Monday 7 August 2023

Travel: The Strange History of Ice Cream Flavours – from Brown Bread to Parmesan and Paté

Noblewomen eating ice-cream in a French caricature, (1801). Gallica


By Lindsay Middleton, University of Glasgow

English Heritage is now selling what it calls “the best thing since sliced bread” at 13 of its sites ~  brown bread ice cream, inspired by a Georgian recipe. The announcement of the flavour mentions several more outlandish Georgian flavours trialled by English Heritage before it landed on brown bread, such as Parmesan and cucumber.

English Heritage is not alone in its efforts to beguile visitors with historical treats. In Edinburgh, the National Trust for Scotland’s Gladstone’s Land features an ice cream parlour linked to the dairy which stood there in 1904. The property sells elderflower and lemon curd ice cream based on a recipe from 1770, and visitors can go on several food-themed tours.

While brown bread ice cream, praised for its caramel nuttiness, may be a more familiar flavour to contemporary eaters than other historical offerings, the iced delights eaten in Britain in previous centuries took a huge variety of flavours and forms.

Agnes Marshall, the authority on ice cream during the late 19th century, published two cookbooks specifically about “ices” (1885) and “fancy ices” (1894). They included flavours from an elaborately moulded and coloured iced spinach à la crème, to little devilled ices in cups.

Illustrations of ice cream in the shape of pineapples and doves.
Some of the different ice cream designs made by Agnes B. Marshall. Dominic Winter Auctioneers

The latter consisted of a chicken pâté spiked with curry powder and Worcestershire sauce, egg yolks and anchovies, which was then mixed with gravy, gelatine and whipped cream, before being frozen in decorative cups and served “for a luncheon or second-course dish”.

Earlier texts contain even more outlandish flavours alongside the typical, sweet offerings.

French foodie Monsieur Emy’s L’Art de Bien Faire les Glaces d’Office (1768) has recipes for truffle, saffron and various cheese-flavoured ice creams.

The history of ice cream

By the time Marshall was publishing, ice cream was far more accessible to the public than in earlier centuries. Prior to the 1800s, ice was collected from frozen waterways and stored in underground ice houses, largely restricted to large estates with the necessary land, wealth and resources.

From the 1820s, however, ice was imported to Britain from Europe and then the US and stored in ice wells and warehouses. The importation of larger stocks of ice reduced costs, while simultaneously, innovators were designing apparatus for mechanical freezing.

A black and white advert for. round turn handle ice cream maker.
An advertisement for Marshall’s patent freezer from 1885. Robin Weir

It would be a long time until ice was easily produced within the home, but cheaper ice made ice cream more readily available and implements were devised so it could be made at home. Both Emy and Marshall’s cookbooks depicting ice cream makers and Marshall’s patent freezer enlisted the same freezing technique as Emy’s Sarbotiere et son Seau (pot freezer and bucket).

Ice and salt were placed around a bucket, within which a custard or water mixture was stirred or rotated until it froze. Marshall’s innovation was the shallow pan, which gave an increased surface area for faster freezing. Equipped with such a freezer (and perhaps Marshall’s patent Ice Cave, for storing the ices), middle-class housewives could produce ice cream in their own kitchens.

Ice cream and leisure

Ice cream is well suited for engaging visitors at heritage properties today, not because of the history of how it was produced within the home but because of its holiday connotations. Whether it is a “99”, an “oyster” enjoyed at the beach, or the nearing jingle of an ice cream truck, ice cream has clear cultural and emotional links to recreation and enjoyment. This was also true in the past.

In 19th century Britain, street vendors (many of them Italian immigrants) began selling penny licks, or “hokey-pokey” from stalls or carts in the streets. In contrast to the immaculately-moulded delicacies in Marshall’s cookbook – which required the purchase of several pieces of equipment – this ice cream was to be enjoyed while out and about. It was also cheap, as implied by “penny” in the title.

Customers would purchase their ice upon a glass “lick”, eat it and then return the lick to the vendor for reuse. With growing numbers of seaside resorts and the rise of the leisure industry over the 19th century, ices were enjoyed while on holiday or daily excursions and at public events like exhibitions or fairs.

