Striking a pose for the streetstyle photographers at Schiaparelli in Paris.Photograph by Andrea Heinsohn. Cover picture of American actor Bella Thorne by Elli Ioannou for DAM
We look back at more highlights of streetstyle captured by the DAM team at Paris Haute Couture Week Spring/Summer 2024. During those winter days, the fashion drama was not just confined to the storied salons and grand venues where design houses such as Schiaparelli, Chanel, Dior, and more recent couturiers like Rahl Mishra, unveiled their latest collections.
Outside, the streets of Paris were transformed into an impromptu runway, where fashion enthusiasts and celebrities showcased their personal style, creating a spectacle that rivaled the catwalks inside. Guests included Zendaya, Da'Vine Joy Randolph, Jennifer Lopez and Bella Thorne. Even Valentina Ferragni, the younger sister of Chiara was present in the French Capital, despite her elder sibling being embroiled in a maelstrom of controversy in Italy. Photographs by Elli Ioannou and Andrea Heinsohn
Scroll down to see more highlights from the Streetstyle at Paris Haute Couture Spring/Summer 2024
Bella Thorne holds her swashbuckling hat outside the Schiaparelli couture show. Paris Haute Couture Spring/Summer 2024.Photograph: EllI Ioannou
Zendaya wearing a custom Schiaparelli gown designed by Daniel Roseberry at the show. Paris Haute Couture Spring/Summer 2024. Photograph: EllI Ioannou
Jennifer Lopez is mobbed by crowds as she attends the Schiaparelli show wearing a petal encrusted look in all white with Daniel Roseberry's Surrealist glasses. Paris Haute Couture Spring/Summer 2024. Photograph; Elli Ioannou
Schiaparelli from head-to-toe outside the show. Paris Haute Couture Spring/Summer 2024. Photograph: Elli Ioannou
Like a brilliant bird of paradise, wearing Rahul Mishra outside the show in the 9th arrondissment. Paris Haute Couture Spring/Summer 2024. Photograph: Andrea Heinsohn
American actor Hunter Schafer is photographed before she attends the Schiaparelli show. aris Haute Couture Spring/Summer 2024. Photograph: Andrea Heinsohn
The scrum of photographers jostle for a good spot to capture the arriving guests at the Schiaparelli show. Paris Haute Couture Spring/Summer 2024. Photograph: Andrea Heinsohn
Natalia Vodianova in a cream ensemble and accessories by Schiaparelli before the show. Paris Haute Couture Spring/Summer 2024. Photograph: Elli Ioannou
Black, white, silver and gold at Paris Haute Couture Spring/Summer 2024. Photograph: Andrea Heinsohn
Antoine Arnault and Natalia Vodianova on the way to the Dior show. Paris Haute Couture Spring/Summer 2024. Photograph: Elli Ioannou
Arrivals for the Schiaparelli show. Paris Haute Couture Spring/Summer 2024. Photograph: Andrea Heinsohn
Barely wearing Schiaparelli at the show. Paris Haute Couture Spring/Summer 2024. Photograph: Elli Ioannou
Zendaya arriving at the Schiaparelli show. Paris Haute Couture Spring/Summer 2024. Photograph: Andrea Heinsohn
Cheeky! At the Schiaparelli show. Paris Haute Couture Spring/Summer 2024. Photograph: Elli Ioannou
Valentina Ferragni in cream Schiaparelli including jewellery and handbag. Paris Haute Couture Spring/Summer 2024. Photograph: Andrea Heinsohn
Photographers gather to shoot the most eye-catching arrivals at Schiaparelli. Paris Haute Couture Spring/Summer 2024. Photograph: Andrea Heinsohn
Mid-century chic at Schiaparelli. Paris Haute Couture Spring/Summer 2024. Photograph: Elli Ioannou
A splash of tomato red Schiaparelli suiting amid a sea of black and white. Paris Haute Couture Spring/Summer 2024. Photograph: Andrea Heinsohn
Chains, skirts, trousers, jacket, colourful clutch, ready for Chanel. Paris Haute Couture Spring/Summer 2024. Photograph: Elli Ioannou
Caroline Daur in Schiaparelli before the show. Paris Haute Couture Spring/Summer 2024. Photograph: Elli Ioannou
