%20-%20Photographed%20by%20Sonia%20Szostak%20-%20Look%2021.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="875" data-original-width="700" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXjvyyc1vg9ospZub4boegm8qxbigsXOS_XfYe4RIq7JpAuzDK6ysCvku-mICz_t4Jktd-tV6BeK3befxFQKswOzp5TdkoJmCP4dd5pvY1a35uA6PDhz3mezukPM73WCcLPvqrbrGPWShxxiJqmRiPoRcFW3yPhWLnKcoDtHJlXMSNtAaNy_cSQZrbtbs/w320-h400/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20%20ERDEM%20Pre%20Fall%202024%20-%20Photographed%20by%20Sonia%20Szostak%20-%20Look%2021.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><div style="text-align: left;"><i style="color: #666666;">One of the dreamy silk dresses in Erdem's</i></div><span style="color: #666666;"><div style="text-align: left;"><i>latest collection scattered with flowers.</i></div></span></td></tr></tbody></table><b>Erdem's latest collection is a sartorial exploration of how Callas dressed and carried herself, drawing from the singer's style and mid-century motifs. </b></div><div><br /></div><div>The juxtaposition of structure and drapery, tailoring and organic shapes, creates an intriguing dance of contrasts, reminiscent of Fifties and Sixties silhouettes: cocoon shapes, boat-neck dresses, and felted pea coats with voluminous backs.</div><div><br /></div><div>The overall sensation is one of decadence tempered with an austere edge.
In Erdem's vision, each ensemble is a play between the controlled and the wild. A sleek black dresss with an oversized fuchsia bow, evinces the contrasts. </div><div><br /></div><div>Monastic dresses adorned with built-in bows and capes featuring jewel-encrusted shoulders, exude elegance tinged with exuberance. A cloqué gown, with exaggerated bows on the shoulders, showcases Erdem's masterful touch in navigating a delicate line between the extravagant and something more refined. </div><div><br /></div><div>A black duchesse dress, complete with a structured bustier and waist, has a sculptural quality. Whereas knits paired with mint-green draped skirts bridge both the casual and formal. Flower motifs, predominantly roses, are used as symbols, scattered across silk dresses, in blurred motion, as if caught mid-flight from audience to star. A long gown, entirely covered with hand-dyed applique roses in varying shades from red to pink, has a certain poetic expression. </div><div><br /></div><div><span style="font-size: x-large;"><i><b>The juxtaposition of structure and drapery, tailoring and organic shapes, creates an intriguing dance of contrasts, reminiscent of Fifties and Sixties silhouettes</b></i></span></div><div><div class="separator" style="clear: both; text-align: center;"><br /></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBRSRd_IJDyTEwgVQDQacBwGPTL9EztjUcxgtP0ZX28jr8Gxkfj8JQhIv3FwzPD1P_2zNiiGCpC_era5Zli6kdHhWapMimhd-MlO8liTPEryL2XFy8xBU-n_uv0OE7-3mq8GLEujr39pzQGtiGLd9u0myQIv7-nrxkyeyeGKyS5XXJ1Q1aHcoabfUIH7E/s875/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20%20ERDEM%20Pre%20Fall%202024%20-%20Photographed%20by%20Sonia%20Szostak%20-%20Look%2019.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="875" data-original-width="700" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBRSRd_IJDyTEwgVQDQacBwGPTL9EztjUcxgtP0ZX28jr8Gxkfj8JQhIv3FwzPD1P_2zNiiGCpC_era5Zli6kdHhWapMimhd-MlO8liTPEryL2XFy8xBU-n_uv0OE7-3mq8GLEujr39pzQGtiGLd9u0myQIv7-nrxkyeyeGKyS5XXJ1Q1aHcoabfUIH7E/w320-h400/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20%20ERDEM%20Pre%20Fall%202024%20-%20Photographed%20by%20Sonia%20Szostak%20-%20Look%2019.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><div style="text-align: right;"><i><span style="color: #666666;">Roses adorn this gown inspired by the</span></i></div><i><div style="text-align: right;"><i><span style="color: #666666;">mid-century style of Maria Callas</span></i></div></i></td></tr></tbody></table>Silk-printed roses beneath black tulle skirts, and a black peplum suit jacket adorned with hundreds of black crushed flowers, almost camouflaged in their abundance. The collection creatively interprets the wardrobe of Maria Callas, who lived life both in the glare of the theatre and under the spotlight of high society. </div><div><br /></div><div>Erdem's designs blur the threshold between on and off stage making his creations very wearable along with being an homage to Maria Callas. </div><div><br /></div><div>The designer's own narrative has its drama, as he was born in Montreal, later traversing continents, honing his craft under fashion luminaries
like Vivienne Westwood in the United Kingdom. </div><div><br /></div><div>His trajectory from London to New York and back,
culminated in the launch of ERDEM in 2005, Accolades such as the British
Fashion Council’s Women’s Wear Designer of the Year in 2014 and an MBE in 2020
underscore his impact on fashion.</div><div><br /></div><div>Creavity and elegance
converge in Erdem's collections which are full of emotion. As
Pre-Fall '24 unfolds, Erdem continues to be both curator and composer, weaving
a tapestry that explores though the medium of fashion the enduring legacy of Maria Callas.</div><div><br /></div><div style="text-align: center;"><span style="color: #666666;"><i>See more highlights from Erdem's collection below </i></span></div><div style="text-align: center;"><span style="color: #666666;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVqufyg0EfB3Uc2cV0E9HT1dGnRgpksEOZmfUqoq6w7w-z2sK-1PXI-zT6V9iTojcSnb2JF-BQNX_1Fh43ttEVmpebeQTwonPD12OmBha10tQS8AFR-23PGA-zw5LT2Gv-0iOBSDXerzFRSuRh7NDx5hwAPHI0PRY8F7iKaghmEvHs6RQI4N5LldhWKXY/s875/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20%20ERDEM%20Pre%20Fall%202024%20-%20Photographed%20by%20Sonia%20Szostak%20-%20Look%201.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="875" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVqufyg0EfB3Uc2cV0E9HT1dGnRgpksEOZmfUqoq6w7w-z2sK-1PXI-zT6V9iTojcSnb2JF-BQNX_1Fh43ttEVmpebeQTwonPD12OmBha10tQS8AFR-23PGA-zw5LT2Gv-0iOBSDXerzFRSuRh7NDx5hwAPHI0PRY8F7iKaghmEvHs6RQI4N5LldhWKXY/s16000/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20%20ERDEM%20Pre%20Fall%202024%20-%20Photographed%20by%20Sonia%20Szostak%20-%20Look%201.jpg" /></a></div><br /><i><br /></i></span></div><div><div class="separator" style="clear: both; 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text-align: center;"><br /></div>EDITOR: JEANNE-MARIE CILENTOhttp://www.blogger.com/profile/14670620493771232966noreply@blogger.comtag:blogger.com,1999:blog-4140782815588672922.post-76886571880966446422023-12-04T21:50:00.000-08:002023-12-05T22:21:53.345-08:00The Amazing NGV Triennial 2023 Makes us Question our World and Forces us to See it Differently<span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-QEKcDHn0VkRaT8wAMQ2CXIDZ6HNY4NtWOkbUFj1HL5Y2hHydSay9s2FXBMAX7N4t4S9KnFsZ7S66nAW9Lmt2FeYXqJF49NpswAQtuJK5YJoNHWIGsj-23_w5SRkL8HREXe1E_gNwlnF7KoaatG8Frqfd-E9OB-Bg82V0JuYALCgSPNEzOWZYIKsHMtY/s700/SMACK%20DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20NATIONAL%20GALLERY%20OF%20VICTORIA%20NGV%20TRIENNALE.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="386" data-original-width="700" height="386" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-QEKcDHn0VkRaT8wAMQ2CXIDZ6HNY4NtWOkbUFj1HL5Y2hHydSay9s2FXBMAX7N4t4S9KnFsZ7S66nAW9Lmt2FeYXqJF49NpswAQtuJK5YJoNHWIGsj-23_w5SRkL8HREXe1E_gNwlnF7KoaatG8Frqfd-E9OB-Bg82V0JuYALCgSPNEzOWZYIKsHMtY/w700-h386/SMACK%20DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20NATIONAL%20GALLERY%20OF%20VICTORIA%20NGV%20TRIENNALE.jpg" width="700" /></a></td></tr><tr><td class="tr-caption" style="text-align: left;"><span style="color: #666666;"><i>Installation view of SMACK's Speculum on display 2019 at Matadero Madrid © SMACK. Courtesy of the artist and Onkaos</i></span><br /></td></tr></tbody></table><br />By Sasha Grishin, <em>Australian National University</em></span>
<p><b>What the previous two National Gallery of Victoria (NGV) Triennials have taught us is that the visitor should be prepared to be surprised, amazed and challenged. NGV Triennial 2023 does this in spades.</b></p>
<p>By the third iteration, the NGV Triennial has developed its own DNA signature. It is eager to redefine the parameters of art and design practice; it incorporates the entire curatorial team at the gallery; and the triennial interventions affect every level of the NGV building. </p>
<p>There is a case to be made, when the curatorial staff is large enough, for a project like a triennial to galvanise the staff into a creative collective with each person contributing according to their speciality, as well as working across disciplines.</p>
<p>Although it may be a large show – about 120 artists, designers and collectives from over 30 countries are involved in about 100 projects – it is manageable and is contained at the one site. It is designed to create a single knockout blow and largely manages to pull it off. </p>
<h2>Newcomers and iconic names</h2>
<p>As with its predecessors, this triennial contains a mixture of iconic names, including Tracey Emin, Sheila Hicks, Maison Schiaparelli and Yoko Ono, all represented by major works, together with those less well known, except to art insiders. </p>
<p>In an attempt to impose some sort of structure, three thematic pillars have been devised – Magic, Matter and Memory – and the artists have been loosely corralled into these categories. </p>
<p>In an exhibition of this nature, it is difficult and perhaps unnecessary to speak of highlights. Perhaps it is more meaningful to comment on the pieces that make you question your reading of reality. </p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/563121/original/file-20231203-75503-mf33xl.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" src="https://images.theconversation.com/files/563121/original/file-20231203-75503-mf33xl.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/563121/original/file-20231203-75503-mf33xl.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=400&fit=crop&dpr=1 600w, https://images.theconversation.com/files/563121/original/file-20231203-75503-mf33xl.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=400&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/563121/original/file-20231203-75503-mf33xl.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=400&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/563121/original/file-20231203-75503-mf33xl.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=503&fit=crop&dpr=1 754w, https://images.theconversation.com/files/563121/original/file-20231203-75503-mf33xl.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=503&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/563121/original/file-20231203-75503-mf33xl.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=503&fit=crop&dpr=3 2262w" /></a>
<figcaption>
<span class="caption" style="color: #666666;"><i>Installation view of Mun-dirra, a collaborative work by artists from the Maningrida Arts Centre. Work on display in NGV Triennial from 3 December 2023 – 7 April 2024 at NGV International, Melbourne. Photo: Sean Fennessy.</i></span>
</figcaption>
</figure>
<p>Mun-dirra is a monumental woven fish fence created over two years by 13 Maningrida artists plus three apprentices. It creates a mesmerising installation that runs for about 100 metres. When questioned, the artists simply related how they collected the pandanus leaf, how they made the dyes, and then wove these eel traps to create this most wondrous installed environment in which you lose yourself among the veils. </p>
<p>Almost as a complement to it, Wurundjeri artist Aunty Kim Wandin has installed a bronze eight-metre-long eel trap in the moat in front of the gallery.</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/563120/original/file-20231203-75446-4r5a5e.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" src="https://images.theconversation.com/files/563120/original/file-20231203-75446-4r5a5e.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/563120/original/file-20231203-75446-4r5a5e.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=400&fit=crop&dpr=1 600w, https://images.theconversation.com/files/563120/original/file-20231203-75446-4r5a5e.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=400&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/563120/original/file-20231203-75446-4r5a5e.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=400&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/563120/original/file-20231203-75446-4r5a5e.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=503&fit=crop&dpr=1 754w, https://images.theconversation.com/files/563120/original/file-20231203-75446-4r5a5e.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=503&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/563120/original/file-20231203-75446-4r5a5e.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=503&fit=crop&dpr=3 2262w" /></a>
<figcaption>
<span class="caption" style="color: #666666;"><i>Installation view of Aunty Kim Wandin’s work Luk Burgurrk Gunga, on display in NGV Triennial from 3 December 2023 – 7 April 2024 at NGV International, Melbourne. Photo: Sean Fennessy.</i></span>
</figcaption>
</figure>
<p>American-born French-based veteran artist Sheila Hicks in her Nowhere to Go sculptural installation creates a pyramid, almost seven metres high, where the rounded textile balls become both an architectural structure as well as a celebration of the power of colour. Quite simple in concept, at the same time memorable and effective. </p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/563122/original/file-20231203-30-taxhyz.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" src="https://images.theconversation.com/files/563122/original/file-20231203-30-taxhyz.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/563122/original/file-20231203-30-taxhyz.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=375&fit=crop&dpr=1 600w, https://images.theconversation.com/files/563122/original/file-20231203-30-taxhyz.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=375&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/563122/original/file-20231203-30-taxhyz.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=375&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/563122/original/file-20231203-30-taxhyz.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=472&fit=crop&dpr=1 754w, https://images.theconversation.com/files/563122/original/file-20231203-30-taxhyz.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=472&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/563122/original/file-20231203-30-taxhyz.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=472&fit=crop&dpr=3 2262w" /></a>