Colourful postcard showing colourised picture of children surrounding an ice cream man.
Children surround an ice cream vendor in 1909. Wiki Commons

It is the portability of ice cream, as well as its culinary appeal, that has led to its lasting place in our leisure time – a delicious treat that can be enjoyed, one-handed, as part of a larger experience. The act of eating ice cream prepared from a Georgian or Victorian recipe therefore connects today’s visitors to a long tradition of enjoying ices recreationally.

While heritage properties are unlikely to embrace the more unsanitary ways ice cream used to be eaten, serving up historical recipes gives visitors a chance to savour a new sensory layer of the past. That taste can be linked into larger histories. From ice cream, we can learn about technological developments, changing attitudes towards sanitation, global travel, the availability of ingredients throughout time, trends, fashion and leisure habits.

Delving into the history of food – from the tins in our cupboards, to a cup of tea, or an ice cream at the beach – can bring new perspective to both the past and the present.

Lindsay Middleton, Food Historian and Knowledge Exchange Associate, University of Glasgow

This article is republished from The Conversation under a Creative Commons license. 

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Monday 31 July 2023

Fashion Feature: Rahul Mishra Champions Indian Artisans and Traditional Crafts

A soigne haute couture gown with remarkable hand-emboidery was a standout at Rahul Mishra's Autumn/Winter 2023-24 show in Paris. Main picture (above) and cover by Anna Nguyen 

Rahul Mishra cultivates the skills of local communities by employing artisans across rural India. By reimagining luxury from the perspective of his craftspeople, the designer's work is making a difference in the way couture fashion is produced. Determined to elevate Indian crafts and those who make them, he aims to create a harmonious blend of fashion, art, and social responsibility. Reporting by Antonio Visconti. Story by Jeanne-Marie Cilento. Photographs by Elli Ioannou, Andrea Heinsohn and Anna Nguyen

Rahul Mishra takes his bow at his Paris show
with an artisan working on the runway. 
Photograph: Anna Nguyen
Unveiling his latest haute couture collection in the prodigious courtyard of the Monnaie de Paris, Rahul Mishra dedicated his new work to the unsung heroes of the fashion world. 

The collection, called We, The Peoplecelebrated the exceptional craftsmanship of the artisans and embroiderers who breathe life into his designs, transforming imagination into reality on exquisite fabrics like silk, chiffon, and tulle.

The neo-classical, 18th century Paris Mint with its immense inner concourse hosted two master artisans engrossed in their craft, embroidering intricate landscapes of tigers and flowers, swans and rivers. Their dedication and artistry bringing to life Mishra's designs, inspired by the rich natural beauty of India.

The artisans are part of Mishra's community of craftspeople that he has developed in India, and it is why he dedicated the show to them. His eponymous label is not just about creating striking designs but giving local craft communities skills and work. Mishra is looking at luxury through the lens of his employee's participation rather than only at the end consumption. 

This season, Rahul Mishra celebrated the exceptional craftsmanship of the artisans and embroiderers who breathe life into his designs

Brilliant hues and hand-embroidered
blooms and leaves are signatures of
Rahul Mishra's work. 
Photograph: Anna Nguyen
The essence of Mishra's brand lies in the way it is made with much created by hand-weaving and hand-embroidery. These traditional Indian crafts not only result in unique pieces but also provide sustainable livelihoods for more than a thousand artisans in different parts of India. 

It is through their collective efforts that Mishra's vision takes shape. His commitment to employing rural Indian craftspeople fosters reverse migration, drawing skilled workers back to their roots to preserve and revitalize traditional crafts. 

The expertise exemplified in the new collection, presented at Paris Haute Couture Week, evokes the flamboyance and intricacy that Rahul Mishra's work is known for. 

He says those with more elongated silhouettes were inspired by the Art Nouveau drawings of the Paris-based, Russian artist Erté. In contrast to these more minimal designs were the voluminous creations embellished with petals, bows, and girandoles. 

The designer's commitment to slow fashion is evident in the elaborate hand-made details that adorn each garment, sometimes taking thousands of hours to create.