A burgundy overcoat brightens all black photography pack at Schiaparelli. Paris Haute Couture Spring/Summer. Photograph: Andrea Heinsohn
Quirky, individual style strikes an appealing note amid some of the overstyled 'slebs. Paris Haute Couture Spring/Summer 2024. Photograph: Elli Ioannou
In the streets of the 9th arrondissment before the Rahul Mishra show. Paris Haute Couture Spring/Summer 2024. Photograph: Andrea Heinsohn
A panoply of Chanel pieces outside the show. Paris Haute Couture Spring/Summer 2024. Photograph: Elli Ioannou
Leonie Hanne on the way to Schiaparelli. Paris Haute Couture Spring/Summer 2024. Photograph: Andrea Heinsohn
Bare legs in a Paris winter? Marianne ? in the street outside the Rahul Mishra show wearing the Indian designer's sequined creation. Paris Haute Couture Spring/Summer 2024. Photograph: Andrea Heinsohn
Stylish in Daniel Roseberry's creations for Schiaparelli. Paris Haute Couture Spring/Summer 2024. Photograph: Elli Ioannou
Scintillating red drapery and gold accoutrements at Schiaparelli. Paris Haute Couture Spring/Summer 2024. Photograph: Elli Ioannou
Another freezing summer dress in the midst of a Paris winter. At the Schiaparelli show. Paris Haute Couture Spring/Summer 2024. Photograph: Andrea Heinsohn
Jordan Roth with his signature exuberant style at Schiaparelli. Paris Haute Couture Spring/Summer 2024. Photograph: Elli Ioannou
Looking warm and cosy before the Rahul Mishra show. Paris Haute Couture Spring/Summer 2024. Photograph: Andrea Heinsohn
Susie Lau aka Susie Bubble at Paris Haute Couture Spring/Summer 2024. Photograph: Elli Ioannou
A dramatic reveal at Schiaparelli. Paris Haute Couture Spring/Summer 2024. Photograph: Andrea Heinsohn
A young adopter of Chanel outside the show. Paris Haute Couture Spring/Summer 2024. Photograph: Elli Ioannou
Comfort and style at Chanel. Paris Haute Couture Spring/Summer 2024. Photograph: Andrea Heinsohn
Chanel devotees outside the show. Paris Haute Couture Spring/Summer 2024. Photograph: Andrea Heinsohn
Sleek streetstyle on the way to Schiaparelli. Paris Haute Couture Spring/Summer 2024. Photograph: Elli Ioannou
Carla Bruni arrives at Schiaparelli. Paris Haute Couture Spring/Summer 2024. Photograph: Andrea Heinsohn
A cute Chanel clutch stands out against at vibrant tweed. Paris Haute Couture Spring/Summer 2024. Photograph: Elli Ioannou
A statement coat on the way to Schiaparelli. Paris Haute Couture Spring/Summer 2024. Photograph: Andrea Heinsohn
Black velvet and ready for a streetstyle close up at Schiaparelli. Paris Haute Couture Spring/Summer 2024. Photograph: Elli Ioannou
Anna Dello Russo on the way in the rain to Chanel. Paris Haute Couture Spring/Summer 2024. Photograph: Andrea Heinsohn
A flash of Elsa Schiaparelli's shocking pink at Daniel Roseberry's show. Paris Haute Couture Spring/Summer 2024. Photograph: Elli Ioannou
Looks like summer but it's a winter's day before the Rahul Mishra show. Paris Haute Couture Spring/Summer 2024. Photograph: Andrea Heinsohn
Chanel by name and Chanel by nature, outside the show. Paris Haute Couture Spring/Summer 2024. Photograph: Elli Ioannou
Parisian rain at Chanel, Paris Haute Couture Spring/Summer 2024. Photograph: Andrea Heinsohn
A trend that always look like a key piece of clothing is missing. Paris Haute Couture Spring/Summer. Photograph: Elli Ioannou
Black and white is the directional look this season. Paris Haute Couture Spring/Summer 2024. Photograph: Andrea Heinsohn
Sabrina Dhowre Elba at the Schiaparelli show. Paris Haute Couture Spring/Summer 2024. Photograph: Elli Ioannou
Chanel flair outside the show. Paris Haute Couture Spring/Summer 2024. Photograph: Andrea Heinsohn
A peaked cap, short jacket and jeans at Chanel. Paris Haute Couture Spring/Summer 2024. Photograph: Elli Ioannou
Elli at work at the Schiaparelli show. Paris Haute Couture Spring/Summer 2024. Photograph: Andrea Heinsohn