<figcaption>
<span class="caption" style="color: #666666;"><i>Installation view of Sheila Hicks’ work Nowhere to go. On display as part of NGV Triennial from 3 December 2023 – 7 April 2024 at NGV International, Melbourne. Photo: Sean Fennessy.</i></span>
</figcaption>
</figure>
<p>Dutch digital artists’ collective SMACK has created a tantalising and haunting installation Speculum. </p>
<p>It could be described as a digital animation of Hieronymus Bosch’s famous triptych, The Garden of Earthly Delights (c1500). Here, each of the hundreds of little figures has been given an individual digital identity and is fully animated as it undergoes its various tortures and torments. It is an absorbing kinetic narrative that completely draws you in and reveals many troubling contemporary aspects to eternal questions concerning the human condition.</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/563146/original/file-20231203-29-6iiwgj.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" src="https://images.theconversation.com/files/563146/original/file-20231203-29-6iiwgj.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/563146/original/file-20231203-29-6iiwgj.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=400&fit=crop&dpr=1 600w, https://images.theconversation.com/files/563146/original/file-20231203-29-6iiwgj.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=400&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/563146/original/file-20231203-29-6iiwgj.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=400&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/563146/original/file-20231203-29-6iiwgj.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=503&fit=crop&dpr=1 754w, https://images.theconversation.com/files/563146/original/file-20231203-29-6iiwgj.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=503&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/563146/original/file-20231203-29-6iiwgj.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=503&fit=crop&dpr=3 2262w" /></a>
<figcaption>
<span class="caption" style="color: #666666;"><i>Installation view of SMACK’s work on display in NGV Triennial from 3 December 2023 – 7 April 2024 at NGV International, Melbourne. Photo: Sean Fennessy.</i></span>
</figcaption>
</figure>
<h2>Questioning our world</h2>
<p>Polish-born American-based artist Agnieska Pilat and her Hetrobots, especially commissioned for NGV Triennial 2023, is one of a number of pieces at the triennial that questions the role of artificial intelligence in art, design and in our lives. </p>
<p>Pilat has appropriated three robot “dogs” from engineering company Boston Dynamics, which have been used by militaries and police forces. Here her quite “cute” dogs have their own built environment in which they creatively rearrange the interior, create marks on canvases and shape their environment as a non-programmed act. </p>
<p>In a way, nothing much happens, but incrementally they are changing our world.</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/563125/original/file-20231203-25-n0zutd.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" src="https://images.theconversation.com/files/563125/original/file-20231203-25-n0zutd.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/563125/original/file-20231203-25-n0zutd.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=400&fit=crop&dpr=1 600w, https://images.theconversation.com/files/563125/original/file-20231203-25-n0zutd.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=400&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/563125/original/file-20231203-25-n0zutd.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=400&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/563125/original/file-20231203-25-n0zutd.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=503&fit=crop&dpr=1 754w, https://images.theconversation.com/files/563125/original/file-20231203-25-n0zutd.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=503&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/563125/original/file-20231203-25-n0zutd.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=503&fit=crop&dpr=3 2262w" /></a>
<figcaption>
<span class="caption" style="color: #666666;"><i>Installation view of Agnieszka Pilat’s work Heterobota on display as part of NGV Triennial from 3 December 2023 – 7 April 2024 at NGV International, Melbourne. Photo: Sean Fennessy.</i></span>
</figcaption>
</figure>
<p>One of the more spectacular exhibits comes from the Paris haute couture house Maison Schiaparelli. Artistic director Daniel Roseberry presents a selection of recent costumes, gilded accessories and surreal body adornments within an immersive celestial environment. It is a strangely out-of-this-world experience.</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/563126/original/file-20231203-17-2rftik.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" src="https://images.theconversation.com/files/563126/original/file-20231203-17-2rftik.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/563126/original/file-20231203-17-2rftik.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=400&fit=crop&dpr=1 600w, https://images.theconversation.com/files/563126/original/file-20231203-17-2rftik.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=400&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/563126/original/file-20231203-17-2rftik.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=400&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/563126/original/file-20231203-17-2rftik.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=503&fit=crop&dpr=1 754w, https://images.theconversation.com/files/563126/original/file-20231203-17-2rftik.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=503&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/563126/original/file-20231203-17-2rftik.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=503&fit=crop&dpr=3 2262w" /></a>
<figcaption>
<span class="caption"><i>Installation view of designs by Maison Schiaparelli on display in NGV Triennial from 3 December 2023 to 7 April 2024 at NGV International, Melbourne. Photo: Sean Fennessy.</i></span>
</figcaption>
</figure>
<p>A surprising but very effective inclusion is a cameo exhibition of Prudence Flint’s paintings titled Hunting and Fishing. </p>
<p>This Melbourne painter has created over a number of decades a peculiar figurative language where fairly spartan and slightly surreal interiors are populated by a series of scantily clad models. Over the years, her paintings have developed an uncanny atmosphere – calm, accessible and frequently carrying the sense of a suppressed silent scream.</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/563127/original/file-20231203-23-9ym2lc.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" src="https://images.theconversation.com/files/563127/original/file-20231203-23-9ym2lc.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/563127/original/file-20231203-23-9ym2lc.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=400&fit=crop&dpr=1 600w, https://images.theconversation.com/files/563127/original/file-20231203-23-9ym2lc.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=400&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/563127/original/file-20231203-23-9ym2lc.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=400&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/563127/original/file-20231203-23-9ym2lc.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=503&fit=crop&dpr=1 754w, https://images.theconversation.com/files/563127/original/file-20231203-23-9ym2lc.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=503&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/563127/original/file-20231203-23-9ym2lc.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=503&fit=crop&dpr=3 2262w" /></a>
<figcaption>
<span class="caption" style="color: #666666;"><i>Installation view of Prudence Flint’s work on display in NGV Triennial from 3 December 2023 – 7 April 2024 at NGV International, Melbourne. Photo: Sean Fennessy.</i></span>
</figcaption>
</figure>
<p>The proof of a great exhibition is that it makes us question our world and forces us to see the world differently. NGV Triennial 2023 assaults our senses as we encounter architecture that breathes, mega-cities that fracture into human fragments, a huge hand that either tells us that all is OK or flicks us the bird and Yoko Ono who defiantly asserts “I LOVE YOU EARTH”. </p>
<p>The NGV has managed to raise A$8.5 million to pay for many of these newly commissioned projects and presents the triennial as a free event. This exhibition celebrates the freedom of the human spirit and will amuse, delight and shock over a million people who will visit it over the next four months. </p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/563128/original/file-20231203-17-6iiwgj.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" src="https://images.theconversation.com/files/563128/original/file-20231203-17-6iiwgj.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/563128/original/file-20231203-17-6iiwgj.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=400&fit=crop&dpr=1 600w, https://images.theconversation.com/files/563128/original/file-20231203-17-6iiwgj.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=400&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/563128/original/file-20231203-17-6iiwgj.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=400&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/563128/original/file-20231203-17-6iiwgj.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=503&fit=crop&dpr=1 754w, https://images.theconversation.com/files/563128/original/file-20231203-17-6iiwgj.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=503&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/563128/original/file-20231203-17-6iiwgj.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=503&fit=crop&dpr=3 2262w" /></a>
<figcaption>
<span class="caption" style="color: #666666;"><i>Installation view of Yoko Ono’s work I LOVE YOU EARTH on display in NGV Triennial from 3 December 2023 – 7 April 2024 at NGV International, Melbourne. Photo: Sean Fennessy.</i></span>
</figcaption>
</figure>
<p><em><span style="color: #444444;">The NGV Triennial 2023 is at the National Gallery of Victoria until April 7 2024.</span></em><!--Below is The Conversation's page counter tag. Please DO NOT REMOVE.--><img alt="The Conversation" height="1" referrerpolicy="no-referrer-when-downgrade" src="https://counter.theconversation.com/content/207295/count.gif?distributor=republish-lightbox-basic" style="border: none; box-shadow: none; margin: 0px; max-height: 1px; max-width: 1px; min-height: 1px; min-width: 1px; opacity: 0; outline: none; padding: 0px;" width="1" /><!--End of code. If you don't see any code above, please get new code from the Advanced tab after you click the republish button. The page counter does not collect any personal data. More info: https://theconversation.com/republishing-guidelines--></p>
<p><span style="color: #cccccc;">Sasha Grishin, Adjunct Professor of Art History, <em>Australian National University</em></span></p><p><span style="color: #cccccc;">This article is republished from The Conversation under a Creative Commons license.</span><span style="color: #cccccc;"> </span></p>EDITOR: JEANNE-MARIE CILENTOhttp://www.blogger.com/profile/14670620493771232966noreply@blogger.comtag:blogger.com,1999:blog-4140782815588672922.post-33602047196507681202023-11-30T02:27:00.000-08:002023-12-04T03:38:59.581-08:00Escape to the Côte d’Azur: Fashion Editorial by Elli Ioannou in Cannes, France<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: none; box-shadow: transparent 0px 0px 0px; color: #666666; font-family: "Times New Roman", Times, FreeSerif, serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 5px; position: relative;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQGs8MXTxraezAAvaOx4cpAODE54XwhWIn_yztnya0_uUa7u_Wle4V5kRIrI6YzfZKMDuxDYvVAq7Hfmp3KUbELhwyTNVXLL8xldUZEmSRkccoXIB07aklXG2L_Xzy1aN5WtI2_oGGVT8eNaYEKaUuYqrvew7nLliiAw2dpve0aHSqjH1ZZxG8cWJjuFI/s1257/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20CANNES%20SOUTH%20OF%20FRANCE%20EDITORIAL%200039%C2%A9elli_ioannou_Cannes-editorial%20tall.jpg" style="clear: left; color: #db3f7a; display: inline; margin-bottom: 1em; margin-left: auto; margin-right: auto; text-decoration-line: none;"><img border="0" data-original-height="1257" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQGs8MXTxraezAAvaOx4cpAODE54XwhWIn_yztnya0_uUa7u_Wle4V5kRIrI6YzfZKMDuxDYvVAq7Hfmp3KUbELhwyTNVXLL8xldUZEmSRkccoXIB07aklXG2L_Xzy1aN5WtI2_oGGVT8eNaYEKaUuYqrvew7nLliiAw2dpve0aHSqjH1ZZxG8cWJjuFI/s16000/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20CANNES%20SOUTH%20OF%20FRANCE%20EDITORIAL%200039%C2%A9elli_ioannou_Cannes-editorial%20tall.jpg" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: none; box-shadow: rgba(0, 0, 0, 0.1) 0px 0px 0px; padding: 0px; position: relative;" /></a></td></tr><tr><td class="tr-caption" style="font-size: 14.08px; text-align: left;"><i>Liubava Kanarchuk wears a diaphanous, rose-hued pleated gown by Gemy Maalouf with pearls by Bijou de la Mer, as she catches the breeze at Cannes, France</i></td></tr></tbody></table><div class="post-body entry-content" id="post-body-3360204719650768120" itemprop="description articleBody" style="background-color: white; line-height: 1.4; position: relative; width: 712px;"><div><div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both;"><p class="MsoNormal" style="text-align: left;"><span style="font-size: x-large;"><span style="color: #666666; font-family: "Times New Roman", Times, FreeSerif, serif; font-weight: bold;"><span>As winter's chill embrace tightens its grip across Europe, hearts yearn for the vivid hues and warm caress of summer days. We embark on a journey to the enchanting city of Cannes in the South of France, where the azure skies and vibrant colors of the French Riviera beckon like a siren's song. Photography by <i>Elli Ioannou</i>; styled by<i> Giorgia Viola & JSN Fashion</i>; modelled by <i>Liubava Kanarchuk</i>; gowns by<i> Gemy Maalouf, </i></span></span><span style="color: #666666; font-family: "Times New Roman", Times, FreeSerif, serif;"><span><i><b>Vivienna Lorikeet and RVNG Couture; </b></i></span></span><span style="font-weight: bold;"><span style="color: #666666; font-family: "Times New Roman", Times, FreeSerif, serif;"> </span><span style="color: #666666; font-family: "Times New Roman", Times, FreeSerif, serif;">jewels by </span><i style="color: #666666; font-family: "Times New Roman", Times, FreeSerif, serif;">Bijou De La Mer </i><span style="color: #666666; font-family: "Times New Roman", Times, FreeSerif, serif;">and</span><i style="color: #666666; font-family: "Times New Roman", Times, FreeSerif, serif;"> Helena Joy</i><span style="color: #666666; font-family: "Times New Roman", Times, FreeSerif, serif;">; location at the </span><i style="color: #666666; font-family: "Times New Roman", Times, FreeSerif, serif;">Hotel Martinez, Cannes</i></span></span></p><p class="MsoNormal" style="color: #666666; font-family: "Times New Roman", Times, FreeSerif, serif; font-size: 17.6px; text-align: left;"><o:p></o:p></p></div><p style="color: #666666; font-family: "Times New Roman", Times, FreeSerif, serif; font-size: 17.6px;"></p></div></div><div style="color: #666666; font-family: "Times New Roman", Times, FreeSerif, serif; font-size: 17.6px;"><div style="text-align: left;"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtLjBl67yA-_QPs85uzmNAWDYyso12zx-y1-Pmf-MTnApIj1dXROcmM0JTYIx2-rxF5HpJJSSv0HSUuDYUMAawywZYjxasF92RaORofOqDDSKnf_tJ1Uoi8lGNdyyt_jHbwKMgnJTUgkmaEedX9QvFrxuYJVvMvUYulYVdaAaRTn1IyZ1czaDiTcPM_8A/s700/DAM%20DESIGN%20ART%20MODA%20MAGAZINE%20SOUTH%20OF%20FRANCE%200005%C2%A9elli_ioannou_Cannes-editorial%20light.