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LACE IN FASHION EXHIBITION- THE FASHION MUSEUM BATH

LACE IN FASHION EXHIBITION- THE FASHION MUSEUM BATH

In many cases it wasn’t the clothes themselves that cost a great deal, but the additions of lace that made the item so expensive…” by curator Elly Summers

1805 cream empire-line dress, Photograph: Peter Stone/Fashion Museum Bath

From 16th century luxury craft to modern day catwalk trend, the Fashion Museum Bath’s brand new exhibition is a celebration of lace in fashion.

Lace in Fashion presents 50 exquisite pieces from the Fashion Museum collection showing how lace has been used in fashionable dress from the 1500s to the present day. Jacobean gloves decorated with rich gold metal thread lace and a delicate needle-lace cap back feature alongside dazzling drop-waisted dresses from the 1920s, an elegant lace effect evening gown by Parisian couturier, Balenciaga, and key catwalk looks by British global luxury brand Burberry and award-winning contemporary fashion designers including Erdem and Simone Rocha.

Photograph: Peter Stone/Fashion Museum Bath

Lace has been a sign of style and elegance since the sixteenth century. From fine luxury garments worn by royals and the aristocracy to machine-made fashions for the everyday, our brand new exhibition for 2017 will reveal both the techniques and the top names that have made lace such an enduring fashion trend. Featuring 50 historic treasures and designer dresses, Lace in Fashion draws on the riches of the Fashion Museum collection to showcase the skill and seduction of this fashionable fabric.

Lace in Fashion is the culmination of a two year project to catalogue the Museum’s extensive archives of lace dating from the 1500s to the present day, supported by Arts Council England. Assisted by expert volunteers from the Lace Guild, we have been able to revaluate how lace is used in the Fashion Museum collection and uncover its journey from craft to catwalk.

photo from Twitter by R.Williams

The oldest object in the exhibition will be a smock dating from around 1580 with Flemish bobbin lace on the sleeves and collar, one of the earliest pieces in the Fashion Museum collection. Another of the Museum’s rarest treasures will also appear in the show: the Silver Tissue Dress which dates from the 1660s is trimmed with exquisite parchment lace, a rare and delicate fabric made using tiny strips of parchment or paper wrapped in silk.

Other highlights include a navy blue lace dress worn by actress Lea Seydoux in the James Bond film Spectre, which has been loaned to the Fashion Museum by Australian design duo Lover, as well as elegant evening gowns by top fashion names Balmain, Balenciaga and Molyneux.

Lace in Fashion will be on display from 4 February 2017 to 1 January 2018.

 

 


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A wonderful BRITISH FILM LOCATION for “HOUSE STYLE: FIVE CENTURIES OF FASHION AT CHATSWORTH”, EXHIBITION sponsored by GUCCI.

A wonderful BRITISH FILM LOCATION for “HOUSE STYLE: FIVE CENTURIES OF FASHION AT CHATSWORTH”,  EXHIBITION sponsored by GUCCI.

Exclusive dress by Alessandro Michele for Exhibition

“This is the most rock’n’roll place I have ever been,” said Alessandro Michele, designer of Gucci taking his place as guest of honour at a lunch in the Chatsworth sculpture gallery.

Sponsored by Gucci, Chatsworth House Style is an exhibition exploring five centuries of the fashion worn by the aristocratic residents of stately home Chatsworth in Devonshire. The show runs until October 22, 2017.

Considered one of the great treasure houses of England, set amid the rolling green hills of the Derbyshire Dales, the estate has played host over the last 500 years to some of Britain’s most captivating and infamous women, including: Bess of Hardwick; Mary, Queen of Scots; Georgiana, Duchess of Devonshire; Kathleen Kennedy, known as Kick (sister to John F. Kennedy); and Deborah Mitford, known as Debo.

Gown worn by Stella Tennant, granddaughter of the 11th Duke of Devonshire, for a Vogue photoshoot.