Engulfed by Schiaparelli black with the gilded measuring tape edge. Paris Haute Couture Spring/Summer 2024. Photograph: Elli Ioannou
Milliner extraordinaire Stephen Jones at the Schiaparelli show. Paris Haute Couture Spring/Summer 2024. Photograph: Andrea Heinsohn
Guests outside the Schiaparelli show. Paris Haute Couture Spring/Summer 2024. Photograph: Elli Ioannou
Before the Chanel show. Paris Haute Couture Spring/Summer 2024. Photograph: Andrea Heinsohn
Freezing winters day but summer dress at Dior, Paris Haute Couture Spring/Summer 2024. Photograph: Andrea Heinsohn
Dashes of blue captured in the street on the way to Schiaparelli. Paris Haute Couture Spring/Summer 2024. Photograph: Elli Ioannou
Houndstooth elegance at Dior. Paris Haute Couture Spring/Summer 2024. Photograph: Andrea Heinsohn
A tan and bare shoulders with a corseted creation at Schiaparelli. Paris Haute Couture Spring/Summer 2024. Photograph: Elli Ioannou
The intricate beadwork, a signature of Rahul Mishra. Paris Haute Couture Spring/Summer 2024. Photograph: Andrea Heinsohn
Hunter Schafer also braves the cold in a strapless Schiaparelli velvet dress. Paris Haute Couture Spring/Summer 2024. Photograph; Elli Ioannou
Marianne Fonseca in a sculptural, ruffled confection by Rahul Mishra. Paris Haute Couture Spring/Summer 2024. Photograph: Andrea Heinsohn
Iridescent Chanel before the show. Paris Haute Couture Spring/Summer 2024. Photograph: Elli Ioannou
Chic black cape outside the Rahul Mishra show. Paris Haute Couture Spring/Summer 2024. Photograph: Andrea Heinsohn
Fluid simplicity on the way to Dior. Paris Haute Couture Spring/Summer 2024. Photograph: Elli Ioannou
Sequined, silver tiger outside Rahul Mishra. Paris Haute Couture Spring/Summer 2024. Photograph: Andrea Heinsohn
On the steps of Schiaparelli in a full Daniel Roseberry look. Paris Haute Couture Spring/Summer 2024. Photograph: Elli Ioannou
Voluminous red coat looks dramatic on the way to Dior. Paris Haute Couture Spring/Summer 2024. Photograph: Andrea Heinsohn
Mixed, subtle patterns in shades of charcoal at Chanel. Paris Haute Couture Spring/Summer 2024. Photograph: Elli Ioannou
All black never looked so good, seen at Dior. Paris Haute Couture Spring/Summer 2024. Photograph: Andrea Heinsohn
Velvet coat and long boots going to Dior. Paris Haute Couture Spring/Summer 2024. Photograph: Elli Ioannou
Dior details, lace tights and tulle. Paris Haute Couture Spring/Summer 2024. Photograph: Andrea Heinsohn
On the steps of Schiaparelli. Paris Haute Couture Spring/Summer 2024. Photograph: Elli Ioannou
Gold embroidered ensemble and Chupa Chup at Rahul Mishra. Paris Haute Couture Spring/Summer 2024. Photograph: Andrea Heinsohn
Black transparency and boots.Paris Haute Couture Spring/Summer 2024. Photograph: Elli Ioannou
Bare shoulders and a faux fur hat outside Rahul Mishra. Paris Haute Couture Spring/Summer 2024. Photograph: Andrea Heinsohn
Blue velvet and gold shoes at Schiaparelli. Paris Haute Couture Spring/Summer 2024. Photograph: Elli Ioannou
Anna Dello Russo in a Daniel Roseberry long coat at Schiaparelli. Paris Haute Couture Spring/Summer 2024. Photograph: Elli Ioannou
Da'Vine Joy Randolph arrives at Schiaparelli. Paris Haute Couture Spring/Summer 2024. Photograph: Andrea Heinsohn
Hand-embroidered ensemble by Rahul Mishra. Paris Haute Couture Spring/Summer 2024. Photograph: Andrea Heinsohn
Simple and stylish at Schiaparelli. Paris Haute Couture Spring/Summer 2024. Photograph: Andrea Heinsohn
The Surrealist face that relaucnhed Schiaparelli, on the way to the show. Paris Haute Couture Spring/Summer 2024. Photograph: Andrea Heinsohn
By Joanna Mendelssohn, The University of Melbourne
In awarding this year’s Archibald Prize to Laura Jones’ portrait of the writer Tim Winton, the Trustees of the Art Gallery of New South Wales are doing what they do best: catapulting a relatively unknown artist to instant fame and possible fortune.