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="506" data-original-width="700" height="289" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtLjBl67yA-_QPs85uzmNAWDYyso12zx-y1-Pmf-MTnApIj1dXROcmM0JTYIx2-rxF5HpJJSSv0HSUuDYUMAawywZYjxasF92RaORofOqDDSKnf_tJ1Uoi8lGNdyyt_jHbwKMgnJTUgkmaEedX9QvFrxuYJVvMvUYulYVdaAaRTn1IyZ1czaDiTcPM_8A/w400-h289/DAM%20DESIGN%20ART%20MODA%20MAGAZINE%20SOUTH%20OF%20FRANCE%200005%C2%A9elli_ioannou_Cannes-editorial%20light.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><div style="text-align: left;"><span style="color: #666666;"><i>Running away into the lush </i></span></div><div style="text-align: left;"><span style="color: #666666;"><i>gardens of the Hotel Martinez</i></span></div><div style="text-align: left;"><span style="color: #666666;"><i>in a gown by Gemy Maalouf</i></span></div></td></tr></tbody></table><b>A sense of escape from frosty quotidian days is embodied by a warm afternoon at the Hotel Martinez on Cannes' palm-tree lined Promenade de la Croisette</b>. The Art Deco opulence of this storied place has offered respite to Hollywood stars every May during the film festival. </div></div><div style="color: #666666; font-family: "Times New Roman", Times, FreeSerif, serif; font-size: 17.6px;"><br /></div><div style="color: #666666; font-family: "Times New Roman", Times, FreeSerif, serif; font-size: 17.6px;">Opened in 1929 by Emmanuel Michele Martinez, the son of Sicilian aristocrats, the hotel is a walk to the Palais des Festivals and looks over the Mediterranean Sea, the Bay of Cannes and out to the Lerin Islands. The languorous gardens and dramatic, wrought-iron stairway provide the perfect canvas for a fashion tale that unfolds against vibrant plants and flowers. </div><div><div style="color: #666666; font-family: "Times New Roman", Times, FreeSerif, serif; font-size: 17.6px;"><br /></div><div style="color: #666666; font-family: "Times New Roman", Times, FreeSerif, serif; font-size: 17.6px;">Flowing gowns designed by Gemy Maalouf, Vivienna Lorikeet and RVNG Couture are a vision of modern elegance. Brilliant orange and bougainvillea hues embody summer afternoons and evenings with an effortless chic. Melbourne-based designer Vivienna Lorikeet's silk organza <i>Blossom Gown</i> (see below) has a glimmering look with hand-beaded sequins on an evanescent digital print. </div><div style="color: #666666; font-family: "Times New Roman", Times, FreeSerif, serif; font-size: 17.6px;"><br /></div><div style="color: #666666; font-family: "Times New Roman", Times, FreeSerif, serif; font-size: 17.6px;">While Gemy Maalouf's delicious deep fuchsia dress is from the Lebanese designer's Spring/Summer 2023 collection called <i>Midnight Capri. </i>Whereas the dashing dress and cape by RVNG Couture head designer Jordan Stweart is created from satin with a captivating embroidery. </div><div style="color: #666666; font-family: "Times New Roman", Times, FreeSerif, serif; font-size: 17.6px;"><br /></div><div style="color: #666666; font-family: "Times New Roman", Times, FreeSerif, serif; font-size: 17.6px;">The diaphanous dresses and vivid hues mirror the vibrancy of the Mediterranean and tell a story of adventure, and the promise of sun-filled days. Fluid skirts are caught by sea breezes from the nearby <i>plage</i> and drift in the wind. Yet the fine details and delicate embellishments echo the panache of the French Riviera and the allure of a summer escape. </div><div style="color: #666666; font-family: "Times New Roman", Times, FreeSerif, serif; font-size: 17.6px;"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="background: none; border: none; box-shadow: transparent 0px 0px 0px; color: #666666; float: right; margin-bottom: 0.5em; padding: 5px; position: relative;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0eACMzI_abTlrDMa2CZpeELxJRIYG89Psi_RGxok6iIFa6rSoGvc5B2qVlb_cupWihAEHh7rjqOht0jdy1A7SsLlQ3zt_YHsGTzFp-xZbTJxOzF70sT_IF_8MykvNoa12kOGNb9t5DesBdyKKrauyg69vdSag8FC76DXsTt_F7HaCIq0Dz7LYjAkzyeQ/s942/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20CANNES%20SOUTH%20OF%20FRANCE%20EDITORIAL%20%200006%C2%A9elli_ioannou_Cannes-editorial%202.jpg" style="clear: right; color: #db3f7a; margin-bottom: 1em; margin-left: auto; margin-right: auto; text-decoration-line: none;"><img border="0" data-original-height="942" data-original-width="700" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0eACMzI_abTlrDMa2CZpeELxJRIYG89Psi_RGxok6iIFa6rSoGvc5B2qVlb_cupWihAEHh7rjqOht0jdy1A7SsLlQ3zt_YHsGTzFp-xZbTJxOzF70sT_IF_8MykvNoa12kOGNb9t5DesBdyKKrauyg69vdSag8FC76DXsTt_F7HaCIq0Dz7LYjAkzyeQ/w298-h400/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20CANNES%20SOUTH%20OF%20FRANCE%20EDITORIAL%20%200006%C2%A9elli_ioannou_Cannes-editorial%202.jpg" style="background: transparent; border: none; box-shadow: rgba(0, 0, 0, 0.1) 0px 0px 0px; padding: 0px; position: relative;" width="298" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><div style="text-align: right;"><i>A brilliant, bougainvillea-hued</i></div><div style="text-align: right;"><i> gown by Gemm Maalouf </i></div><div style="text-align: right;"><span style="background-color: initial; text-align: center;"><i>shimmers in </i></span><span style="background-color: initial; text-align: center;"><i>the sunshine</i></span></div></td></tr></tbody></table><p class="MsoNormal"><b><span style="font-size: large;">Couture Against a Canvas of Azure Skies </span></b></p></div><div style="color: #666666; font-family: "Times New Roman", Times, FreeSerif, serif; font-size: 17.6px;">The atmospheric Côte d'Azur and the gowns' evocative silhouettes, textures and colours provide a dynamic contrast to the beauty of French gardens and the seashore where our editorial was shot.</div><div style="color: #666666; font-family: "Times New Roman", Times, FreeSerif, serif; font-size: 17.6px;"><br /></div><div style="color: #666666; font-family: "Times New Roman", Times, FreeSerif, serif; font-size: 17.6px;">Silken scarves dance in the wind, mimicking the rhythm of the waves, while a molten maxi dress billows with grace, emulating the gentle rustle of palm leaves. </div><div style="color: #666666; font-family: "Times New Roman", Times, FreeSerif, serif; font-size: 17.6px;"><br /></div><div style="color: #666666; font-family: "Times New Roman", Times, FreeSerif, serif; font-size: 17.6px;">Beautiful, bold pearls from Bijoux de la Mer and scintillating jewels from Helena Joy enhance the classic lines, creating a perfect look for having an aperitif and dancing the night away: Cannes becomes a living, breathing runway. </div><div style="color: #666666; font-family: "Times New Roman", Times, FreeSerif, serif; font-size: 17.6px;"><br /></div><div style="color: #666666; font-family: "Times New Roman", Times, FreeSerif, serif; font-size: 17.6px;">Wintry frosts may envelop those in the Northern Hemisphere, but these transporting images are from a world where the sun always shines, and the days are filled with the promise of new escapades. </div><div style="color: #666666; font-family: "Times New Roman", Times, FreeSerif, serif; font-size: 17.6px;"><br /></div><div><span style="color: #666666; font-family: Times New Roman, Times, FreeSerif, serif;"><span style="font-size: 17.6px;">We find solace in the fantasy of the South of France, a visual reverie that warms the soul and ignites the anticipation of brighter, sunnier days to come.</span></span><i style="color: #666666; font-family: "Times New Roman", Times, FreeSerif, serif; font-size: 17.6px;"> ~ Jeanne-Marie </i><span style="color: #666666; font-family: Times New Roman, Times, FreeSerif, serif;"><span style="font-size: 17.6px;"><i>Cilento</i></span></span></div><div style="color: #666666; font-family: "Times New Roman", Times, FreeSerif, serif; font-size: 17.6px;"><i><br /></i></div><div style="color: #666666; font-family: "Times New Roman", Times, FreeSerif, serif; font-size: 17.6px; text-align: center;"><i>See the full fashion editorial at the Hotel Martinez in Cannes, France below. </i> </div></div><div style="color: #666666; font-family: "Times New Roman", Times, FreeSerif, serif; font-size: 17.6px; text-align: center;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="background: none; border: none; box-shadow: transparent 0px 0px 0px; color: #666666; font-family: "Times New Roman", Times, FreeSerif, serif; font-size: 17.6px; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 5px; position: relative;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpHzf30RhrGoaLMfUoMHf7KA4F6Gp6aEqgwNlBU2TCIx0ITqollbK6f0ZfFau-5DinR_RAD0mmnUCTFOaENZzgVlEbzWUp026QM3ikAN-dgyv16RxSPJix5T8i33S_xmhOIvSU5vE8bq3rPjqoS7MuoT0cZFqoAK-smOVromuB7jTgm-55owIo0au6Nu4/s1050/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20CANNES%20SOUTH%20OF%20FRANCE%20EDITORIAL%20%200015%C2%A9elli_ioannou_Cannes-editorial.jpg" style="clear: left; color: #db3f7a; display: inline; margin-bottom: 1em; margin-left: auto; margin-right: auto; text-decoration-line: none;"><img border="0" data-original-height="1050" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpHzf30RhrGoaLMfUoMHf7KA4F6Gp6aEqgwNlBU2TCIx0ITqollbK6f0ZfFau-5DinR_RAD0mmnUCTFOaENZzgVlEbzWUp026QM3ikAN-dgyv16RxSPJix5T8i33S_xmhOIvSU5vE8bq3rPjqoS7MuoT0cZFqoAK-smOVromuB7jTgm-55owIo0au6Nu4/s16000/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20CANNES%20SOUTH%20OF%20FRANCE%20EDITORIAL%20%200015%C2%A9elli_ioannou_Cannes-editorial.jpg" style="background: transparent; border: none; box-shadow: rgba(0, 0, 0, 0.1) 0px 0px 0px; padding: 0px; position: relative;" /></a></td></tr><tr><td class="tr-caption" style="font-size: 14.08px;"><i>Looking across the winding stairs of the Hotel Martinez wearing a RVNG Couture gown and cape</i>. <i>Jewels by Helena Joy.</i></td></tr></tbody></table><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="background: none; border: none; box-shadow: transparent 0px 0px 0px; color: #666666; float: left; font-family: "Times New Roman", Times, FreeSerif, serif; font-size: 17.6px; margin-bottom: 0.5em; padding: 5px; position: relative;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHBirUm4mQ9r9IiVdAEApKjWTV3Akwt4IlzP52of7Y9BidmYK6LLw8ns6qx4ocYCNIwstVixAr9S4v11LDFuUOyOgZZm0lEvbAa_kS-NRd0kXcP8o1qmmuZSuDYTn7UWq6Y322Ci0Gcj3_8xK5iMsPtk8Jtu8J3asIRY9fOrrEAWEw2KRAPilD6Q1dKpA/s700/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20CANNES%20SOUTH%20OF%20FRANCE%20FASHION%20EDITORIAL%201%20700.jpg" style="clear: left; color: #db3f7a; margin-bottom: 1em; margin-left: auto; margin-right: auto; text-decoration-line: none;"><img border="0" data-original-height="428" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHBirUm4mQ9r9IiVdAEApKjWTV3Akwt4IlzP52of7Y9BidmYK6LLw8ns6qx4ocYCNIwstVixAr9S4v11LDFuUOyOgZZm0lEvbAa_kS-NRd0kXcP8o1qmmuZSuDYTn7UWq6Y322Ci0Gcj3_8xK5iMsPtk8Jtu8J3asIRY9fOrrEAWEw2KRAPilD6Q1dKpA/s16000/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20CANNES%20SOUTH%20OF%20FRANCE%20FASHION%20EDITORIAL%201%20700.jpg" style="background: transparent; border: none; box-shadow: rgba(0, 0, 0, 0.1) 0px 0px 0px; padding: 0px; position: relative;" /></a></td></tr><tr><td class="tr-caption" style="font-size: 14.08px;"><i>Romantic, long gown with embellished bodice by Gemy Maalouf at the Hotel Martinez. Jewels by Bijoux de la Mer.</i> </td></tr></tbody></table><br /><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="background: none; border: none; box-shadow: transparent 0px 0px 0px; color: #666666; float: left; font-family: "Times New Roman", Times, FreeSerif, serif; font-size: 17.6px; margin-bottom: 0.5em; padding: 5px; position: relative;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZhm_shwbHiSrAnu6bO_EY5Y5Zym6KOJUOUDpNb0DhmXg7YGBj2wOZruJB5fU2x8EKPGGreu8xzwGhMh2sheGpNqOwR_DebDu1nejrJRZis1vGHQyZJ_4ySpQHe6WeQWFehCM8hqZNDI8em6NysdO04_PKfBKFE6hVRrNDkoWqs-wwkWOPkKBqUc3C29w/s700/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20CANNES%20SOUTH%20OF%20FRANCE%20EDITORIAL%20%200012%C2%A9elli_ioannou_Cannes-editorial%20700.jpg" style="clear: left; color: #db3f7a; margin-bottom: 1em; margin-left: auto; margin-right: auto; text-decoration-line: none;"><img border="0" data-original-height="467" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZhm_shwbHiSrAnu6bO_EY5Y5Zym6KOJUOUDpNb0DhmXg7YGBj2wOZruJB5fU2x8EKPGGreu8xzwGhMh2sheGpNqOwR_DebDu1nejrJRZis1vGHQyZJ_4ySpQHe6WeQWFehCM8hqZNDI8em6NysdO04_PKfBKFE6hVRrNDkoWqs-wwkWOPkKBqUc3C29w/s16000/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20CANNES%20SOUTH%20OF%20FRANCE%20EDITORIAL%20%200012%C2%A9elli_ioannou_Cannes-editorial%20700.jpg" style="background: transparent; border: none; box-shadow: rgba(0, 0, 0, 0.1) 0px 0px 0px; padding: 0px; position: relative;" /></a></td></tr><tr><td class="tr-caption"><i><span style="font-size: 14.08px;">On the dramatic stairway in the vivid and elegant gown by Vivienna Lorikeet with its rich tones in silk chiffon. Jewels by Helena Joy.