This location has been set design for famous movie like Pride and Prejudice, Chatsworth was used as Pemberley, the residence of Mr Darcy, The Duchess with Kiera Knightley , The Wolfman.

“Hamish Bowles, International Editor-at-Large at American Vogue, has curated this landmark show with creative direction and design by Patrick Kinmonth and Antonio Monfreda, the duo behind some of the most memorable fashion exhibitions of recent years.

Countess of Burlington, dressed in a Victoriana textured-jacquard Gucci ensemble, descends a flight of steps on the grounds of stately Chatsworth.” via Vogue

House Style demonstrates the power of fashion and brings to life the captivating individuals from the Cavendish family, including Bess of Hardwick, one of the most powerful women of the 16th century; the 18th century “Empress of Fashion” Georgiana, Duchess of Devonshire; and Adele Astaire, the sister and dance partner of Fred Astaire. Deborah Devonshire and Nancy Mitford, two of the Mitford sisters. Model Stella Tennant and John F Kennedy’s sister ‘Kick’ Kennedy will also be central to the show.

Exclusive dress by Alessandro Michele for Exhibition

Layering art history, fashion, jewellery, archival material, design and textiles, the exhibition is organised by theme. Highlights include exceptional couture designed by Jean Phillipe Worth and Christian Dior, together with influential contemporary garments from designers such as Gucci, Helmut Lang, Margiela, Vivienne Westwood, Erdem, Alexander McQueen, Christopher Kane and Vetements.

The show will also feature personal family collections, including items belonging to the current Duke and Duchess of Devonshire. These pieces are displayed alongside livery, uniforms, coronation robes and fancy-dress costumes, demonstrating the varying breadth of fashion and adornment from the Devonshire Collection throughout the generations. Important artworks are also on display, including rare costume designs from the early 17th century by Inigo Jones, Surveyor to the King’s Works and one of the most notable architects of 17th century England.”

 

 

 


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BLUMARINE CELEBRATES ITS FIRST 40TH ANNIVERSARY: then we remember Anna Molinari through her collaboration with TIM WALKER.

BLUMARINE CELEBRATES ITS FIRST 40TH ANNIVERSARY: then we remember Anna Molinari through her collaboration with TIM WALKER.

Tim Walker for creating a feminine, romantic and sensual world.

I was a young girl and I dreamed in front the advertising campaigns of Tim Walker for Blumarine.

Blumarine this year celebrates its first 40th anniversary with the volume ANNA MOLINARI, BLUMARINE, narrating the history of Anna Molinari and the Blumarine brand. Through a selection of images shot by charismatic photographers of the likes of Helmut Newton, Tim Walker and Craig McDean, fashion editor such as Manuela Pavesi and art director as M/M Paris, some keywords are analysed to extensively explain the elements of Blumarine’s style, edited by Maria Luisa Frisa.

Tim Walker’s pictures are obviously my favorite. I think the photographer has represented Blumarine’s worl wirh a style that is feminine, romantic and sensual, adjectives used by the brand right from the early years of its creation.

It’s no coincidence that the rose is the symbol of the fashion designer.

Blumarine has become synonymous with fashion created for the modern woman, characterized by a sensual femininity and timeless romanticism, with a vibrant edge. Anna Molinari, known as “the queen of roses” because of her love for the flower.

Growth and success on the market have been simultaneous with ongoing development of the brand, increasingly apparent in the latest collections with a higher profile and products tending increasingly towards total luxury and with a development of an entire range of accessories as an addition to the rest of the fashion collection, creating a complete range.

Blumarine was established by Anna Molinari and Gianpaolo Tarabini in 1977, in the town of Carpi, in the province of Modena. The name was inspired by the couple’s favourite colour and their love of the sea. In 1980 they made their first appearance at Modit in Milan. where Blumarine was named Designer of the Year, which led to their first show at Milan Fashion week the following year.

The 1986 Milan Fashion Week saw the first collection wholly designed by Anna Molinari.