Amid the bold palette of tropical colours, Mishra's use of black and white created a contrast throughout the collection. The impeccable handiwork, shimmering sequins, and exuberant decorations illustrate the designer's sense of joy and passion for fashion. 

By employing rural Indian craftspeople, the designer fosters reverse migration, drawing skilled workers back to their roots to preserve and revitalize traditional crafts

One of the designer's artisans
at work on his embroidery 
during the haute couture
show in Paris. 
Photograph: Elli Ioannou
Rahul Mishra explains his design philosophy is based around "environment, employment, and empowerment." By embracing slow fashion and sustainable practices, Mishra strives to create a positive impact on both the planet's ecosystem and the lives of artisans. His belief in fashion's power to change lives is evident in his commitment to the community that brings his designs to fruition. 

While his work has garnered acclaim globally, Mishra's own roots remain deeply connected to his simple upbringing in Malhausi, Uttar Pradesh. His journey to success has not been without challenges. 

Yet despite growing up in this small village with limited resources, he discovered his talent for design. But it was his determination to create meaningful change and employ people in rural India which shaped his unique approach to fashion.

Beyond his opulent couture creations, Mishra has also expanded into designing wedding wear which has been a great success after much experimentation with unusual colors rather than just the traditional red. The wedding aspect of his business has been pivotal in sustaining employment for the 1,200 embroiderers working with Mishra. 

By embracing slow fashion and sustainable practices, Mishra strives to create a positive impact on both the environment and the lives of artisans

An intricate design using sequins is created
by Mishra's Indian artisans, sitting on the edge
of the runaway in the vast Monnaie de Paris 
courtyard. Photograph; Anna Nguyen
The demand for his wedding designs is driven by people looking for something distinctive. Mishra still draws inspiration from ancient Indian sources, but his signature use of calico is entirely different to traditional bridal wear. 

This socially conscious approach to fashion proves that even the most lavish events, like weddings, can be a force for good, creating employment opportunities for these talented artisans. It has not only boosted his company but kept many of these embroiderers working. 

The brand's "mindful luxury" ethos is based on creating meaningful employment. Although he dresses celebrities such as Gigi Hadid, Priyanka Chopra and Zendaya, Rahul Mishra remains connected to his Indian roots and committed to making a positive improvements to his employee's lives.

In a fast fashion world often characterized by rapid trends and mass production, the designer stands out for this more sustainable approach. Rahul Mishra made history as the first Indian designer to showcase at the prestigious Paris Haute Couture Week, a feat that not only brought recognition to his label but also shed light on the traditions of Indian crafts he is promoting and supporting.

Although he dresses celebrities such as Gigi Hadid and Zendaya, Mishra remains connected to his Indian roots and committed to positive change in his community

The exquisitely embroidered wedding gown finale
closed the haute couture show in Paris.
Photograph: Andrea Heinsohn 
Rahul Mishra's has made his vision of working with Indian craft communities and embracing sustainable practices viable.

By slowing down the production process and dedicating hours to handcrafting each piece, Mishra fosters deeper worker participation and ultimately creates enchanting pieces that resonate with people. 

As he continues to showcase the beauty of Indian crafts on the global stage, Mishra demonstrates the value of using the power of fashion as a tool for both social change and environmental conservation. 

Highlights from Rahul Mishra's Autumn/Winter 2023-24 Haute Couture Collection in Paris
Rahul Mishra Haute Couture Collection Autumn/Winter 2023-24, Monnaie de Paris. Photograph: Anna Nguyen



Rahul Mishra Haute Couture Collection Autumn/Winter 2023-24, Monnaie de Paris. Photograph: Anna Nguyen
Rahul Mishra Haute Couture Collection Autumn/Winter 2023-24, Monnaie de Paris. Photograph: Elli Ioannou

Rahul Mishra Haute Couture Collection Autumn/Winter 2023-24, Monnaie de Paris. Photograph: Andrea Heinsohn

Rahul Mishra Haute Couture Collection Autumn/Winter 2023-24, Monnaie de Paris. Photograph: Elli Ioannou
Rahul Mishra Haute Couture Collection Autumn/Winter 2023-24, Monnaie de Paris. Photograph: Anna Nguyen