</span></i></td></tr></tbody></table><br /><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="background: none; border: none; box-shadow: transparent 0px 0px 0px; color: #666666; float: left; font-family: "Times New Roman", Times, FreeSerif, serif; font-size: 17.6px; margin-bottom: 0.5em; padding: 5px; position: relative;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifacmZGASXpYuMNRiVkwufrX5L6Qum8eIUVLqfgVdOmNYjXinlZR-LG-mf7M0TA4e3Ah-STlhjFl6GyMEjtfs6Z3wAhTGFD97UCoPzs61dppyV5cEnZt1dI349NxfpKJDWDPHoGyIkzTEr_0zgyuCeqMqZdwTy1-mz9CXQJ2dFsf1XIkcZI4PuHc1BxMA/s700/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20CANNES%20SOUTH%20OF%20FRANCE%20FASHION%20EDITORIAL%204%20BY%20ELLI%20iOANNOU%20700.jpg" style="clear: left; color: #db3f7a; margin-bottom: 1em; margin-left: auto; margin-right: auto; text-decoration-line: none;"><img border="0" data-original-height="483" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifacmZGASXpYuMNRiVkwufrX5L6Qum8eIUVLqfgVdOmNYjXinlZR-LG-mf7M0TA4e3Ah-STlhjFl6GyMEjtfs6Z3wAhTGFD97UCoPzs61dppyV5cEnZt1dI349NxfpKJDWDPHoGyIkzTEr_0zgyuCeqMqZdwTy1-mz9CXQJ2dFsf1XIkcZI4PuHc1BxMA/s16000/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20CANNES%20SOUTH%20OF%20FRANCE%20FASHION%20EDITORIAL%204%20BY%20ELLI%20iOANNOU%20700.jpg" style="background: transparent; border: none; box-shadow: rgba(0, 0, 0, 0.1) 0px 0px 0px; padding: 0px; position: relative;" /></a></td></tr><tr><td class="tr-caption" style="font-size: 14.08px;"><i>The colours of flowers in a summer garden, this graceful gown by Gemy Maalouf at the Hotel Martinez. </i></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="background: none; border: none; box-shadow: transparent 0px 0px 0px; color: #666666; font-family: "Times New Roman", Times, FreeSerif, serif; font-size: 17.6px; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 5px; position: relative;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDBZWSRny5sS3gtVUH1ffPXOmp9Bb3WB6F9bQWOIN_iDNheR3xis5OafXkxJaVrtbZhZBvM93rqT4029UR0fxNXeKhKxznFZGL6s9NmiyhRLj6ouFs-zo3OuDAspomdRV5hC6vDw3HKL5_4nq0tMEYiEkDhx_x9CpMN8RLfBQmubvVwDYEB32FxjPFQtw/s1061/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20CANNES%20SOUTH%20OF%20FRANCE%20EDITORIAL%200011%C2%A9elli_ioannou_Cannes-editorial%20700.jpg" style="clear: left; color: #db3f7a; display: inline; margin-bottom: 1em; margin-left: auto; margin-right: auto; text-decoration-line: none;"><img border="0" data-original-height="1061" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDBZWSRny5sS3gtVUH1ffPXOmp9Bb3WB6F9bQWOIN_iDNheR3xis5OafXkxJaVrtbZhZBvM93rqT4029UR0fxNXeKhKxznFZGL6s9NmiyhRLj6ouFs-zo3OuDAspomdRV5hC6vDw3HKL5_4nq0tMEYiEkDhx_x9CpMN8RLfBQmubvVwDYEB32FxjPFQtw/s16000/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20CANNES%20SOUTH%20OF%20FRANCE%20EDITORIAL%200011%C2%A9elli_ioannou_Cannes-editorial%20700.jpg" style="background: transparent; border: none; box-shadow: rgba(0, 0, 0, 0.1) 0px 0px 0px; padding: 0px; position: relative;" /></a></td></tr><tr><td class="tr-caption" style="font-size: 14.08px;"><i>The swirling skirt of Vivienna Lorikeet's exquisite couture "Blossom Dress" with sparkling sequins. Jewels by Helena Joy.</i><br /></td></tr></tbody></table></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="background: none; border: none; box-shadow: transparent 0px 0px 0px; color: #666666; float: left; font-family: "Times New Roman", Times, FreeSerif, serif; font-size: 17.6px; margin-bottom: 0.5em; padding: 5px; position: relative;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggN_-khyphenhyphensiDsFsw1uq_gaNErTpKDmmo_i09ZdN4IS78VLDCRi5_Db0HNVdQ8nqQIhhl7mgb7SNOkOiIBpLX6RBMdP4cUXE88HxFZ6yISoR4FZV-cYDs8qwd9YbCQ-GdzJngdoG8F8lKwTwm17aWG79dN3-9aXpN_GxHEOTODhacnqIG_kc65ko_PTx4aw/s700/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20CANNES%20SOUTH%20OF%20FRANCE%20FASHION%20EDITORIAL%203%20700.jpg" style="clear: left; color: #db3f7a; margin-bottom: 1em; margin-left: auto; margin-right: auto; text-decoration-line: none;"><img border="0" data-original-height="498" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggN_-khyphenhyphensiDsFsw1uq_gaNErTpKDmmo_i09ZdN4IS78VLDCRi5_Db0HNVdQ8nqQIhhl7mgb7SNOkOiIBpLX6RBMdP4cUXE88HxFZ6yISoR4FZV-cYDs8qwd9YbCQ-GdzJngdoG8F8lKwTwm17aWG79dN3-9aXpN_GxHEOTODhacnqIG_kc65ko_PTx4aw/s16000/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20CANNES%20SOUTH%20OF%20FRANCE%20FASHION%20EDITORIAL%203%20700.jpg" style="background: transparent; border: none; box-shadow: rgba(0, 0, 0, 0.1) 0px 0px 0px; padding: 0px; position: relative;" /></a></td></tr><tr><td class="tr-caption" style="font-size: 14.08px;"><i>The soft pinks and pleats of this delicate dress that is like a pale summer sunset by Gemy Maalouf. Pearls by Bijoux de la Mer.</i></td></tr></tbody></table><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="background: none; border: none; box-shadow: transparent 0px 0px 0px; color: #666666; float: left; font-family: "Times New Roman", Times, FreeSerif, serif; font-size: 17.6px; margin-bottom: 0.5em; padding: 5px; position: relative;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtvz_aa_hu8AsJ6vNel60A9UVVpanA3eKsnbEdiXqn1op_1QCEH6zYsjsu8w7dgDs5zpxfydNlzz56jT51dDZHgi64101RiJJyLGv3sDoH57l_vTCsL0KMY316G5w5K6VzQrLx-sr3slCBua56MENpa_OvSIH9QUUtiSOfQ4zvQxmwzDf-Zikd1lri6p8/s700/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20CANNES%20SOUTH%20OF%20FRANCE%20EDITORIAL%20%200010%C2%A9elli_ioannou_Cannes-editorial.jpg" style="clear: left; color: #db3f7a; margin-bottom: 1em; margin-left: auto; margin-right: auto; text-decoration-line: none;"><img border="0" data-original-height="461" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtvz_aa_hu8AsJ6vNel60A9UVVpanA3eKsnbEdiXqn1op_1QCEH6zYsjsu8w7dgDs5zpxfydNlzz56jT51dDZHgi64101RiJJyLGv3sDoH57l_vTCsL0KMY316G5w5K6VzQrLx-sr3slCBua56MENpa_OvSIH9QUUtiSOfQ4zvQxmwzDf-Zikd1lri6p8/s16000/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20CANNES%20SOUTH%20OF%20FRANCE%20EDITORIAL%20%200010%C2%A9elli_ioannou_Cannes-editorial.jpg" style="background: transparent; border: none; box-shadow: rgba(0, 0, 0, 0.1) 0px 0px 0px; padding: 0px; position: relative;" /></a></td></tr><tr><td class="tr-caption" style="font-size: 14.08px;"><i>Gemy Maalouf's gown from her Spring/Summer 2023 collection is perfect for an escape to the South of France. Jewels by Helena Joy.</i></td></tr></tbody></table><br /><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="background: none; border: none; box-shadow: transparent 0px 0px 0px; color: #666666; float: left; font-family: "Times New Roman", Times, FreeSerif, serif; font-size: 17.6px; margin-bottom: 0.5em; padding: 5px; position: relative;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGQAM6t7H9jYbrQmFnVUdh6WH64HJV3CChHCEryqih-w04wvPXyDwjjbR3sNz7HcKyJ4kj3dalmKHAk1zTlfsYgnsXwC4fw5WJPvWCrKUvX7QvKscYPHEKLJIL4dtklG5c-EagKzkZUsQDMhKBNoA6nSpSVWIt0Pz1KhE62ZaEC2ptpF4QisHS4lNuznc/s700/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20CANNES%20SOUTH%20OF%20FRANCE%20EDITORIAL%20%20%200021%C2%A9elli_ioannou_Cannes-editorial%20700.jpg" style="clear: left; color: #db3f7a; margin-bottom: 1em; margin-left: auto; margin-right: auto; text-decoration-line: none;"><img border="0" data-original-height="521" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGQAM6t7H9jYbrQmFnVUdh6WH64HJV3CChHCEryqih-w04wvPXyDwjjbR3sNz7HcKyJ4kj3dalmKHAk1zTlfsYgnsXwC4fw5WJPvWCrKUvX7QvKscYPHEKLJIL4dtklG5c-EagKzkZUsQDMhKBNoA6nSpSVWIt0Pz1KhE62ZaEC2ptpF4QisHS4lNuznc/s16000/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20CANNES%20SOUTH%20OF%20FRANCE%20EDITORIAL%20%20%200021%C2%A9elli_ioannou_Cannes-editorial%20700.jpg" style="background: transparent; border: none; box-shadow: rgba(0, 0, 0, 0.1) 0px 0px 0px; padding: 0px; position: relative;" /></a></td></tr><tr><td class="tr-caption"><i><span style="font-size: 14.08px;">Amid the summer greenery of the Hotel Martinez Garden, this brightly hued dress by Gemy Maalouf is the perfect foil.</span></i></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="background: none; border: none; box-shadow: transparent 0px 0px 0px; color: #666666; font-family: "Times New Roman", Times, FreeSerif, serif; font-size: 17.6px; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 5px; position: relative;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgs9mJ7Oj4DqqcS8iIMr3R4oYrtO8Wl0g-oO-EHjPRx-QPDTnVrEumHNqR4V8aVgE8G4F3fE9RrUPwwgEoT_ghQ3P3Pi-aqDDxcdPWdUKjs7XUQ-w8-L0eotMv2voJiDGH3mDrg3ugbOzWK1I_Is8Tjx-8EWvPAoNnZhJGtHuVpli44Xb7DZqONFUmbVYE/s700/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20CANNES%20SOUTH%20OF%20FRANCE%20EDITORIAL%20%200020%C2%A9elli_ioannou_Cannes-editorial.jpg" style="clear: left; color: #db3f7a; display: inline; margin-bottom: 1em; margin-left: auto; margin-right: auto; text-decoration-line: none;"><img border="0" data-original-height="496" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgs9mJ7Oj4DqqcS8iIMr3R4oYrtO8Wl0g-oO-EHjPRx-QPDTnVrEumHNqR4V8aVgE8G4F3fE9RrUPwwgEoT_ghQ3P3Pi-aqDDxcdPWdUKjs7XUQ-w8-L0eotMv2voJiDGH3mDrg3ugbOzWK1I_Is8Tjx-8EWvPAoNnZhJGtHuVpli44Xb7DZqONFUmbVYE/s16000/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20CANNES%20SOUTH%20OF%20FRANCE%20EDITORIAL%20%200020%C2%A9elli_ioannou_Cannes-editorial.jpg" style="background: transparent; border: none; box-shadow: rgba(0, 0, 0, 0.1) 0px 0px 0px; padding: 0px; position: relative;" /></a></td></tr><tr><td class="tr-caption" style="font-size: 14.08px;"><i>Striking a pose on the stairway wearing the exhilarating cape and gown from RVNG couture with its exquisite embroidery.</i></td></tr></tbody></table><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="background: none; border: none; box-shadow: transparent 0px 0px 0px; color: #666666; font-family: "Times New Roman", Times, FreeSerif, serif; font-size: 17.6px; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 5px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij4Wpfgv3X1eNTlxJRnvcuxn1BzkAyZYh1p71KJYQlIlv7L2K51cpi7N58AD3hSDA8DmGWawSWeN8UITyqh4ZEwKN5dJ_J-EpqM-P0U-kjZM5ee58JQ1ZwDnY-06X4MPRbPvjCBeiWoGzfZ2qFjZJGE8_oijY6Ai5eVylnW7gapY4vQ1YiYZ75Dekfbnw/s700/DAM%20DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20CANNES%20SOUTH%20OF%20FRANCE%20EDITORIAL%200036%C2%A9elli_ioannou_Cannes-editorial%20700.jpg" style="clear: left; color: #db3f7a; display: inline; margin-bottom: 1em; margin-left: auto; margin-right: auto; text-decoration-line: none;"><img border="0" data-original-height="467" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij4Wpfgv3X1eNTlxJRnvcuxn1BzkAyZYh1p71KJYQlIlv7L2K51cpi7N58AD3hSDA8DmGWawSWeN8UITyqh4ZEwKN5dJ_J-EpqM-P0U-kjZM5ee58JQ1ZwDnY-06X4MPRbPvjCBeiWoGzfZ2qFjZJGE8_oijY6Ai5eVylnW7gapY4vQ1YiYZ75Dekfbnw/s16000/DAM%20DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20CANNES%20SOUTH%20OF%20FRANCE%20EDITORIAL%200036%C2%A9elli_ioannou_Cannes-editorial%20700.jpg" style="background: transparent; border: none; box-shadow: rgba(0, 0, 0, 0.1) 0px 0px 0px; padding: 0px; position: relative;" /></a></td></tr><tr><td class="tr-caption" style="font-size: 14.08px; text-align: left;"><i>Catching the sea breeze on the Hotel Martinez' beachside boardwalk in Gemy Maalouf's diaphanous creation. Jewels by Bijoux de la Mer. <br /></i></td></tr></tbody></table></div>EDITOR: JEANNE-MARIE CILENTOhttp://www.blogger.com/profile/14670620493771232966noreply@blogger.comtag:blogger.com,1999:blog-4140782815588672922.post-31792898955626065172023-11-20T22:07:00.000-08:002023-11-21T22:30:26.168-08:00Did Napoleon Really Fire at the Pyramids? A Historian Explains the Truth Behind the Legends of Ridley Scott’s Biopic<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhY2vjXNLa41qqlRiC1aVfGWpLfVa9FCsTewpuwQAvg6NVbAWDzZ_QhYM8t2mzsN4QwnBuoUNpsyCOmcXWFyvIf7MYuOo3paxzw_b5WglLGy6nLdgASt89ipZ3pXQVB8PmXLt0lOYQpnOe7jNodOPGO-dY59m0CNG0JvYgW0uFmf5bITmVfiTO9uRb1PaE/s700/napoleon%20dam%20design%20art%20moda%20magazine%20ridley%20scott.jpg" style="clear: left; display: inline; margin-bottom: 1em; margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="438" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhY2vjXNLa41qqlRiC1aVfGWpLfVa9FCsTewpuwQAvg6NVbAWDzZ_QhYM8t2mzsN4QwnBuoUNpsyCOmcXWFyvIf7MYuOo3paxzw_b5WglLGy6nLdgASt89ipZ3pXQVB8PmXLt0lOYQpnOe7jNodOPGO-dY59m0CNG0JvYgW0uFmf5bITmVfiTO9uRb1PaE/s16000/napoleon%20dam%20design%20art%20moda%20magazine%20ridley%20scott.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="color: #666666;"><i>Joaquin Phoenix as Napoleon. Photograph: courtesy of Apple</i></span></td></tr></tbody></table><span><br />By Joan Tumblety, <em>University of Southampton</em></span>
<p><b>Directors of historical feature films face a difficult task. How can they make the characters familiar to an audience without reducing them to caricature? How can they make sure that knowledge of the outcome – battles won or lost, empires built then ruined – doesn’t make the story seem like it’s writing itself? </b></p>
<p>Director Ridley Scott is not a historian and presumably wants to entertain rather than to enlighten. But the problem of historical truth is an interesting one. </p>
<figure>
<iframe allowfullscreen="" frameborder="0" height="260" src="https://www.youtube.com/embed/LIsfMO5Jd_w?wmode=transparent&start=0" width="440"></iframe>
<figcaption><span class="caption">The trailer for Napoleon.</span></figcaption>
</figure>
<p>It is not easy to know the “real” Napoleon. There’s a recognisable version of him – the confident general beloved of his troops, the instinctive military tactician who could run on empty for days at a time, his stern and somewhat petulant gaze. But much of this is the product of layers of historical storytelling, accrued by the labour of generations of artists, journalists and memoirists – and of course, Napoleon himself.</p>
<p>Abel Gance’s spectacular silent film Napoleon (1927), for example, charted the life and career of Napoleon up to his departure as a military general for the Italian campaign in 1796. In one scene, a heavy winter snowfall interrupts classes at Napoleon’s military college. The boys run outside to play and inevitably start throwing snowballs at each other. The scene depicts a very young Napoleon emerging as a natural commander, directing the combat as though on the field of battle.</p>
<p>Yet the veracity of this moment rests primarily on a single account – the memoir of one of Napoleon’s childhood friends, Louis de Bourrienne, who attended the same school. The author was later an employee of Napoleon, who sacked him for embezzlement in 1802.</p>
<p>Many years later, in 1829, de Bourrienne penned a memoir in the hope of cashing in on the popular appetite for authentic tales of the great general. What we think we know about the “real” Napoleon is often filtered through self-interested and partial accounts like this one.</p>
<p>Here are the facts and legends behind some of the major scenes from Ridley Scott’s new Napoleon biopic.</p>