Her portrait of Winton is a study of a man in emotional pain, as he contemplates the possible futures of the world around him.
One of the great disadvantages of being a writer or an artist is that they can see what politicians do not: the long-term consequences of abusing the environment. Both Winton the subject and Jones the artist see our planet is on a path to environmental doom.
Jones met Winton when she was undertaking a residency to study the bleaching of the Great Barrier Reef, so it is appropriate the tones she has chosen as the background to his portrait are dull and muted like a degraded world.
Most of the painting is thinly painted with the exception of his face. This gives the portrait an extra impact.
Although Laura Jones has been a finalist in four previous Archibald Prize exhibitions and has exhibited widely, her profile indicates the only significant collection to hold her work is Artbank, the collection of the Australian government.
In what may be a coincidence, another exhibition on the same floor is a solo exhibition by a previous Archibald winner, Wendy Sharpe, whose painterly approach is similar to Jones.
Sharpe’s work not only relates to Jones’ painting in style, but also the circumstance of her winning the prize. In 1996, Sharpe was a relatively unknown artist when she too was awarded the Archibald Prize. The prize was the trigger for a career that has included a stint of being a Gallery Trustee.
The Archibald really does sprinkle fairy dust.
Djakaŋu Yunupiŋu wins the Wynne Prize
When the board president of the trustees, David Gonski, announced the Wynne Prize he took great joy in noting this year the majority of the entrants selected for hanging were Aboriginal artists.
Awarded to “the best landscape painting of Australian scenery in oils or watercolours or for the best example of figure sculpture by Australian artists”, this oldest of all Australian art prizes has come a long way from when it was dominated by paintings of gum trees in pastoral landscapes.
Djakaŋu Yunupiŋu’s painting, Nyalala gurmilili, is a celebration of sunrise in Miḏawarr (the harvest season following the wet) when sudden showers surprise during the day.
It is probably the largest bark painting to be exhibited in the gallery, a glorious undulating pattern of rhythms and shapes.
There is a special significance in this artist being awarded the prize for this work at this gallery.
Many years ago her father, Muŋgurrawuy Yunupiŋu, was one of a group of Yolngu elders who sat with the gallery’s assistant director, Tony Tuckson, and showed him the connection between painting and lore. Muŋgurrawuy Yunupiŋu’s bark paintings are among the treasures of the Art Gallery of NSW’s collection.
Naomi Kantjuriny wins the Sulman Prize
Unlike the Archibald and Wynne Prizes, which are judged by the trustees, the Sulman Prize for best subject painting, genre painting or mural project has a single judge, usually an artist.
This means every year the exhibition has a different flavour, reflecting the judge’s taste. This year’s judge, Tom Polo, selected an exhibition ranging from the traditional formalism of David Eastwood to the conceptual humour of Kenny Pittock.
He has awarded the prize to Naomi Kantjuriny for her painting Minyma mamu tjuta, from the Tjala Arts Centre. She has described her painting as being about the stories told and her culture.
It is a lively painting of spirits, good and bad, dancing in the land, gathering around people, always present.
The Archibald, Wynne and Sulman Prizes 2024 are on display at the Art Gallery of New South Wales, Sydney, until September 8.
Joanna Mendelssohn, Honorary (Senior Fellow) School of Culture and Communication University of Melbourne. Editor in Chief, Design and Art of Australia Online, The University of Melbourne
This article is republished from The Conversation under a Creative Commons license.
By Joanna Mendelssohn, The University of Melbourne
Wayne Tunnicliffe, head of Australian art at the Art Gallery of NSW, has a sense of humour. The main entrance to this year’s Archibald, Wynne and Sulman Prize exhibition features a giant black and white photograph of a student demonstration from 1953. At the time the gallery trustees, who are named in Archibald’s will as the judges of the prize, were actively hostile to any idea of modern art. Their taste was so predicable that the gallery’s director, Hal Missingham, would write the telegram congratulating the winner before the voting.