Rahul Mishra Haute Couture Collection Autumn/Winter 2023-24, Monnaie de Paris. Photograph: Anna Nguyen

Rahul Mishra Haute Couture Collection Autumn/Winter 2023-24, Monnaie de Paris. Photograph: Elli Ioannou
Rahul Mishra Haute Couture Collection Autumn/Winter 2023-24, Monnaie de Paris. Photograph: Anna Nguyen

Rahul Mishra Haute Couture Collection Autumn/Winter 2023-24, Monnaie de Paris. Photograph: Elli Ioannou


Rahul Mishra Haute Couture Collection Autumn/Winter 2023-24, Monnaie de Paris. Photograph: Anna Nguyen

Rahul Mishra Haute Couture Collection Autumn/Winter 2023-24, Monnaie de Paris. Photograph: Anna Nguyen

Rahul Mishra Haute Couture Collection Autumn/Winter 2023-24, Monnaie de Paris. Photograph: Andrea Heinsohn 

Rahul Mishra Haute Couture Collection Autumn/Winter 2023-24, Monnaie de Paris. Photograph: Anna Nguyen

Rahul Mishra Haute Couture Collection Autumn/Winter 2023-24, Monnaie de Paris. Photograph: Anna Nguyen

Rahul Mishra Haute Couture Collection Autumn/Winter 2023-24, Monnaie de Paris. Photograph: Andrea Heinsohn 

Rahul Mishra Haute Couture Collection Autumn/Winter 2023-24, Monnaie de Paris. Photograph: Andrea Heinsohn

Rahul Mishra Haute Couture Collection Autumn/Winter 2023-24, Monnaie de Paris. Photograph: Anna Nguyen 

Rahul Mishra Haute Couture Collection Autumn/Winter 2023-24, Monnaie de Paris. Photograph: Anna Nguyen

Rahul Mishra Haute Couture Collection Autumn/Winter 2023-24, Monnaie de Paris. Photograph: Andrea Heinsohn

Rahul Mishra Haute Couture Collection Autumn/Winter 2023-24, Monnaie de Paris. Photograph: Andrea Heinsohn

Rahul Mishra Haute Couture Collection Autumn/Winter 2023-24, Monnaie de Paris. Photograph: Anna Nguyen

Rahul Mishra Haute Couture Collection Autumn/Winter 2023-24, Monnaie de Paris. Photograph; Anna Nguyen

Rahul Mishra Haute Couture Collection Autumn/Winter 2023-24, Monnaie de Paris. Photograph: Anna Nguyen

Rahul Mishra Haute Couture Collection Autumn/Winter 2023-24, Monnaie de Paris. Photograph: Anna Nguyen

Rahul Mishra Haute Couture Collection Autumn/Winter 2023-24, Monnaie de Paris. Photograph: Anna Nguyen

Rahul Mishra Haute Couture Collection Autumn/Winter 2023-24, Monnaie de Paris. Photograph: Anna Nguyen

Rahul Mishra Haute Couture Collection Autumn/Winter 2023-24, Monnaie de Paris. Photograph: Elli Ioannou

Rahul Mishra Haute Couture Collection Autumn/Winter 2023-24, Monnaie de Paris. Photograph: Elli Ioannou

Rahul Mishra Haute Couture Collection Autumn/Winter 2023-24, Monnaie de Paris. Photograph: Elli Ioannou

Rahul Mishra Haute Couture Collection Autumn/Winter 2023-24, Monnaie de Paris. Photograph: Elli Ioannou

Rahul Mishra Haute Couture Collection Autumn/Winter 2023-24, Monnaie de Paris. Photograph: Andrea Heinsohn

Rahul Mishra Haute Couture Collection Autumn/Winter 2023-24, Monnaie de Paris. Photograph; Andrea Heinsohn 

Rahul Mishra Haute Couture Collection Autumn/Winter 2023-24, Monnaie de Paris. Photograph: Andrea Heinsohn

Rahul Mishra Haute Couture Collection Autumn/Winter 2023-24, Monnaie de Paris. Photograph: Anna Nguyen

Rahul Mishra Haute Couture Collection Autumn/Winter 2023-24, Monnaie de Paris. Photograph: Anna Nguyen


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Monday 24 July 2023

Frida & Diego: Love & Revolution is Insightful and Beautiful; a Reminder of how Anglo-American our Conception of Modern Art is

Nicolas Muray, Frida Kahlo, Bench #5, 1938. New York, USA. carbon print, 45.5 x 36cm; Jacques and Natasha Gelman Collection of Mexican 20th Century Art and Vergel Foundation. Copyright: Nicolas Muray Archive. Cover picture of Natasha Gelman by Diego Rivera, 1943. 