<h2>Did Napoleon crown himself?</h2>
<p>Napoleon went to great lengths to craft his image as a benign ruler and man of the people, often enlisting the talents of artists to do so. </p>
<p>Most notoriously, Jacques-Louis David was commissioned to produce a series of grand paintings depicting Napoleon’s coronation in Notre Dame Cathedral, Paris in December 1804. In the most famous, we see Napoleon place a crown on the head of the new Empress Josephine while a reluctant Pope Pius VII looks on.</p>
<p>In an astonishing act of hubris, Napoleon had indeed already placed a crown on his own head, though the oil painting shows him only in laurel leaves to signify his martial triumphs. What Scott’s film depicts is the magnificence of the oil paintings, which showed Napoleon and his empress in the most flattering light, rather than the coronation ceremony itself. </p>
<h2>His relationship with Josephine</h2>
<p>There is no doubt that Napoleon felt a deep passion for Marie Joséphe Rose de la Pagerie – known to him as Joséphine – whom he married in 1796 as his military career was in the ascendant. Yet her depiction in Ridley Scott’s film as a young seductress probably speaks more to sexist cliche than to Joséphine’s undoubted self-assuredness. </p>
<p>She was six years older than Napoleon, a widow and mother of two young children when they met, and the young general’s romantic feelings were seemingly stronger than hers. While on campaign he wrote to her virtually every day, his pen sometimes piercing the parchment, such was the force of his emotions. Yet some of these letters to her remained unopened. </p>
<p>Their relationship was as tumultuous as it was passionate, and both spouses had several affairs. Yet when Napoleon instigated divorce in 1809 for want of an heir, it was surprisingly amicable. The Empress retained her imperial title until her death in 1814 and was permitted to continue living in the imperial Château de Malmaison.</p>
<h2>Was Napoleon present at the execution of Marie Antoinette?</h2>
<p>The autumn of 1793 was especially busy for Napoleon given his increasingly important role in the Siege of Toulon. Federalist rebels had handed over the French fleet to the British admiral Samuel Hood, and the young artillery officer commanded the operation that eventually seized it back. </p>
<p>Therefore it is highly unlikely that he ventured to Paris in October to be among the crowd that witnessed the execution of Queen Marie-Antoinette. </p>
<figure>
<iframe allowfullscreen="" frameborder="0" height="260" src="https://www.youtube.com/embed/OAZWXUkrjPc?wmode=transparent&start=12" width="440"></iframe>
<figcaption><span class="caption">Another trailer for Napoleon shows the lead up to Marie Antionette’s execution.</span></figcaption>
</figure>
<p>In a letter to his older brother Joseph, however, Napoleon did claim to witness the storming of the Tuileries Palace by an angry crowd of republican protesters in June 1792. It revolted him.</p>
<h2>Did Napoleon really fire at the pyramids?</h2>
<p>Napoleon began his Egyptian campaign in 1798. The cultural legacy of the campaign can be seen in the well-stocked Egyptology section of the Louvre. But it was also the scene of atrocities. </p>
<p>At one point, several thousand Ottoman soldiers were shot or driven into the sea on Napoleon’s orders, rather than taken prisoner. You don’t need to invent ice traps or Napoleon ordering his men to fire at the pyramids, as Ridley Scott’s biopic does, to convey his callous disregard for life. </p>
<p>It was the rumour that he had ordered his own plague-stricken troops to be poisoned in the town of Jaffa that finally tarnished Napoleon’s reputation in the early 19th century. It stuck, no matter how brilliant the <a href="https://www.napoleon.org/en/history-of-the-two-empires/paintings/2-bonaparte-visiting-the-plague-victims-of-jaffa/">sanitising riposte of the artist Antoine-Jean Gros</a>, whom Napoleon commissioned in 1804 to paint a different story.</p>
<p>Ridley Scott’s film does not represent the past so much as carry versions of the tales and images depicting Napoleon that have spun him into existence since his own lifetime – many of which were crafted by his own hand. </p>
<p><span style="color: #666666;"><i>Joan Tumblety, Associate Professor of French History, University of Southampton</i></span></p><div class="separator" style="clear: both; text-align: center;"><br /></div>EDITOR: JEANNE-MARIE CILENTOhttp://www.blogger.com/profile/14670620493771232966noreply@blogger.comtag:blogger.com,1999:blog-4140782815588672922.post-46325616541881111932023-11-13T20:33:00.000-08:002023-11-13T20:40:52.093-08:00Kandinsky at the Art Gallery of New South Wales: A Precious Gem of a Show Celebrating the Transformative Power of Art<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPEDvcrU9uzmGaNJ-qm76Vtjwy-QjRuPQEzRchgqCVnorOh1wME8bUVHcvjvpLUVEnhOD9nHovh1QZg_wy5L7Emp29CCx552cyzQHUPR4pMG5rs8KMkL_ibYVyA6-vUwpboDANwlxihotF0h6cDHN4-2bJiVKPmrPpBogYaeBbUIxgYzVfpUB7jHhN5QE/s700/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20KANDINSKY%20EXHIBITION%20ART%20GALLERY%20OF%20NSW.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="517" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPEDvcrU9uzmGaNJ-qm76Vtjwy-QjRuPQEzRchgqCVnorOh1wME8bUVHcvjvpLUVEnhOD9nHovh1QZg_wy5L7Emp29CCx552cyzQHUPR4pMG5rs8KMkL_ibYVyA6-vUwpboDANwlxihotF0h6cDHN4-2bJiVKPmrPpBogYaeBbUIxgYzVfpUB7jHhN5QE/s16000/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20KANDINSKY%20EXHIBITION%20ART%20GALLERY%20OF%20NSW.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: left;">Vasily Kandinsky 'Sketch for Composition II' 1909–10, oil on canvas, 97.5 x
131.1 cm, Solomon R. Guggenheim Museum, New York, Solomon R. Guggenheim
Founding Collection, photo courtesy Solomon R. Guggenheim Foundation<p class="MsoNormal"><o:p></o:p></p></td></tr></tbody></table><br />By Sasha Grishin, Australian National University <div><br /><div><b>Vasily Kandinsky (1866-1944) was a pioneer of abstract art. His work and theories on art profoundly influenced the School of Paris, the American Abstract Expressionists, as well as the expressionist painters working in Australia. </b></div><div><br /></div><div>Drawing on the extensive holdings of the Solomon R. Guggenheim Museum in New York, this new exhibition at the Art Gallery of New South Wales is the largest Kandinsky exhibition to be held in Australia. </div><div><br /></div><div>In about 50 works, it covers the full range of the artist’s vision: the early “folky” works carrying the impact of the Jugendstil (German art nouveau) and Impressionism; the groundbreaking abstracts with their impressions, improvisations and compositions; and finally the wonderful, refined late geometric and biomorphic paintings. </div><div><br /></div><div>This is a precious gem of a show that celebrates the transformative power of art – its ability to transcend the material realm and to nourish us spiritually. </div><div><br /></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8Vwt7V2zMX7o3YCcnf3UeRSvh5TbEPznLbCuE5gj1MDR2MeJm5CikExCAgbnS-Sl7S1Vg33ZYI6Es3apORk0ApA6UA8Pq8_Q1Dycw074USubIj9bxrEufWXsYyeGUJ-SCc4U7G2DGTZr2QI9UpQQWZmOREYcszYSml-QXFbcgbCKq1wwWT2SUO7vG8uQ/s700/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20KANDINSKY%20EXHIBITION%20ART%20GALLERY%20OF%20NSW%203.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="562" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8Vwt7V2zMX7o3YCcnf3UeRSvh5TbEPznLbCuE5gj1MDR2MeJm5CikExCAgbnS-Sl7S1Vg33ZYI6Es3apORk0ApA6UA8Pq8_Q1Dycw074USubIj9bxrEufWXsYyeGUJ-SCc4U7G2DGTZr2QI9UpQQWZmOREYcszYSml-QXFbcgbCKq1wwWT2SUO7vG8uQ/s16000/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20KANDINSKY%20EXHIBITION%20ART%20GALLERY%20OF%20NSW%203.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: left;">Vasily Kandinsky 'Landscape with factory chimney' 1910, oil on canvas, 66 x
81.9 cm, Solomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Founding
Collection, by gift, photo courtesy Solomon R. Guggenheim Foundation<br /><p class="MsoNormal"><b><span style="font-size: large;">Russian imagery, spiritual realm and colour auras</span></b></p><p class="MsoNormal"><o:p></o:p></p></td></tr></tbody></table><div><br /></div><div>Kandinsky was Russian, born in Moscow in 1866. He never lost links with Russian art and culture. He expressed a profound belief in Russian Orthodoxy as the sole true faith. </div><div><br /></div><div>Circumstances of history meant he divided his life between living and travelling in Russia and working in Germany and finally living in France, where he died. </div><div><br /></div><div>Nevertheless, even when living in the heart of industrial Munich, he still painted Russian horse-drawn troikas, churches with their cupolas and the great saints of Russia. </div><div><br /></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkqtQa-4UbzIoYQVrslePV8hsSNsZ-jO7l385tPN7LNEYaiyqjoXxurfWKbgduMllpQewT9q7EZvmRJADCrOQGN3KZam8zoGWl6MRwe__pDDnYshmd3BWSjbo87MoXNYO1tUDlg2pcUd-jV46l_dObCv6ZBxeOJZ3NqmgNN_RBImFfFOGc19HRQouOqFo/s700/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20KANDINSKY%20EXHIBITION%20ART%20GALLERY%20OF%20NSW%202.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="480" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkqtQa-4UbzIoYQVrslePV8hsSNsZ-jO7l385tPN7LNEYaiyqjoXxurfWKbgduMllpQewT9q7EZvmRJADCrOQGN3KZam8zoGWl6MRwe__pDDnYshmd3BWSjbo87MoXNYO1tUDlg2pcUd-jV46l_dObCv6ZBxeOJZ3NqmgNN_RBImFfFOGc19HRQouOqFo/s16000/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20KANDINSKY%20EXHIBITION%20ART%20GALLERY%20OF%20NSW%202.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: left;">Vasily Kandinsky 'Improvisation 28 (second version)' 1912, oil on canvas,
112.6 x 162.5 cm, Solomon R. Guggenheim Museum, New York, Solomon R. Guggenheim
Founding Collection, By Gift, photo courtesy Solomon R. Guggenheim Foundation<p class="MsoNormal"><o:p></o:p></p></td></tr></tbody></table><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;">Building on the heritage of spiritualism inherent in Russian
Orthodox icons and the inventive whimsical narratives in Russian folk art,
Kandinsky also explored the spiritual realm and colour auras integral to
theosophy.</span><span style="text-align: left;">He was one of the most influential teachers at the German Bauhaus, before the Nazis closed it. He wrote the single most influential essay in 20th-century art, On the spiritual in art, in 1911. </span></div><div><br /></div><div>What strikes me about this exhibition is Kandinsky has lost none of his timeless magic. </div><div><br /></div><div>Frequently when visiting an exhibition of an early modern – for example, Picasso’s cubism – you may be impressed by the work and its avant-garde properties that were so amazing in their day, but they appear of their time and somewhat dated. </div><div><br /></div><div>Kandinsky’s paintings have not aged and appear contemporary and relevant to us now. </div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;"><span><b>Speaking directly to the soul</b></span> </span></div><div><br /></div><div>In Kandinsky’s early paintings, for example, Blue Mountain (1908-09) and Landscape with factory chimney (1910), the figurative element is still strong. Kandinsky invites the viewer to take a walk in the painting and explore an enchanted landscape. </div><div><br /></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqtHv80k9L_VK-1QjlsT5flodBJqjeB8XGlcb-3bAj3fQ5Czkktk6I77Dcq-54xT7oOc_jvHVstOSb0zwXePa1c0BLTqbVv7aOMBI3P5SLoPixI9dfniyaLEpngd6PVuwQ8-1STuguFLdmjkwlHoMrCTD3TOeOODRzWOh04McS4zk2J2FzCXc6gQH-ELs/s768/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20KANDINSKY%20EXHIBITION%20ART%20GALLERY%20OF%20NSW%204.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="768" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqtHv80k9L_VK-1QjlsT5flodBJqjeB8XGlcb-3bAj3fQ5Czkktk6I77Dcq-54xT7oOc_jvHVstOSb0zwXePa1c0BLTqbVv7aOMBI3P5SLoPixI9dfniyaLEpngd6PVuwQ8-1STuguFLdmjkwlHoMrCTD3TOeOODRzWOh04McS4zk2J2FzCXc6gQH-ELs/s16000/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20KANDINSKY%20EXHIBITION%20ART%20GALLERY%20OF%20NSW%204.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: left;">Vasily Kandinsky 'Blue
mountain' 1908–09, oil on canvas, 107.3 x 97.6 cm, Solomon R. Guggenheim
Museum, New York, Solomon R. Guggenheim Founding Collection, by gift, photo
courtesy Solomon R. Guggenheim Foundation</td></tr></tbody></table><br /><div><br /></div><div>Together with the theosophists, Kandinsky had a mistrust of science. At one stage he remarked: </div><div><br /></div><div><i>The disintegration of the atom was to me like the disintegration of the whole world […] I should not have been surprised if a stone had melted in the air and become invisible before my eyes. </i></div><div> </div><div>A mistrust of science was linked to a mistrust of the physical world observed through the senses and the desire to explore a spiritual reality that bypasses empirical observation and speaks directly to the soul. </div><div> </div><div>Some of the great Kandinsky paintings, including Improvisation 28, second version (1912), Landscape with rain (1913) and the wonderful Painting with white border (May 1913), break free of the figurative realm and create their own reality. </div><div><br /></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXgmNKqNPyZpD-cjPaIZBvW12nsCCqQnL6UVN4CndfVLZNjB4ZZ9p_9Dx8xx_ugIfWc73So0ObN2EZHvnFMc-Rc0z3Z-xL972o1919coCtro2TITyRVleUQhH1CSAbTJ3hqhg9B1BB0odyn7t9dEh6htY4VObMZfi7CnS8peoOd9OvH-dpkkMltW-O5EI/s700/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20KANDINSKY%20EXHIBITION%20ART%20GALLERY%20OF%20NSW%205.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="627" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXgmNKqNPyZpD-cjPaIZBvW12nsCCqQnL6UVN4CndfVLZNjB4ZZ9p_9Dx8xx_ugIfWc73So0ObN2EZHvnFMc-Rc0z3Z-xL972o1919coCtro2TITyRVleUQhH1CSAbTJ3hqhg9B1BB0odyn7t9dEh6htY4VObMZfi7CnS8peoOd9OvH-dpkkMltW-O5EI/s16000/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20KANDINSKY%20EXHIBITION%20ART%20GALLERY%20OF%20NSW%205.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: left;">Vasily Kandinsky 'Landscape with rain' January 1913, oil on canvas, 70.5 x
78.4 cm, Solomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Founding
Collection, photo courtesy Solomon R. Guggenheim Foundation<p class="MsoNormal"><o:p></o:p></p></td></tr></tbody></table><br /><div><br /></div><div>Increasingly Kandinsky questioned the importance of the object as a necessary element in a painting and demonstrated a preparedness to embrace the power, fantasy and enchantment of the palette.