By the 1970s, when I was working at the gallery, trustees were less likely to vote for their mates. But there was a deep cultural disconnect between the aesthetic taste of the gallery’s professional curators, the arts community and the media, who lived in hope of a controversy such as the 1944 William Dobell court case.
The task of turning the trustees’ choice into an interesting exhibition was best described as “a challenge”.
In recent years, the gallery’s board has learned to have more faith in the two artist trustees, and winners have tended to reflect their interests. It is therefore appropriate to thank both Tony Albert and Caroline Rothwell, who also judged last year’s prize, for this year’s very lively exhibition. The awarding of the prize to Julia Gutman’s embroidered and painted collage last year appears to have unleashed an especially lively range of entries this year.
In addition, the Packing Room prize is now judged by a trio of the gallery’s expert installation crew, all of whom know more about art than just what they like. This year’s prize winner, Matt Adnate, began as a street artist spraying graffiti. He is now better known for his murals, including some of the popular Yolngu rapper Baker Boy – the subject of his winning painting.
The biggest change is that the exhibition has been hung by the Head of Australian Art, an indication the gallery now takes the Archibald very seriously indeed. Only a very brave person would predict this year’s winner of the Archibald Prize.
Whether or not they are likely to win, there are quite a few works that deserve a closer look. Some because they are wittily original, others because of the political message they carry, or because their subject is especially newsworthy. Then there are paintings that simply bring joy.
There is a special pleasure in looking at Emily Crockford’s Singing with my selfie at the top of the world with my imagination, remembering her previous exhibits and seeing how her art has developed. That is also true of Digby Webster, another returned exhibitor who has painted his filmmaker, Trevor. Meagan Pelham, who like Crockford works through Studio A, has called her portrait of the National Portrait Gallery’s curator, Isobel Parker Philip, Highlight in the moonlight.
Drew Bickford’s gloriously lurid Direct-to-Video portrait of filmmaking duo Soda Jerk is at first a puzzle as the two sisters have been melded into one, but he has captured both their ambiguity and their glorious sense of anarchy as they happily make “directors’ cuts” of iconic cinema.
Camellia Morris’s Wild Wild Wiggle is just fun, while Thom Roberts’ Big Bamm-Bamm is a reminder of a time when anything relating to Ken Done (the sitter) would automatically be rejected.
Several entries in this year’s prize, while not being of politicians, can be described as political, as their subjects are the change-makers who prick our conscience. Chief among these is Shaun Gladwell’s A spangled symbolist portrait of Julian Assange floating in reflection (pictured at the top of this article). Assange’s eyes look out from a balloon of his head, gagged by a US flag. An image of the Queen is stamped on one cheek, based on the banknote Gladwell used to sketch Assange during his time in Belmarsh Prison, while below his head is suspended in profile.
It hangs next to Anna Mould’s Complicit, ostensibly a portrait of Joan Ross, but as with Ross’s own work, this is a critique of colonisation. More conventional portraits of newsmakers include Sam Leach’s sensitive portrait of Louise Milligan and Kirsty Nielson’s angst-ridden portrait of Cheng Lei.
Julia Gutman did not exhibit in this year’s Archibald. Instead she has entered the Wynne with Olive, a suspended sculpture of textiles and wire, showing Olive the dog comforting a grieving friend.
Also in the Wynne Prize, the creative duo of Clair Healy and Sean Cordero use flashing lights on their Grey Nomadic Visions. The traditional divisions between different forms of media continue to be dissolved, with Billy Bain’s The fighters incorporating a flag, sewn by his mother.
Juanita McLauchlan’s mudhay burrugarrbuu- bula / Possum Magpie also dissolves the barriers between printing, embroidery and collage to evoke a sense of place. More conventionally, Jenna Mayilema Lee has woven a xanthorrhoea in Grass tree (at rest). But the weaving includes pages from an old dictionary of Aboriginal words.
The dominance of Indigenous artists in this year’s Wynne Prize is a reminder of how John Olsen, who as an art student vocally objected to the trustees’ conservatism, later became a trustee. In his extreme old age he complained to various news media outlets that Aboriginal artists were not painting landscapes. He was, of course, wrong.
Joanna Mendelssohn, Honorary (Senior Fellow) School of Culture and Communication University of Melbourne. Editor in Chief, Design and Art of Australia Online, The University of Melbourne