By Catherine Speck, University of Adelaide 

Frida Kahlo devotees, this is your show. There are her paintings aplenty, photographs of her by Imogen Cunningham through to Edward Weston, and film imagery of Kahlo and Rivera as the happy couple.

But there’s much more to this exhibition at the Art Gallery of South Australia than a Frida Kahlo love-in. The context for the exhibition, aptly titled Frida & Diego: Love & Revolution, is set in its first gallery.

There, decked out in the colours of the Mexican flag, snippets of historic film footage are on view. They set the scene for Mexico rooted in its colonial Spanish-European past, its 1910 revolution and transition to a democracy.

Unknown Artist, Frida and Diego with Fulang Chang, 1937, gelatin-silver photograph, 12.7 x 10.16 cm; Throckmorton Fine Art, New York.

The newly formed Republic of Mexico ushered in a raft of reforms in the 1920s conducive to cultural growth and valuing its indigenous cultures.

This is the backdrop to a high point in Mexican avant-garde art by Diego Rivera, Frida Kahlo and a host of other modern artists in this exhibition.

‘Mexicanidad’

Each gallery is a dramatic set for paintings, photographs, murals and moving images.

Architects Grieve Gillett have employed wall colour and shape to craft viewing spaces that induce a dramatic engagement with the paintings, such as Rivera’s hyper-real anthropomorphic Landscape with cacti (1931).

Installation view: Frida & Diego: Love & Revolution, Art Gallery of South Australia, Adelaide; photo: Saul Steed.

His paintings compete favourably with Kahlo’s. His scenes of the everyday include Calla Lily vendor (1943), showing two traditionally dressed young girls nursing their gigantic basket of lilies.

Diego Rivera, born Guanajuanto City, Mexico 1886, died Mexico City 1957, Calla lily vendor, 1943, Mexico City, oil on board, 150.0 x 120.0 cm; The Jacques and Natasha Gelman Collection of 20th Century Mexican Art and the Vergel Foundation.

It is emblematic of the shift away from academic subject matter to traditional Mexican art and folk culture which creates a new sense of national identity and pride – known as “Mexicanidad”.

The cultural vibrancy of post-revolution Mexico fostered the production of modern art by artists including Guatemalan/Mexican Carlos Merida.

Carlos Merida born Guatemala City 2/12/1891 died Mexico City 21/12/1985 Variation on an old theme 1960, Mexico City oil on canvas 89.0 x 65.5 cm Private collection L/FK/1-30.

Merida’s vibrant black and bronze abstract shapes dance across the canvas in Variation on an old theme (1960).

Another is Rufino Tamayo, whose inversion of volume and playful approach to representing depth frame his oversized subject in The Diner (1938).

Rufino Tamayo born Oaxaca, Mexico 25/8/1899 died Mexico City 24/6/1991 The diner 1938, New York, New York, United States of America oil on canvas 60.3 x 45.1 cm Private collection L/FK/1-150.

These are just two of a host of fabulous modern artists on view whose work is not sufficiently known outside Mexico: a reminder of how Anglo-American our conception of modern art is.

Enigmatic self-portraits

Kahlo was an extraordinary woman. Her enigmatic self-portraits such as Self-portrait with monkeys (1943) have an undeniable ability to draw in the viewer, her introspection transferring itself to her audience.

Frida Kahlo, born Mexico City 1907, died Mexico City 1954, Self-portrait with monkeys, 1943, Coyoacan, Mexico, oil on canvas, 81.5 x 63 cm; The Jacques and Natasha Gelman Collection of 20th Century Mexican Art and the Vergel Foundation.