Then a review of the various campaigns that Tim Walker has created for the designer.


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John Macfarlane artist and theatre designer: from Maria Stuarda to Cinderella, an incredible visual artist.

John Macfarlane artist and theatre designer: from Maria Stuarda to Cinderella, an incredible visual artist.

I discovered the wonderful work of John Macfarlane while I was studying directors who created the opera Maria Stuarda in the opera house. So I was able to admire the magnificent work as both set and costume designer of this artist. For me, Maria Stuarda and Cinderella are simply the best projects! Only the concepts are small masterpieces.

John Macfarlane was born in Scotland and studied at the Glasgow School of Art. He received an Arts Council of Great Britain Trainee Designer award and spent some time as Resident Designer at the Young Vic Theatre in London.

For the first fifteen years of his career he worked mainly in dance with many of the major international companies. He collaborated with Jiri Kylian and the Netherlands Dance Theatre (Songs of a Wayfarer, Les Noces, Dreamtime, L’Enfant et les Sortileges, Piccolo Mondo, The Soldier’s Tale, Forgotten Land and Tanzschul); and Glen Tetley, The Fire Bird (Danish Royal Ballet), Weigenlied (Vienna State Opera), La Ronde and Tagore (Canadian Royal Ballet) and Dialogues (Dance Theatre of Harlem). He has also designed for the classical ballet repertoire: Swan Lake in Munich, Giselle (Royal Ballet) and Nutcracker (Birmingham Royal Ballet) both with Sir Peter Wright, and Le Baiser de la fée (Birmingham). Nutcracker has been remounted recently by the Australian National Ballet.

Latterly John Macfarlane has focussed on opera where he designs both sets and costumes. He works regularly with the German producer, Willy Decker, and with Francesca Zambella, David McVicar and Richard Jones.

With Willy Decker John designed A Midsummer Night’s Dream (Cologne Opera); Julius Caesar (Scottish Opera); Peter Grimes (Brussels); La Clemenza di Tito (Paris Opera); Othello (Brussels); Falstaff (Florence); Boris Gudunov (Amsterdam); Bluebeard/Ewartung (Royal Opera House); and Idomeneo (Vienna Opera).With Francesca Zambello he designed Benvenuto Cellini (Grand Theatre, Geneva), Barber of Seville (Santa Fe) and War and Peace (Paris).

John worked with David McVicar on Agrippina (Brussels); Magic Flute (ROH) and Don Giovanni (Brussels). They will do The Rake’s Progress together in Copenhagen in 2009. Hansel and Gretel, his first production with Richard Jones for Welsh National Opera won an Olivier Award and is being re-mounted by the Met in New York at Christmas 2007. Their second production, The Queen of Spades won the Royal Philharmonic Award. They worked together on Euryanthe for Glyndebourne Festival Opera; the second part of The Trojans for English National Opera; Lady Macbeth of Mtsenk and a double bill of L’Espagnol and Gianni Schichhi for the Royal Opera House.

John’s future commitments include Cinderella for Birmingham Royal Ballet, Elektrafor Chicago and Maria Stuarda for the Metropolitan Opera, New York.

In addition to his opera and dance work, John Macfarlane exhibits regularly as a painter and print maker in the U.K and Europe.

Below the gallery I recommend you an interview with him.

 

 

 


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René Lalique and Calouste Gulbenkian: friends for life. “Only the best is good enough for me”.

René Lalique and Calouste Gulbenkian: friends for life. “Only the best is good enough for me”.

In the last exhibition room at the end of the corridors of Lisbon Gulbenkian Museum there is a special collection of small artefacts beautiful enough to be amazed!

“Our sadness on losing a very dear friend is deepened by the profound sorrow we must always feel when a great man leaves us. He stands with the greatest names of all time in the history of art, and his very personal skills and outstanding imagination will be admired by the elite of the future.” Calouste Gulbenkian, businessman and patron of the arts, July 1945.