Colour for Kandinsky was a symbolic spiritual experience, with colours linked with spiritual states. </div><div> </div><div>In Kandinsky’s work the physiological effect of colour is sensory and short-lived; warm colours like vermilion attract the eye; the bright yellow of a lemon is painful. </div><div><br /></div><div>A psychological resonance is produced when the sensory impression causes an emotional vibration directly or through association: red is flame and blood, black a painful silence, the appeal of orange is like the sound of a church bell. </div><div><br /></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQ_ro3nurcOn8GNCavjVWuP4zYsYV2bBJYY_P7e1C7SbJ67ZTYgSWTNMuR1PtC94VxGqKQ7SVvbTc4rumFOvx66YTlMssGtSr5MblvdQe5CkQzaBm5LS9q3c-_rkKaZhkyZ37NcIhl1kV7NqdSPXjFVNRGx1tWbuZ5UPwa4ImPYNtWV6YQj7erbbR1Of4/s700/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20KANDINSKY%20EXHIBITION%20ART%20GALLERY%20OF%20NSW%206.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="600" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQ_ro3nurcOn8GNCavjVWuP4zYsYV2bBJYY_P7e1C7SbJ67ZTYgSWTNMuR1PtC94VxGqKQ7SVvbTc4rumFOvx66YTlMssGtSr5MblvdQe5CkQzaBm5LS9q3c-_rkKaZhkyZ37NcIhl1kV7NqdSPXjFVNRGx1tWbuZ5UPwa4ImPYNtWV6YQj7erbbR1Of4/s16000/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20KANDINSKY%20EXHIBITION%20ART%20GALLERY%20OF%20NSW%206.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: left;">Vasily Kandinsky 'Blue segment' 1921, oil on canvas, 120.7 x 140 cm, Solomon
R. Guggenheim Museum, New York, Solomon R. Guggenheim Founding Collection,
photo courtesy Solomon R. Guggenheim Foundation<p class="MsoNormal"><o:p></o:p></p></td></tr></tbody></table><br /><div><br /></div><div><br /></div><div>Writing about the Painting with white border, Kandinsky observed: </div><div> </div><div><i>At that time, I tried, by lines and by distributing of patches of colour, to express the musical spirit of Russia. </i></div><div><i><br /></i></div><div>One may see in the painting in the top-left-hand corner three black lines that relate to the horses of the Russian troika. In the centre is the lance of the Russian St George slaying the dragon that threatened his homeland with the impending war. Each element in the painting was the subject of a separate study and these studies inform us about the individual elements in the painting. </div><div><br /></div><div>In a famous passage in On the spiritual in art, Kandinsky observed: </div><div><br /></div><div><i>Colour is the keyboard. The eye is the hammer, while the soul is a piano of many strings […] [harmony rests] on the principle of innermost necessity. </i></div><div><i> </i></div><div>Many of Kandinsky’s paintings in the 1920s and 1930s, including Blue segment (1921), Blue painting (January 1924) and Dominant curve (April 1936), refine some of the earlier more organic forms through geometric discipline to create great explorations of intuitive spiritual forms ambiguously suspended in space. </div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0fg3FgTmE7Jc2KGQxrrHUXNiKavI6OEjedIGVnHZvCcEcV0n8rKEGuK8GRsdM7CmeC2r__YYoJsetclLYC7G51cWIpTduajJ7dxL_fP4fBzJ2W5bBGIc2IBloB3cvi-vKWSm-Ajvhxnz6dLXcyJ2QO4Ci1ZsGgQTEGkSRNtoYZoNeqKLNuEYLM2fvVos/s700/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20KANDINSKY%20EXHIBITION%20ART%20GALLERY%20OF%20NSW%208.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="488" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0fg3FgTmE7Jc2KGQxrrHUXNiKavI6OEjedIGVnHZvCcEcV0n8rKEGuK8GRsdM7CmeC2r__YYoJsetclLYC7G51cWIpTduajJ7dxL_fP4fBzJ2W5bBGIc2IBloB3cvi-vKWSm-Ajvhxnz6dLXcyJ2QO4Ci1ZsGgQTEGkSRNtoYZoNeqKLNuEYLM2fvVos/s16000/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20KANDINSKY%20EXHIBITION%20ART%20GALLERY%20OF%20NSW%208.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: left;">Vasily Kandinsky 'Composition
8' July 1923, oil on canvas, 140.3 x 200.7 cm, Solomon R. Guggenheim Museum,
New York, Solomon R. Guggenheim Founding Collection, by gift, photo courtesy
Solomon R. Guggenheim Foundation</td></tr></tbody></table><br /><div><br /></div><div><br /></div><div>Kandinsky was a great innovator, a profound thinker and a superb painter and graphic artist. His vision changed the way we think about art. </div><div><br /></div><div>This outstanding landmark exhibition, for the first time, redefines his place in art for an Australian audience. </div><div><br /></div><div><i>Kandinsky is at the Art Gallery of New South Wales until March 10 2024.</i></div><div><br /></div><div><span style="color: #999999;">Sasha Grishin, Adjunct Professor of Art History, Australian National University </span></div><div><br /></div></div>EDITOR: JEANNE-MARIE CILENTOhttp://www.blogger.com/profile/14670620493771232966noreply@blogger.comtag:blogger.com,1999:blog-4140782815588672922.post-56304581320452124642023-11-06T20:49:00.002-08:002023-11-06T20:50:14.322-08:00Monolith Considers the Cultural and Social Implications of New technology<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG3t_sKwwUFP1HoTlgF1Ar0q50SMTLlFwqs7IdDipV7ZhaVO0KoyLfKZcwZkE1SootaAkrFpXqsq2HXs20T8qvPISM3UyHBL1ygMg0VWVjxDlzNGs3Bf5av_haZjo4mDwfy29xUwY2OwTky9CeRwqhfGzAFqPDo9LZbk4lyvYl1z86J4Vc_QQMKRAW0no/s700/MONOLITH%20FILM%20DAM%20DESIGN%20ART%20MODA%20MAGAZINE.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="468" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG3t_sKwwUFP1HoTlgF1Ar0q50SMTLlFwqs7IdDipV7ZhaVO0KoyLfKZcwZkE1SootaAkrFpXqsq2HXs20T8qvPISM3UyHBL1ygMg0VWVjxDlzNGs3Bf5av_haZjo4mDwfy29xUwY2OwTky9CeRwqhfGzAFqPDo9LZbk4lyvYl1z86J4Vc_QQMKRAW0no/s16000/MONOLITH%20FILM%20DAM%20DESIGN%20ART%20MODA%20MAGAZINE.jpg" /></a></div><br /><h1 class="legacy"><br /></h1>
<span>By Ari Mattes, <em>University of Notre Dame Australia</em></span>
<p><em>This review may contain spoilers.</em></p>
<hr />
<p><b>One of the socially redeeming features of mass media has always been its communal aspect, the fact people are drawn together into a shared experience based on network programming</b>. Of course, this, in the English-speaking world at least, has been driven by the desire for profit through selling advertising space to corporations. </p>
<p>In the era of narrowcasting, smaller and smaller audiences can now be targeted online, on various social media sites and channels, on podcast and other apps, and on streaming services, so we feel like we are now able to consume what we want, when we want, even as megacorporations still control the content, and it’s still produced for profit. The result of this is greater social atomisation.</p>
<p>Monolith, the new Australian film from first-time feature director Matt Vesely and writer Lucy Campbell, is one of the first Australian films to critically navigate the ramifications of narrowcasting technology. </p>
<p>The film follows a podcast journalist, brilliantly played by Lily Sullivan, as she investigates a lead from an anonymous email for her latest show, “Beyond Believable: A Show that Unmasks the Mysteries.” </p>
<p>People around the world have been receiving mysterious black bricks – from Germany to the US to Australia – and this seems suitable fodder for an episode.</p>
<p>Her investigation takes her across the globe and back through time to the 1980s and the Cold War. We watch as she interviews people, often using ethically dubious practices, and assembles the material entirely from inside her home. </p>
<p>The show becomes rapidly successful – we, as well as the main character, recognise its ridiculousness, and this seems to be a dig at new media culture: the idea that this kind of sensationalist, alien-hunting garbage would capture the hearts and minds of the world is preposterous.</p>
<p>Her life, mirroring the investigation, becomes increasingly strange as her own repressed history begins to surface. The dark, moody interiors of her house begin to suggest the inside of a black brick. She starts looking sick, she smokes obsessively, she trembles with anxiety.</p>
<h2>What is the monolith?</h2>
<p>What is the brick, the monolith of the film’s title? We never definitively find out (which some viewers will surely find annoying). The bricks communicate with each recipient in a personal language related to their memory and history, reflecting their hopes, prejudices and – most pronouncedly – paranoid nightmares. </p>
<p>They may be some kind of alien artefacts that communicate with the recipient “from far, far away,” as Klaus, a German art collector and brick recipient says to the journalist. Or as a recipient from Ohio says, “It’s trying to tell me something and I’ve got to listen […] Something awful is coming.” </p>
<p>Maybe the bricks are an allegory for the contemporary world and the disappearance of social bonds, representing the alienation structured into personal (or narrowcast) communication systems. The obscurity with which the film represents the bricks seems to call for this kind of allegorical reading. </p>
<p>The portrayal of a single character’s descent into a living nightmare could easily become hammy, but Sullivan manages to keep the viewer entranced with her controlled, brilliantly understated performance. Joining Sullivan are the voices of some well-known Australian actors including Damon Herriman, Kate Box and Erik Thomson.</p>
<h2>The strange solitude of interpersonal communication</h2>
<p>The strange solitude of interpersonal communication in the global information economy underpins the whole thing, and the screen is replete with a plethora of different technologies reflecting this – talking head videos online, audio recording, editing and streaming, mobile phones, smart houses, close-ups of digital text. </p>
<p>We see, first hand, the sadness (and terror) of the journalist’s solitude and alienation – all she seems to do (alarmingly, perhaps, like many people in a post-COVID world) is talk to people on the phone and look stuff up on the internet. At the same time, we watch her go about the day-to-day business of living – making food in the kitchen, eating, showering at night – her deep solitude foregrounded throughout. </p>
<p>The final section of the film is a touch underwhelming, with the whole thing resolving too neatly in a personal register (whereas what had driven the enigma of the bricks was their social aspect – the fact people all over the world had also received a brick). </p>
<p>Rather than developing into a full-on surreal nightmare (which would have made a better film, one suspects, in the vein of media horror thrillers like Lost Highway or The Ring, the ripples of which radiate throughout this) everything comes together in a way that seems a bit too neat.</p>
<p>There are carefully dispensed echoes of class critique thrown in, fitting the current strain of fantastic cinema that seems to think a film needs an explicitly polemical dimension to speak to the zeitgeist. </p>
<p>Similarly, the doomed, portentous tone becomes a little annoying in the final third – it feels like a space film, but without the necessary existential dread that space elicits – and there is a fair quotient of nonsense underpinning the narrative. </p>
<p>Despite this, Monolith remains an effective fantasy-thriller, remarkably engaging given its limitations – one location, one actor (well, two, including pet turtle Ian). </p>
<p>It’s also refreshing to see a high concept Australian film, as opposed to the usual social realist and period dramas. </p>
<p>Like an episode of Black Mirror - but without the heavy-handedness of many episodes of that show - Monolith thinks through the cultural and social implications of new technologies. It considers how we both reflect and are shaped by technology. </p>
<p>Monolith is a decidedly low-key film, but this should not be mistaken for dull. It is an arresting chiller, extremely tightly performed and made, low budget and, thankfully - and unlike virtually everything else playing in cinemas today - not overlong. Given its interest in contemporary audio-visual technologies, it will probably play best in the cinema, one of the last communal bastions against the blissful and anonymously smooth technological hell of narrowcasting.</p>
<p><em>Monolith is in cinemas from October 26.</em><!--Below is The Conversation's page counter tag. Please DO NOT REMOVE.--><img alt="The Conversation" height="1" referrerpolicy="no-referrer-when-downgrade" src="https://counter.theconversation.com/content/213645/count.gif?distributor=republish-lightbox-basic" style="border: none; box-shadow: none; margin: 0px; max-height: 1px; max-width: 1px; min-height: 1px; min-width: 1px; opacity: 0; outline: none; padding: 0px;" width="1" /><!--End of code. If you don't see any code above, please get new code from the Advanced tab after you click the republish button. The page counter does not collect any personal data. More info: https://theconversation.com/republishing-guidelines--></p>
<p><span style="color: #666666;"><i>Ari Mattes, Lecturer in Communications and Media, University of Notre Dame Australia</i></span></p>
<p><span style="color: #999999;">This article is republished from The Conversation under a Creative Commons license.</span> </p>EDITOR: JEANNE-MARIE CILENTOhttp://www.blogger.com/profile/14670620493771232966noreply@blogger.comtag:blogger.com,1999:blog-4140782815588672922.post-65041226081793989592023-10-29T22:17:00.001-07:002023-10-29T22:17:41.129-07:00Take a Look Back at the Best of Paris Streetstyle: Dior Spring/Summer 2024 by Elli Ioannou in France<p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPImTZbZWXlHSW1tga2QtGaCdTGhRTmRzm5CDtVK9j9lqVtgwMCBruwAMv0cQZMSMDyzzuMlmlLaXBoj5cI3C5ITxaxpwpw30Z6Qg_YHrHZ6hB9fOlroL1xDD7v0jsJZH8SUV3IB8FF-cEL0WvKwq8kprTm-3A6FMKR8fOOC3hDRwSydvc9Io_fLo8vGQ/s1050/DESIGN%20ART%20MODA%20MAGAZINE%20DIOR%20READY%20TO%20WEAR%20SS24%20%20032%C2%A9elli_ioannou_DIOR-street.jpg" style="clear: left; display: inline; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1050" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPImTZbZWXlHSW1tga2QtGaCdTGhRTmRzm5CDtVK9j9lqVtgwMCBruwAMv0cQZMSMDyzzuMlmlLaXBoj5cI3C5ITxaxpwpw30Z6Qg_YHrHZ6hB9fOlroL1xDD7v0jsJZH8SUV3IB8FF-cEL0WvKwq8kprTm-3A6FMKR8fOOC3hDRwSydvc9Io_fLo8vGQ/s16000/DESIGN%20ART%20MODA%20MAGAZINE%20DIOR%20READY%20TO%20WEAR%20SS24%20%20032%C2%A9elli_ioannou_DIOR-street.jpg" /></a></p><div class="separator" style="clear: both; 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margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="467" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSVj8TWM2kgVHHyK_yR6ChTFKwToozGeR7QtxXnLGGR3zRWF8GoPhbEX-kQwNynvs3oqrGsmwxPdKEN5gxmAehrcpOVlsO-LtbnFC-ue9fSnfdoHsbaJVkgjWJImx6UhFTEWyKanDgzRGyS3vfX3FlpPlBthuOoiGWU-epcSnoGZAxD2r_xzuc1WCNO0U/s16000/DAM%20COVER%20NGV_RealandImagined_LillieThompson_19.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: left;"><span style="color: #666666;">Installation view of Photography: Real and Imagined on display at the Ian Potter Centre: NGV Australia from October 14th, 2024, until February 4th, 2024. Photo: Lillie Thomson. Cover picture: Malala Andrialavidrazana, Figures 1850, various empires, kingdoms, states and republics 2015. Inkjet print. Courtesy of the artist and Afronovaova gallery. National Gallery of Victoria, Melbourne. Photo: Christian Markel / NGV </span></td></tr></tbody></table><br /><figure><br />
</figure>
<span><b>By Sasha Grishin, <em>Australian National University</em></b></span>
<p><b>Photography is almost 200 years old and Photography: Real and Imagined at the National Gallery of Victoria (NGV) can be interpreted as an attempt to make sense of its history. </b></p>
<p>A huge and dazzling exhibition containing 311 photographs, the basic thesis of this exhibition is that some photographs record an actuality, others are purely a product of the photographer’s imagination, while many are a mixture of the two. </p>
<p>The parameters of the exhibition are determined, in part, by the holdings of the NGV collection and, in part, by the perspective adopted by the curator, the erudite and long-serving senior curator of photography at the NGV, Susan Van Wyk. </p>
<p>Mercifully, the curator has not opted for a linear chronological approach from daguerreotypes to digital, although both are included in the exhibition, but has devised 21 diverse thematic categories, for example light, environment, death, conflict, work, play and consumption. </p>
<h2>Australian artists, international context</h2>
<p>The categories have porous boundaries. Even with the assistance of the 420-page book catalogue, it is difficult to determine why Michael Riley’s profoundly moving photograph of a dead galah shown against the cracked earth belongs to the environment theme instead of death; why Rosemary Laing’s Welcome to Australia image of a detention camp belongs to movement, instead of being in community, conflict or narrative. </p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/553584/original/file-20231012-19-751mc3.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" src="https://images.theconversation.com/files/553584/original/file-20231012-19-751mc3.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/553584/original/file-20231012-19-751mc3.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=400&fit=crop&dpr=1 600w, https://images.theconversation.com/files/553584/original/file-20231012-19-751mc3.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=400&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/553584/original/file-20231012-19-751mc3.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=400&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/553584/original/file-20231012-19-751mc3.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=503&fit=crop&dpr=1 754w, https://images.theconversation.com/files/553584/original/file-20231012-19-751mc3.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=503&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/553584/original/file-20231012-19-751mc3.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=503&fit=crop&dpr=3 2262w" /></a>