She suffered polio as a child. She then had her sights set on a career in medicine when it was thwarted by a shocking bus accident, followed by long periods of rehabilitation.

As a consequence, she took to art.

This well-known story tends to frame her as an artist, and may well explain why her stunning self-portraits – always of her upper torso – convey a singular strength and determination as in Self-portrait with red and gold dress (1941).

Frida Kahlo, born Mexico City 1907, died Mexico City 1954, Self-portrait with red and gold dress, 1941, Coyoacan, Mexico, oil on canvas, 39.0 x 27.5 cm; The Jacques and Natasha Gelman Collection of 20th Century Mexican Art and the Vergel Foundation.

She presents herself as exotic, wearing the indigenous Tehuana dress of her ancestors as both a personal and political statement, while the long skirts disguise her misshapen polio-affected legs.

Her paintings transcend her disability, so while the re-creation of her four-poster bed and bedroom within the exhibition is a homage to her determination, it is unnecessary.

The point about her disability could have been made more gently by the photographs in the space.

Juan Guzman, born Cologne, Germany 1911, died Mexico City 1982, Frida at ABC Hospital holding a mirror, Mexico, 1950, Mexico City, gelatin-silver photograph, 24.1 x 19.0 cm; Throckmorton Fine Art, New York.

Artistic vision

The exhibition is testament to the vision of two emigres, Jacques Gelman and Natasha Zahalka who settled in Mexico City.

Gelman came from Russia via Germany and France; Zahalka from Czechoslovakia via Singapore. They met and married, and from the 1940s began collecting and commissioning work from this exciting period in Mexican art.

It is their collection on view, supplanted by some photographic loan work.

Diego Rivera, born Guanajuato City, Mexico 1886, died Mexico City 1957, Portrait of Natasha Gelman, 1943, Mexico City, oil on canvas, 115.0 x 153.0 cm; The Jacques and Natasha Gelman Collection of 20th Century Mexican Art and the Vergel Foundation.

The Gelmans come to life in the exhibition: both Kahlo and Rivera completed portraits of Natasha.

But more interesting is Gunther Gerzso’s Portrait of Jacques Gelman (1957).

This shows a diminutive patron embedded in an abstract field of shape and colour, testament to his love of the avant-garde.

Gunther Gerzso born Mexico City 17/6/1915 died Mexico City 21/4/2000 Portrait of Jacques Gelman 1957, Mexico City oil on canvas 72.0 x 60.0 cm The Jacques and Natasha Gelman Collection of 20th Century Mexican Art and the Vergel Foundation L/FK/1-161.

An insightful exhibition

Between 1923 and 1939, the Mexican government employed artists to paint murals to foster a sense of national identity.

Two of Rivera’s murals valorising the working class are photographically reproduced across large wall spans to convey the intensity and power of his imagery.

There is a delightfully intriguing side to this exhibition in Japanese artist Yasumasa Morimura’s video Dialogue with myself (2001).

He is well known for appropriating the persona of key artists from art history such as Van Gogh, Vermeer and Manet or their signature artworks.

Here, he performs as Kahlo, dressed in her distinctive clothing, while playing the piano and conversing with her.

Perhaps, in these conversations, he is drawing out the inner self Kahlo so perfectly controls in her portraits.

Installation view: Frida & Diego: Love & Revolution, Art Gallery of South Australia, Adelaide; photo: Saul Steed.

This is an insightful exhibition, beautifully curated by Tansy Curtin who weaves around the drawcards Kahlo and Rivera to present the breadth of modern Mexican art, situating it in its political and cultural context.

The exhibition catalogue with its fold-out Rivera mural is an indispensable aid. But it is the inspired architectural design complimented by wall-sized imagery of the murals and the artists’ studio and courtyard that lifts the images in the exhibition to another level to make it a wholly immersive viewing experience.

Frida & Diego: Love & Revolution is at the Art Gallery of South Australia until September 17.The Conversation

Catherine Speck, Emerita Professor, Art History and Curatorship, University of Adelaide

This article is republished from The Conversation under a Creative Commons license. 

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