The name Lalique evokes the brilliance of jewellery, the wonder of transparency, and the brilliance of crystal. Before it became a brand name, it was the name of a man, an artist of genius, René-Jules Lalique and of his heirs who shared his creative flame.

René Lalique (1860-1945) and Calouste Gulbenkian (1869-1955) shared the experience of a time marked by the fascinating transition of the so-called “Belle Époque” – with its particular end of the century spirit, present mainly on the remarkable set of Art Nouveau works. Both men were tied by friendship and mutual consideration, well evidenced in the words of the Collector: “My admiration for his unique work increased throughout the fifty years our friendship lasted… I am proud to own, I believe, the largest number of Lalique’s works…”.

Between 1899 and 1927 Calouste Gulbenkian (1869-1955) acquired eighty of Lalique’s works of art, and amassed the largest collection of his original jewelry pieces in existence. He is noted for saying “Only the best is good enough for me,” in reference to his vast hoard of high quality art.

Calouste Sarkis Gulbenkian (1869-1955) is well-known amongst Armenians. Mr. Gulbenkian was one of the most influential figures in the development of the global oil industry in the early 20th century. Born into a prominent and wealthy Armenian family in 1869, Gulbenkian received his early education in Constantinople (Istanbul), and went on to Marseille and London, specialising in engineering with a degree from King’s College. As a young man, Gulbenkian explored the development of oil in Baku in the Russian Empire (Azerbaijan today), as well as in Mesopotamia in the Ottoman Empire (modern Iraq). In 1927 he settled in Paris, where his house at 51 avenue d’Iéna became famous for his collection of books, coins, manuscripts, paintings, statues and other objets d’art. He also became a private benefactor to the Armenian community across the world.

In 1942 Gulbenkian left France for Portugal where he remained until his death in 1955. In his will he left his collection – a unique mixture of Eastern and Western art – and almost his entire fortune to a foundation to be headquartered in Lisbon and to bear his name. He wanted his Foundation to reflect his interests in arts, science, education and social welfare and told his primary trustee that it should benefit not just Armenian causes but ‘all humanity’. The Calouste Gulbenkian Foundation was established in Lisbon in 1956.

“Gulbenkian was a frequent visitor of Lalique’s atelier and residence near the Champs-Elysées . The Lalique collection in Lisbon contains pieces that were fashioned between 1899 and 1927: diadems and combs; necklaces and chokers; brooches and bracelets. It showcases the artist’s flair for pairing opals, moonstones and chrysoprase with diamonds, sapphires and aquamarines.

The ensemble of 82 pieces show off their sensuous lines and are historic documents in themselves: a number of them featured in the Exposition Universelle (1900) while others adorned some of the greatest female stars of the period, such as Sarah Bernhardt. (“René Lalique and Calouste Gulbenkian : A Golden Friendship by Philippe Bouasse).

Calouste Gulbenkian’s commissioning of 145 jeweled objects made him Lalique’s major patron from 1895 until about 1912. Free of financial concern and able to design at will, Lalique entered the most creative period of his jewelry career. Gulbenkian collection today is the biggest repository of Lalique’s art.


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Daniel Lismore’s Celebration = “Be Yourself; Everyone Else Is Already Taken” and “Theater of Self” Exhibitions.

Daniel Lismore’s Celebration = “Be Yourself; Everyone Else Is Already Taken” and “Theater of Self” Exhibitions            

Daniel Lismore -SCAD

Daniel Lismore -SCAD

This year SCAD (Savannah College of Art and Design ) celebrated with two Exhibitions Mr. Daniel Lismore.

In april the Savannah College of Art and Design’s museum celebrating fashion and film, presents “Be Yourself; Everyone Else Is Already Taken” — the first U.S. exhibition featuring the work of artist, stylist and british designer Daniel Lismore.