<figcaption>
<span class="caption">Installation view of Photography: Real & Imagined on display at The Ian Potter Centre: NGV Australia from October 13 2023 – February 4 2024. Photo: Lillie Thompson.</span>
</figcaption>
</figure>
<p>I felt that there was a perceived need to somehow organise the material, and the broad thematic structure allows the viewer to develop some sort of mega-narrative for the show.</p>
<p>There is also evident a desire to create an international context within which to display the work of Australian photographers. </p>
<p>It is indeed a very rich cross-section of Australian photographers assembled in this exhibition. This is not an Anglo-American construct of the history of photography; Australian photographers are presented together with New Zealanders and their Asian contemporaries. </p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/553585/original/file-20231012-25-dggj4a.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" src="https://images.theconversation.com/files/553585/original/file-20231012-25-dggj4a.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/553585/original/file-20231012-25-dggj4a.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=400&fit=crop&dpr=1 600w, https://images.theconversation.com/files/553585/original/file-20231012-25-dggj4a.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=400&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/553585/original/file-20231012-25-dggj4a.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=400&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/553585/original/file-20231012-25-dggj4a.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=503&fit=crop&dpr=1 754w, https://images.theconversation.com/files/553585/original/file-20231012-25-dggj4a.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=503&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/553585/original/file-20231012-25-dggj4a.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=503&fit=crop&dpr=3 2262w" /></a>
<figcaption>
<span class="caption">Installation view of Photography: Real & Imagined on display at The Ian Potter Centre: NGV Australia from October 13 2023 – February 4 2024. Photo: Lillie Thompson.</span>
</figcaption>
</figure>
<p>Although the NGV boasts of having the first curatorial department of photography in any gallery in Australia, in the department’s 55-year history there remain serious lacunae in the collection. </p>
<p>For example, Russian constructivist photographers, including Aleksandr Rodchenko, who, as far as I am aware, in the NGV collection is represented by a single small booklet, but looms large in any account of the history of photography as presented by the British, European and American museums. Eastern European photographers are also generally underrepresented. </p>
<h2>Key moments, and surprises</h2>
<p>This exhibition combines the iconic with the new and the unexpected. </p>
<p>The expected key moments in the history of photography are generally all present with the roll-call of names including Dora Maar, Man Ray, André Kertész, Henri Cartier-Bresson, Dorothea Lange, Eadweard Muybridge, Bill Brandt, Lee Miller and László Moholy-Nagy. </p>
<p>They are all included in the exhibition and are represented through their iconic pieces. </p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/553578/original/file-20231012-25-avdskc.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" src="https://images.theconversation.com/files/553578/original/file-20231012-25-avdskc.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/553578/original/file-20231012-25-avdskc.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=394&fit=crop&dpr=1 600w, https://images.theconversation.com/files/553578/original/file-20231012-25-avdskc.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=394&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/553578/original/file-20231012-25-avdskc.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=394&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/553578/original/file-20231012-25-avdskc.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=495&fit=crop&dpr=1 754w, https://images.theconversation.com/files/553578/original/file-20231012-25-avdskc.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=495&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/553578/original/file-20231012-25-avdskc.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=495&fit=crop&dpr=3 2262w" /></a>
<figcaption>
<span class="caption">Henri Cartier Bresson, Juvisy, France 1938; printed 1990s. Gelatin silver photograph 29.1 x 43.9 cm (image). National Gallery of Victoria, Melbourne. Purchased NGV Foundation, 2015. © Henri Cartier-Bresson / Magnum Photos. Photo: Nicholas Umek / NGV.</span>
</figcaption>
</figure>
<p>Henri Cartier Bresson’s Juvisy (1938), colloquially known as Sunday on the banks of the Marne, is an intentionally subversive image by this left-wing radical photographer. </p>
<p>This image, made at the height of the Great Depression, shows a victory by France’s popular left-wing government that legislated in 1936 the entitlement for French workers to have two weeks of paid vacation. Here the working class is enjoying a picnic at Juvisy, just to the south of Paris. </p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/553581/original/file-20231012-17-t1uccj.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" src="https://images.theconversation.com/files/553581/original/file-20231012-17-t1uccj.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/553581/original/file-20231012-17-t1uccj.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=607&fit=crop&dpr=1 600w, https://images.theconversation.com/files/553581/original/file-20231012-17-t1uccj.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=607&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/553581/original/file-20231012-17-t1uccj.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=607&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/553581/original/file-20231012-17-t1uccj.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=763&fit=crop&dpr=1 754w, https://images.theconversation.com/files/553581/original/file-20231012-17-t1uccj.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=763&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/553581/original/file-20231012-17-t1uccj.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=763&fit=crop&dpr=3 2262w" /></a>
<figcaption>
<span class="caption">Dorothea Lange, Towards Los Angeles, California 1936; printed c. 1975. Gelatin silver photograph 39.6 x 39.1 cm (image); 40.8 x 50.5 cm (sheet). National Gallery of Victoria, Melbourne. Purchased, 1975 © Library of Congress, FSA Collection. Photo: Predrag Cancar / NGV.</span>
</figcaption>
</figure>
<p>At about the same time, Dorothea Lange’s Towards Los Angeles, California (1936) contrasts the anguish of the unemployed trekking in search of work and a billboard advertising the comforts of train travel. An aphorism ascribed to her sums us much of her work: </p>
<blockquote>
<p>Bad as it is, the world is potentially full of good photographs. But to be good, photographs have to be full of the world.</p>
</blockquote>
<p>Man Ray’s Kiki with African mask (1926) is one of the most famous photographs in the world, also known as Noire et blanche (Black and White). The surrealist artist juxtaposes the elongated face of his Muse and mistress, Kiki (Alice Prin), with her eyes closed with that of a black African ceremonial mask. </p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/553582/original/file-20231012-21-gznf86.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" src="https://images.theconversation.com/files/553582/original/file-20231012-21-gznf86.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/553582/original/file-20231012-21-gznf86.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=458&fit=crop&dpr=1 600w, https://images.theconversation.com/files/553582/original/file-20231012-21-gznf86.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=458&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/553582/original/file-20231012-21-gznf86.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=458&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/553582/original/file-20231012-21-gznf86.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=575&fit=crop&dpr=1 754w, https://images.theconversation.com/files/553582/original/file-20231012-21-gznf86.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=575&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/553582/original/file-20231012-21-gznf86.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=575&fit=crop&dpr=3 2262w" /></a>
<figcaption>
<span class="caption">Man Ray, Kiki with African mask, 1926. Gelatin silver photograph 21.1 x 27.6 cm (image); 22.1 x 28.5 cm (sheet). National Gallery of Victoria, Melbourne. Purchased through The Art Foundation of Victoria with the assistance of Miss Flora MacDonald Anderson and Mrs Ethel Elizabeth Ogilvy Lumsden, Founder Benefactors, 1983. © MAN RAY TRUST / ADAGP, Paris. Licensed by Copyright Agency, Australia. Photo: Helen Oliver-Skuse / NGV.</span>
</figcaption>
</figure>
<p>The photograph was <a href="https://www.jstor.org/stable/10.1086/507505?typeAccessWorkflow=login">controversial</a> when it was first published and continues to be controversial to the present day.</p>
<p>There are also numerous modern classics in the exhibition, including Pat Brassington’s Rosa (2014), Polly Borlan’s Untitled (2018), from MORPH series 2018 and Robyn Stacey’s Nothing to see here (2019), that can all be viewed as edging into the realm of the uncanny. Beyond the façade of the familiar, we are invited to enter an unexpected world. </p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/553586/original/file-20231012-29-t81g4t.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" src="https://images.theconversation.com/files/553586/original/file-20231012-29-t81g4t.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/553586/original/file-20231012-29-t81g4t.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=900&fit=crop&dpr=1 600w, https://images.theconversation.com/files/553586/original/file-20231012-29-t81g4t.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=900&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/553586/original/file-20231012-29-t81g4t.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=900&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/553586/original/file-20231012-29-t81g4t.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1131&fit=crop&dpr=1 754w, https://images.theconversation.com/files/553586/original/file-20231012-29-t81g4t.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1131&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/553586/original/file-20231012-29-t81g4t.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1131&fit=crop&dpr=3 2262w" /></a>
<figcaption>
<span class="caption">Installation view of Polly Borland’s Untitled 2018 from MORPH series 2018 on display in Photography: Real & Imagined at The Ian Potter Centre: NGV Australia from October 13 2023 – February 4 2024. Photo: Lillie Thompson.</span>
</figcaption>
</figure>
<h2>Reinterpreting our world</h2>
<p>Photography’s reputation of creating a trustworthy facsimile of the real had long been eroded, even before the creation of digital software. There is an old adage, “paintings sometimes deceive, but photographs always lie” – precisely because there was a perception that they could not lie.</p>
<p>One of the most intriguing works in the exhibition is by the New Zealand-born photographer Patrick Pound, titled Pictures of people who look dead, but (probably) aren’t (2011–14). It is a sprawling installation of mainly found photographs where the audience is invited to create a life and death narrative.</p>
<p>Photography: Real and Imagined reexamines our thinking about the art of photography and explores photography’s ability to recreate and reinterpret our world. </p>
<p><em>Photography: Real and Imagined is at the Ian Potter Centre, National Gallery of Victoria, Melbourne, until February 4 2024.</em><!--Below is The Conversation's page counter tag. Please DO NOT REMOVE.--><img alt="The Conversation" height="1" referrerpolicy="no-referrer-when-downgrade" src="https://counter.theconversation.com/content/214551/count.gif?distributor=republish-lightbox-basic" style="border: none; box-shadow: none; margin: 0px; max-height: 1px; max-width: 1px; min-height: 1px; min-width: 1px; opacity: 0; outline: none; padding: 0px;" width="1" /><!--End of code. If you don't see any code above, please get new code from the Advanced tab after you click the republish button. The page counter does not collect any personal data. More info: https://theconversation.com/republishing-guidelines--></p>
<p><span style="color: #666666;">Sasha Grishin, Adjunct Professor of Art History, <em>Australian National University</em></span></p>
<p><span style="color: #cccccc;">This article is republished from The Conversation under a Creative Commons license. </span></p>EDITOR: JEANNE-MARIE CILENTOhttp://www.blogger.com/profile/14670620493771232966noreply@blogger.comtag:blogger.com,1999:blog-4140782815588672922.post-57882631341796614632023-10-15T22:53:00.003-07:002023-10-15T22:55:13.015-07:00100 years of Disney: From a Cartoon Mouse to a Global Giant, How Walt Disney Conquered the World<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVC3bssnMld4Msz1MuZnZhtec3fvnR0Kpva6QsfckHd4k0PgvgS7umI04c4DLoegKluq2xhUJFaG_BJVi4O7l7anLGmP3MG-_ToB0KQGW1z0yKH_0yf6XKJnP7v8X44GuUSBOiZ1MgSHwZDhb6Gpbmytva-uqFlEiFUAiVysXObWqEkfv7xlsXrtVolKU/s888/DAM%20COVER%20WALT%20DISNEY.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="888" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVC3bssnMld4Msz1MuZnZhtec3fvnR0Kpva6QsfckHd4k0PgvgS7umI04c4DLoegKluq2xhUJFaG_BJVi4O7l7anLGmP3MG-_ToB0KQGW1z0yKH_0yf6XKJnP7v8X44GuUSBOiZ1MgSHwZDhb6Gpbmytva-uqFlEiFUAiVysXObWqEkfv7xlsXrtVolKU/s16000/DAM%20COVER%20WALT%20DISNEY.jpg" /></a></div><br /><h1 class="legacy"><br /></h1>
<span>By Ben McCann, <em>University of Adelaide</em></span>
<p><b>On October 16, 1923, brothers Walt and Roy set up a modest cartoon studio. Their goal was to produce short, animated films. They created a new character: a mouse, with large ears. </b></p>
<p>Named “Mickey”, he soon became one of the world’s most recognizable images. </p>
<p>Walt Disney was an innovator in terms of space, colour and movement. He had an uncanny ability to provide pleasure for millions of viewers struggling through the Great Depression. </p>
<p>A century later, Disney is one of the world’s largest entertainment conglomerates. </p>
<p>Disney has influenced countless other animation studios and artists. It has received Academy Awards for Best Animated Feature for the likes of The Incredibles, Up and Frozen. Walt himself holds the record for most nominations (59) and Oscar wins (22 competitive awards, plus four honorary awards) for a single individual.</p>
<p>Just how did Disney manage to do it? </p>
<h2>Steamboat Willie and technological wonders</h2>
<p>Based in Los Angeles, Disney set about innovating. He created The Alice Comedies, a series of short films featuring a live-action child actress in a cartoon world. Then came Oswald the Lucky Rabbit, a precursor to Mickey Mouse. </p>
<p>Steamboat Willie, released in 1928, was the world’s first fully synchronised sound cartoon. His pioneering use of sound quickly became an industry norm. </p>
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<p>A simple story featuring Mickey as a steamboat captain trying to navigate the boat while dealing with various comical situations, Steamboat Willie was universally praised. After a short theatrical run in New York, the film was exhibited nationwide and set Disney on its way. </p>
<p>The clip of Mickey holding the ship’s wheel and whistling became the company’s logo in 2007, reminding audiences of Steamboat’s enduring importance.</p>
<p>New characters emerged post-Steamboat, such as Donald Duck and Mickey’s love interest, Minnie, which still endure today.</p>
<p>Flowers and Trees, made in 1932, was the first animated short film to win an Academy Award – it was also Disney’s (and the industry’s) first full-colour three-strip Technicolor film.</p>
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<p>By the end of the 1930s, Disney had pivoted to feature-length animated films, releasing Snow White and the Seven Dwarfs in 1937. </p>