SCAD joined VisionaireWORLD in celebrating the opening of “Theater of Self,” with an exclusive film created by VisionaireFILM featuring Lismore, directed by Alice Rosati. The film debuted with a private screening at SCADATMIAMI followed by a dinner. More than 4,000 garments and accessories make up the 20 of Lismore’s eccentric ensembles on show. Each outfit is presented on life-size mannequins, which have faces cast from the artist himself.

Daniel Lismore -SCAD_exhibitions_theater

Daniel Lismore -SCAD_exhibitions_theater

“These life-size sculptural ensembles, each worn by the artist at one time, are reflections of his multidimensional identity and are a tapestry of his journey to his true self,” said president and founder of SCAD, Paula Wallace.

Lismore, who was named “London’s Most Outrageous Dresser” by Vogue for his imaginative and flamboyant wardrobe, transforms outfits into an expression of eccentric, creative energy. Lismore combines the luxurious and the unusual — everything from charity-shop finds, vintage custom fabrics, feathers, chainmail, discarded theatrical props and more — to express his unique sartorial vision.

I have never heard this name before, but I was impressed when I saw pictures of dresses that seemed costumes for opera, for example Turandot. Then I went to read up on him and I discovered interesting things. Daniel is a well known fashion and party icon in London. Previously being a top model, he shifted into desigining his own pieces and wearing them to parties. We conceptualised a flash website that would have fashion sketches of him sitting on an armchair and various clothing items would drop on to him. This would be the introduction animation before going in to his website.

He created incredible look for brand like H&M, MTV, clubs and magazine.

Daniel Lismore for H&M

Daniel Lismore for H&M

He has an eco-conscious attitude recently saw him chosen by H&M for their Close The Loop campaign, which promotes recycling clothes.

Lismore has collaborated with American rapper Azealia Banks to concept shows and
the artwork of her first album, “Broke with Expensive Taste,” and he was the inspiration behind pop artist Iggy Azalea’s “Glory” EP cover. Additionally, Lismore has been featured in the music videos of Boy George, George Michael and Alexandra Burke, and he has appeared in “Made in Chelsea,” “Britain’s Next Top Model,” “Denmark’s Next Top Model,” “The Kylie Show,” “Styled to Rock” and the upcoming 2016 feature lm “Absolutely Fabulous.”

thai-airways-vogue-tatler

Daniel Lismore thai-airways-vogue

Since 2012 Lismore has been the creative director of Sorapol, a luxury womenswear label worn by fashion influencers such as Naomi Campbell, Kylie Minogue, Nicki Minaj, Paloma Faith, Cara Delevingne and Debbie Harry. In recent years he has supported organizations such as Vivienne Westwood’s Climate Revolution, climate change charity Cool Earth and New World International Kenya. Lismore also lends his support to the LGBT community, human rights issues and free speech movements. He lives and works in London.”

 

 


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CECIL BEATON PHOTOGRAPHER? NO. COSTUME DESIGNER for TRAVIATA.

CECIL BEATON PHOTOGRAPHER? NO. COSTUME DESIGNER for TRAVIATA.

Cecil Beaton’s costumes for La Traviata Metropolitan Opera House, 1966

Cecil Beaton’s costumes for La Traviata Metropolitan Opera House, 1966

Sir Cecil Beaton (1904-1980) was best known as a photographer. Beaton also worked as an illustrator, a diarist, and designer for stage and film. He won three Oscars for costume and art direction for the film version of My Fair Lady (1965) and for Gigi (1958).
La Traviata is an opera in three acts with music by Giuseppe Verdi. The producer for the Metropolitan Opera House was Alfred Lunt and was the first production for the opening season of the new Metropolitan Opera House. Cecil Beaton’s designs were praised by the critics for catching the decadence and luxury of the mid-19th century Parisian scene.

Cecil Beaton created glorious gowns for the opening season of the Metropolitan Opera Company’s 1966 La Traviata at Lincoln Center-dressed in the reds and golds of the Met.