<h2>The golden age and feature films</h2>
<p>What followed Snow White is often referred to as Disney’s “golden age”, with the release of Pinocchio (1940), Dumbo (1941) and Bambi (1942). </p>
<p>Those early films still dazzle today – think of the Sorcerers’ Apprentice scene in Fantasia (1940) or the Pink Elephants hallucinogenic number in Dumbo. And is there any scene, in any film, more heart-wrenching than the death of Bambi’s mother?</p>
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<p>But the golden age never really stopped. The hits just kept on coming - Peter Pan (1953), Lady and the Tramp (1955) and Mary Poppins (1964) remain enduring classics. In the 1990s, a new generation fell in love with Beauty and the Beast (1991), Aladdin (1992) and The Lion King (1994) – and these films were then remade as live-action versions in the 2010s. </p>
<p>Even a minor Disney film like <a href="https://en.wikipedia.org/wiki/Zootopia">Zootopia</a> (2016) could make a billion dollars at the box-office. </p>
<h2>Disneyland and diversification</h2>
<p>In 1955, Walt Disney opened Disneyland in Anaheim, California. He wanted to build an inclusive theme park where all the family could have fun.</p>
<p>It set the standard for theme park design and showed the way forward for the company: diversification. </p>
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<p>After Disneyland came Disney World in Florida in 1971, then versions of Disneyland in Paris, Tokyo, Hong Kong and Shanghai. </p>
<p>A famous diagram, sketched by Walt himself in 1957, foreshadowed the direction Disney would ultimately take: a huge business empire of synergies, merchandising and cross-promotion.</p>
<h2>Buyouts and a cultural behemoth</h2>
<p>In 2006 Disney bought Pixar, in 2009 it bought Marvel and in 2012 it bought LucasFilm. These acquisitions solidified Disney’s position as the brand leader in the entertainment industry. </p>
<p>Pixar was known for films like Toy Story (1995) and Finding Nemo (2003) and the purchase would lead to multiple collaborations between the two. </p>
<p>Most recently, in 2019, Disney acquired 21st Century Fox for a staggering US$71 billion. The deal gave them instant access to Fox’s vast back catalogues. </p>
<p>The deal made some industry insiders uneasy: Disney had become a cultural behemoth, strangling competition, homogenising content and swallowing up entire franchises.</p>
<h2>Not all plain sailing</h2>
<p>Disney films proudly prioritise family values, stress teamwork and empathy and promote gender equality. Yet until relatively recently, its heroes and heroines were very visibly white, and the studio was criticised for invoking messages of privilege, racial hierarchy and standards of beauty. </p>
<p>Its 1946 film Song of the South has <a href="https://www.theguardian.com/film/2019/nov/19/song-of-the-south-the-difficult-legacy-of-disneys-most-shocking-movie">long been criticised</a> for its racist portrayal of African Americans and its romanticisation of the plantation era. Since 1986, Disney have tried to keep it out of circulation, although clips can be found online. </p>
<p>Many old films streaming on Disney+ now feature a disclaimer telling viewers some scenes will include “negative depictions” and “mistreatment of people or cultures”. </p>
<p>LGBTQ+ representation has become more visible since LeFou became Disney’s first openly gay character in its 2017 live-action Beauty and the Beast. But the backlash was troubling, and Disney also ran into trouble with conservative critics with its same-sex kiss in Lightyear (2022), and would later be mocked as “woke Disney” by conservative politicians and media personalities. </p>
<p>CEO Bob Iger – who stepped down in 2021 but was then brought back in 2022 on a huge salary – has not fared well during the recent SAG-AFTRA disputes, with comments deemed out of touch and tone-deaf by many.</p>
<p>Still, despite these tricky issues, Disney’s corporate stranglehold shows no sign of abating. Its reach is gigantic. From cartoons to comics to CGI, Disney controls much of our popular culture.</p>
<p>“If you can dream it, you can do it,” Walt once said. As Disney turns 100, with a market capitalisation today of more than US$150 billion, that’s some dream come true.<!--Below is The Conversation's page counter tag. Please DO NOT REMOVE.--><img alt="The Conversation" height="1" referrerpolicy="no-referrer-when-downgrade" src="https://counter.theconversation.com/content/212783/count.gif?distributor=republish-lightbox-basic" style="border: none; box-shadow: none; margin: 0px; max-height: 1px; max-width: 1px; min-height: 1px; min-width: 1px; opacity: 0; outline: none; padding: 0px;" width="1" /><!--End of code. If you don't see any code above, please get new code from the Advanced tab after you click the republish button. The page counter does not collect any personal data. More info: https://theconversation.com/republishing-guidelines--></p>
<p><span style="color: #666666;"><i>Ben McCann, Associate Professor of French Studies, University of Adelaide</i></span></p>
<p><span style="color: #999999;">This article is republished from The Conversation under a Creative Commons license. </span></p>EDITOR: JEANNE-MARIE CILENTOhttp://www.blogger.com/profile/14670620493771232966noreply@blogger.comtag:blogger.com,1999:blog-4140782815588672922.post-11454871908074874582023-10-09T23:44:00.005-07:002023-10-29T23:14:39.292-07:00How did Taylor Swift Get So Popular? She Never Goes Out of Style<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnCtTmInUnWyUoRusBcICUvmFoVs5hMnQ2JQFX5-pTJtuBSHgAJM-YP1CkWgbe45zpcu5FGiVhxCuccDoIxM5HRyS7gn5Lv4Wn-AFmqgCF5rjwPVBIGMvZXD7ElDecRsyS47HNkr5hSJEOXmza1InZ_C-kIlgsAa-80OrKwCNS4-_xA7aIRUCDBEIU5_I/s700/DAM%20COVER%20TAYLOR%20SWIFT%20Design%20Art%20Moda%20Magazine%20DAM.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="350" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnCtTmInUnWyUoRusBcICUvmFoVs5hMnQ2JQFX5-pTJtuBSHgAJM-YP1CkWgbe45zpcu5FGiVhxCuccDoIxM5HRyS7gn5Lv4Wn-AFmqgCF5rjwPVBIGMvZXD7ElDecRsyS47HNkr5hSJEOXmza1InZ_C-kIlgsAa-80OrKwCNS4-_xA7aIRUCDBEIU5_I/s16000/DAM%20COVER%20TAYLOR%20SWIFT%20Design%20Art%20Moda%20Magazine%20DAM.jpg" /></a></div><br /><h1 class="legacy"><br /></h1>
<span>By<b> </b>Kate Pattison, <em>RMIT University</em></span>
<p><b>Last week, USA Today/Gannett posted a job ad for a Taylor Swift reporter, seeking an experienced journalist and content creator to “capture the music and cultural impact of Taylor Swift”. </b></p>
<p>It’s not the first time Swift has been the focus of professional and academic work. In 2022, New York University’s Clive Davis Institute announced a course focused on Swift, taught by Rolling Stone’s Brittany Spanos. They also gave Swift an honorary doctorate in fine arts, as “one of the most prolific and celebrated artists of her generation”. </p>
<p>Other universities around the world followed with their own dedicated courses, including “The Psychology of Taylor Swift”, “The Taylor Swift Songbook” and “Literature: Taylor’s Version”. </p>
<p>While musicians and celebrities have been the subject of our fascinations for decades, it’s not often they receive such individualised attention. Swift’s impressive career can be studied from multiple perspectives, including marketing, fandom, business and songwriting, to name a few. </p>
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<h2>So why Taylor Swift?</h2>
<p>From a music perspective, Swift has broken a lot of records. Last month, she became the first female artist in Spotify history to reach 100 million monthly listeners.</p>
<p>Swift has achieved 12 number one albums on Billboard, the most by a woman artist, overtaking Barbra Streisand earlier this year. </p>
<p>She’s the first and only woman solo artist to win the Album Of The Year Grammy three times, for Fearless (2009), 1989 (2015) and Folklore (2020) – each in a different musical genre. It’s a credit to Swift’s masterful songwriting, and demonstrates her ability to adapt her craft for different audiences. </p>
<p>There is an expectation for female artists to constantly re-invent themselves, something Swift reflected on in her Netflix documentary Miss Americana:</p>
<blockquote>
<p>The female artists I know of have to remake themselves like 20 times more than the male artists, or you’re out of a job.</p>
</blockquote>
<p>Over the course of her career, Swift has evolved from an award-winning country music singer to one of the biggest pop stars in the world. Each of her ten original studio albums has a distinct theme and aesthetic, which have been celebrated on Swift’s juggernaut Eras Tour. </p>
<p>The tour, which has just wrapped up its first US leg, is set to be the highest-grossing of all time, boosting local travel and tourism revenue along the way. A recent report estimates the tour could help add a monumental US$5 billion (A$7.8 billion) to the worldwide economy. </p>
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<h2>‘All I do is try, try, try’</h2>
<p>But to measure Swift’s impact by her music alone would be limiting.</p>
<p>Swift has been instrumental in changing the business game for musicians. She’s taken on record labels and streaming services, advocating for better deals for artists. </p>
<p>In 2015, Apple Music changed its payment policies after Swift wrote an open letter campaigning for better compensation. </p>
<p>Most notably, she took a stand against her former record label, Big Machine Records, after it wouldn’t give her an opportunity to buy back her original master recordings. Her back catalogue was eventually sold to music executive Scooter Braun, kicking off a very public feud. </p>
<p>While she’s not the first artist to go after her masters, she’s generated an enormous amount of attention to an issue that’s often overlooked. Of course, Swift is in a position of privilege – she can take risks many other artists can’t afford to. But with this power she’s driving conversations around contracts and the value of music, paving the way for emerging artists. </p>
<p>In an effort to regain control of her earlier work, Swift announced she would be re-recording her first six albums. Each re-recorded album has included additional vault tracks, previously unreleased songs left off the original recordings. </p>
<p>These releases have each been accompanied by a robust promotional campaign, including new merchandise and multiple, limited-edition versions of each record for fans to collect. </p>
<p>The release of Speak Now (Taylor’s Version) marked the halfway point of this process, which has paid off big time. Fearless (Taylor’s Version), Red (Taylor’s Version) and Speak Now (Taylor’s Version) have all performed better than the originals. </p>
<p>This is largely due to the unwavering support from her fans, known as “Swifties”. They’ve embraced the new recordings, shaming anyone who plays the original “stolen” versions. </p>
<h2>The power of Swifties</h2>
<p>Swift’s loyal fandom are known for their high levels of participation and creativity. Fans have spent an extensive amount of time hand-making outfits for concerts, and discussing elaborate theories online. </p>
<p>Swift has a reputation for leaving clues, known as Easter eggs, in her lyrics, music videos, social media posts and interviews. There are fan accounts dedicated to analysing these Easter eggs, studying specific number patterns and phrases to uncover hints for what Swift might do next. </p>
<p>Swift and Taylor Nation, a branch of her management team, encourage these behaviours by rewarding fans for their participation. </p>
<p>For the upcoming release of 1989 (Taylor’s Version), Swift has unveiled a series of puzzles on Google, which fans must solve together in order to reveal the names of the upcoming vault tracks.</p>
<p></p>
<p>Swifties collectively solved the 33 million (yes, that’s <em>million</em>) puzzles in less than 24 hours. The games played a dual role - not only did Swift announce the vault track titles, but she’s reclaimed her Google searches in the process. </p>
<p>Swift’s fandom crosses generations. She’s a quintessential millennial, and many fans have grown up with Swift over the past two decades. Some have even started to bring their children along to the concerts, posting videos of them set to the bridge to Long Live. </p>
<p>She’s also found a younger audience on TikTok, a platform predominantly used by Gen Z. Affectionately dubbed “SwiftTok” by fans (and now Swift herself), users post videos to engage with other Swifties and participate in the community. </p>
<p>Swift’s songs are often used in popular trends. The release of Midnights last year had many dancing to Bejeweled and Karma, but Swift’s older catalogue has also gotten a good run. A remix of Love Story went viral in 2020, which helped a new generation discover her older music. Most recently, her song August has been used for running on the beach and spinning around with your pets. </p>
<p><iframe class="tc-infographic" frameborder="0" height="400px" id="tc-infographic-925" src="https://cdn.theconversation.com/infographics/925/cad71d8026910236be1d5880a20a247cdee29c82/site/index.html" style="border: none;" width="100%"></iframe></p>
<p>She’s also closely aligned with young adult shows like The Summer I Turned Pretty, which has featured 13 of her songs throughout the show’s first two seasons. Swift’s music is so central to the story that author Jenny Han nearly dedicated the second book to her.</p>
<p></p>
<p>Swift continues to dominate the cultural conversation through her music, business decisions and legions of devoted fans. </p>
<p>Right now, Swift’s popularity is at an all time high, and it could be easy to dismiss this hype as a passing trend. But if these first 17 years are anything to go by, Swift’s proven she’s in it for the long haul, and worthy of our time.<!--Below is The Conversation's page counter tag. Please DO NOT REMOVE.--><img alt="The Conversation" height="1" referrerpolicy="no-referrer-when-downgrade" src="https://counter.theconversation.com/content/213871/count.gif?distributor=republish-lightbox-basic" style="border: none; box-shadow: none; margin: 0px; max-height: 1px; max-width: 1px; min-height: 1px; min-width: 1px; opacity: 0; outline: none; padding: 0px;" width="1" /><!--End of code. If you don't see any code above, please get new code from the Advanced tab after you click the republish button. The page counter does not collect any personal data. More info: https://theconversation.com/republishing-guidelines--></p>
<p><span style="color: #666666;"><i>Kate Pattison, PhD Candidate, RMIT University</i></span></p>
<p><span style="color: #cccccc;">This article is republished from The Conversation under a Creative Commons license.</span><span style="color: #cccccc; font-size: x-small;"> </span></p>EDITOR: JEANNE-MARIE CILENTOhttp://www.blogger.com/profile/14670620493771232966noreply@blogger.comtag:blogger.com,1999:blog-4140782815588672922.post-63070916979767890462023-10-02T20:24:00.006-07:002023-10-02T20:26:17.840-07:00Highlights of Schiaparelli Spring/Summer 2024 Prêt-à-Porter Collection in Paris<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihMb_7sqk4hAHXewS5bls9K7boN2_FO8lsPjflaiIJ3vyWD3ApHen3Mn_vjgJ-VwcqT5Ernvv9WP9krkCIK4g5alJ0O1HYIe9P1ZMof92Aa8q9ooTmB3uvoFNW9FkeD_NoA5EILi1eZ0euuegvDMEew1MW_chq9nC7rdYt-ppxqhSPWzwpzPzw6ut0TK0/s1050/DESIGN%20ART%20MODA%20MAGAZINE%20PFW%20SS24%20RTW%20KENDALL%20JENNER%20%20Schiaparelli_SS24_Look_36.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1050" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihMb_7sqk4hAHXewS5bls9K7boN2_FO8lsPjflaiIJ3vyWD3ApHen3Mn_vjgJ-VwcqT5Ernvv9WP9krkCIK4g5alJ0O1HYIe9P1ZMof92Aa8q9ooTmB3uvoFNW9FkeD_NoA5EILi1eZ0euuegvDMEew1MW_chq9nC7rdYt-ppxqhSPWzwpzPzw6ut0TK0/s16000/DESIGN%20ART%20MODA%20MAGAZINE%20PFW%20SS24%20RTW%20KENDALL%20JENNER%20%20Schiaparelli_SS24_Look_36.jpg" /></a></div><br /><div class="separator" style="clear: both; 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text-align: center;"><br /></div><p></p>EDITOR: JEANNE-MARIE CILENTOhttp://www.blogger.com/profile/14670620493771232966noreply@blogger.comtag:blogger.com,1999:blog-4140782815588672922.post-42226923372667864072023-09-25T04:58:00.000-07:002023-09-27T04:59:52.319-07:00Paris Fashion Week: Highlights from the Pierre Cardin Spring Summer 2024 Collection by Elli Ioannou<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfIOHdL6pYeAe7XUyvVqhxidv-DIk8sRwVXZjgxeu4w-X2OvEyJLEkR-fuuByafcBtRZW2sYRU7RZWGqW2ytxtFdv0cUKNx-jEHHeL21dATM-8pZO6SrZZSg5Rk5ULMd5reRo6mLIz1VdQ1ymnEfcyuOOTAdMfpvk_p49ACe7izdLknGV6HH2zSPGMDeo/s1050/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20PARIS%20FASHION%20WEEK%20SS24%20%20010%C2%A9elli_ioannou_Pierre_Cardin%202.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1050" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfIOHdL6pYeAe7XUyvVqhxidv-DIk8sRwVXZjgxeu4w-X2OvEyJLEkR-fuuByafcBtRZW2sYRU7RZWGqW2ytxtFdv0cUKNx-jEHHeL21dATM-8pZO6SrZZSg5Rk5ULMd5reRo6mLIz1VdQ1ymnEfcyuOOTAdMfpvk_p49ACe7izdLknGV6HH2zSPGMDeo/s16000/DESIGN%20ART%20MODA%20MAGAZINE%20DAM%20PARIS%20FASHION%20WEEK%20SS24%20%20010%C2%A9elli_ioannou_Pierre_Cardin%202.jpg" /></a></div><br /><div class="separator" style="clear: both; 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