For the costumes, Beaton said “I wanted the colours to have a gold light-dark but sparkling, scintillating.” Karinska made the gowns and headresses-scouring about for old laces, jet, tinsel, ribbons to get the effect -a look of-lushness-a heaviness indicative of 1860 that Beaton desired. Alfred Lunt’s stage sets were designed by Beaton as well.

“I have the worst ear for criticism; even when I have created a stage set I like,
I always hear the woman in the back of the dress circle who says she doesn’t like blue. “
Cecil Beaton

Cecil Beaton - Marina Berenson for Vogue september 1966

Cecil Beaton – Marina Berenson for Vogue september 1966

Cecil arrived in New York City in 1928, having achieved early success in his homeland.Trans-Atlantic connections resulted in his near-instant introduction to New York City’s elite, including Elsie de Wolfe and Edna Woolman Chase, the editor of Vogue magazine at the time. What followed is the stuff of legend: a remarkably agile career which spanned fifty years and as many visionary works in which Beaton brought his rarefied vision to bear on fashion photography, illustration and caricature, portraiture (in drawings and photographs), and set and costume design for stage and film.
Cecil Beaton’s stratospheric ambition was nurtured and sustained by mid-20th–century New York, where his career was able to maintain a feverishly high pitch. Society figures, media giants, impresarios, celebrities, actors, artists, writers, and the merely famous passed in front of his camera in an endless parade of glamour and style. The pages of Condé Nast publications—most notably, Vogue magazine—showcased his elaborately staged photo shoots, in which his eye for opulence and drama animated such sitters as Fred (and his wife, Adele) Astaire, Maria Callas, Greta Garbo, Martha Graham, Audrey Hepburn, Katharine Hepburn, and the woman who would become the ultimate 20th-century icon: Marilyn Monroe. He enlivened his photographs with sets in which he borrowed liberally and extravagantly from European art forms, incorporating formal elements of modern (and classical) painting and sculpture into his work, and bringing elements of such major aesthetic movements as impressionism, surrealism, and others into the homes of magazine readers nationwide.

His extraordinary stage sets and costumes for Broadway, the Metropolitan Opera, and the New York City Ballet were masterful evocations of “place” in the extreme.

 


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AUTUMN IS COMING: FOTO/INDUSTRIA 2015! Are you ready for 14 incredible and compelling exhibitions of photography? Where? In BOLOGNA!

AUTUMN IS COMING: FOTO/INDUSTRIA 2015! Are you ready for 14 incredible and compelling exhibitions of photography? Where? In BOLOGNA!

Fourteen exhibitions in 12 locations and cultural landmarks of the city

Opening to the public: 3 October 2015 by MAST- BOLOGNA.

LC_land (3)

© David La Chapelle Land Scape

The theme of the second edition of FOTO/INDUSTRIA 2015 Biennale in Bologna, is focussed on the world of work in all its aspects and in particular on the industrial production chain from conception to recycling.
The Biennale, promoted by the MAST Foundation in collaboration with the Bologna Municipality under the artistic direction of François Hébel, includes 14 exhibitions that will be held during the month of October in eleven historical buildings in the city centre and at MAST.
FOTO/INDUSTRIA presents at MAST, under the direction of Urs Stahel, the finalists and winner of the fourth edition of the GD4PhotoArt competition, created to promote the work of young photographers on the subjects of industry, society, and territory and the Savina Palmieri Collection of industrial photography books.

I advice you and my favourites are:

DAVID LA CHAPELLE, New York, USA, LAND SCAPE : Pinacoteca Nazionale Via Belle Arti, 56

Famed fashion photographer turned artist David LaChapelle presents new works dealing with oil’s negative impact. He is known internationally for his exceptional talent in combining a unique hyper-realistic aesthetic with profound social messages. The famed photographer presents two new series of works: “Refineries” and “Gas Stations.” As their titles suggest, these projects deal with the petroleum industry, depicting the points of gasoline’s production and consumption, respectively.

EDWARD BURTINSKY, Toronto, Canada, MANUFACTURED LANDSCAPE, Palazzo Pepoli Campogrande, Via Castiglione , 7

Burtinsky (2)

© Edward Burtynsky

Nature transformed through industry is a predominant theme in my work. I set course to intersect with a contemporary view of the great ages of man; from stone, to minerals, oil, transportation, silicon, and so on. To make these ideas visible I search for subjects that are rich in detail and scale yet open in their meaning. Recycling yards, mine tailings, quarries and refineries are all places that are outside of our normal experience, yet we partake of their output on a daily basis.

These images are meant as metaphors to the dilemma of our modern existence; they search for a dialogue between attraction and repulsion, seduction and fear. We are drawn by desire – a chance at good living, yet we are consciously or unconsciously aware that the world is suffering for our success. Our dependence on nature to provide the materials for our consumption and our concern for the health of our planet sets us into an uneasy contradiction. For me, these images function as reflecting pools of our times.” Edward Burtynsky

HEIN GORNY, Berlin, Germany, NEW OBJECTIVITY AND INDUSTRY PRODUCTS AND IMAGE DESIGN 1920s-1930s IN GERMANY Exhibition co-produced by Collection Regard and Foto/Industria 2015, Genus Bononiae, Museo della Storia di Bologna, Via Castiglione, 8

© Hein Gorny, Berlin, Collection Regard

© Hein Gorny, Berlin, Collection Regard

In the 1930s Hein Gorny was a respected and successful commercial photographer. His joyful image of a woman throwing her child into the air, and poised to catch it, was used in a major advertising campaign for the German National Railway. But when the Reichsbahn discovered that the woman in the photo was a Jew – as well as Gorny’s wife – he was accused of ridiculing the railway. He was told to divorce the woman if he wished to continue as their photographer. When he refused all commissions from German companies and institutions stopped. He had to make a living by taking portraits of horses and dogs.

For years Gorny and Byers’ photographs were considered lost, until they were discovered and published by the Berlin-based Collection Regard. Marc Barbey, a Parisian economist, collector and owner of both gallery and imprint, works to rediscover once-renowned photographers and photo artists who have since faded from memory. He considers Berlin the perfect city for his collection

GIANNI BERENGO GARDIN, Milan, Italy MAN, WORK, MACHINE, Fondazione del Monte, Palazzo Paltroni, Via delle Donzelle, 2

LUCA CAMPIGOTTO, Milan, Italy THE POETRY OF THE GIANTS, Spazio Carbonesi, Via de’ Carbonesi, 11

 

© Campigotto

© Campigotto

List of other exhibitions:

Neal Slavin, New York, USA GROUP PORTRAITS, Spazio Carbonesi ,Via de’ Carbonesi, 11

O. Winston Link, New York, USA, NORFOLK AND WESTERN RAILWAYS, Fondazione Cassa di Risparmio in Bologna, Casa Saraceni, Via Farini, 15

Kathy Ryan, New York, USA OFFICE ROMANCE, Museo Internazionale e Biblioteca della Musica di Bologna, Strada Maggiore, 34

Hong Hao, Beijing, China “MY THINGS”, “BOTTOM” MAMbo, Museo d’Arte Moderna di Bologna, Via Don Minzoni, 14

Jason Sangik Noh, Seoul, South Korea, BIOGRAPHY OF CANCER, Villa delle Rose, Via Saragozza, 228/230

Léon Gimpel, Paris, France, ILLUMINATIONS, An exhibition proposed by Société française de photographie, Museo di Palazzo Poggi, Via Zamboni, 33

Marc Roig Blesa, Netherlands/Spain – Raphaël Dallaporta, France – Madhuban Mitra and Manas Bhattacharya, India –

Óscar Monzón, Spain GD4PHOTOART COMPETITION FINALISTS, MAST.Gallery, Via Speranza, 42

FROM ALBUMS TO PHOTOBOOKS ITALIAN INDUSTRY IN 120 VOLUMES SAVINA PALMIERI COLLECTION
MAST.Gallery , Via Speranza, 42


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FASHION and FILM for DISCOVERING an OLD ARTISAN CRAFT: THE EMBROIDERER . CHANEL and a FRENCH FILM “A COMMON THREAD,” allow you to discover the behind the scenes of HAUTE COUTURE.

FASHION & FILM for DISCOVERING an OLD ARTISAN CRAFT: THE EMBROIDERER .
CHANEL and a FRENCH FILM “A COMMON THREAD,” allow you to discover the behind the scenes of HAUTE COUTURE.

“The couturier is the architect and we [embroiderers] are the decorators” – François Lesage

chanel

CHANEL Spring-Summer 2015 Haute Couture Collection

Those who follow my blog you know that I am a passionate fan and addicted to the world of fashion, but not for his side shallow but I’m always careful to the aesthetic and artistic of this world.

Also because visually the most interesting things in terms of creative direction, scenography are inspired by fashion and not the opposite.

I consider fashion like ART. For this when I can I try to collaborate with this industry for creating scenography for fashion show. I’ve already talked about incredible set design and haute coutire collection that every year THE KAISER Mr. Karl Lagerfeld has created with his genius.haute-couture-ateliers

The work behind Haute Couture is something extraordinary and unimaginable. This year another time with the last show Karl has amazed me.There are currently 5 or 6 major embroidery ateliers in Paris. At the end of World War II their number stood at 40.
To save them from becoming extinct, Chanel and Dior have been acquiring ateliers since the 1980s.
Apart from unveiling the behind-the-scenes of haute couture, the relationships between the couturier (designer), the artisan and the client is the focus on this work. “The couturier is the architect and we are the decorators,” said the late embroiderer François Lesage. What he didn’t say is that the process only really starts with the client. Samples are shown to her for approval and may be altered according to her wishes. Once she’s given the green light, the garment is made, partly in the ateliers and partly in the main fashion house.
broderies-vermontThen it occurred to me a beautiful film which tells the story of a girl whose job is precisely the EMBROIDERER: A COMMON THREAD, (French Title : BRODEUSES).

This is the first feature film directed by Éléonore Faucher, who co-wrote the screenplay with Gaëlle Macé. It was shown at the 2004 Cannes Film Festival and was selected by the Film Society of Lincoln Center and the Museum of Modern Art for inclusion in the 2005 edition of New Directors/New Films.

In Eleonore Faucher’s film, A COMMON THREAD, Lola Naymark plays Claire, a 17-year-old farmer’s daughter whose greatest passion is embroidery.
This film touched me with eerie dream sequences, the film casts a strange spell that’s enhanced by the rhythmic, almost sensual depiction of the painstaking art of embroidery.

1Claire has left her father’s farm and lives in a small studio in town; she works in the local supermarket, but spends all her time designing her intricate patterns. She has a problem, though. She’s pregnant. Claire’s best friend, Lucile, has moved away from the town, but she returns briefly to see her brother, Guillaume, Thomas Laroppe, who is recovering from a motorcycle accident in which his best friend was killed.

 

common-thread

Common Thread film (2006)

Through this connection, Claire meets the dead man’s mother, Madame Melikian, Ariane Ascaride, who designs magnificent embroideries for the smart shops in Paris.

This very simple story is imbued with a delicate intimacy thanks to the subtle treatment by director Faucher. A bond forms between these two women.

The film is extremely beautiful, not just in its images of the wonderful embroidery these women create, but in the faces of the characters, particularly the very expressive Lola Naymark.
I hope I have intrigued you on this topic and I show you some pictures from this film and a making of about latest chanel fashion show a few days ago.

See the making of the Spring-Summer 2015 Haute Couture collection and film Trailer.

 

 


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From GERMAN to EMILIA LAND: EMIL OTTO HOPPE’ “UNVEILING SECRET”. WORLD PREMIERE of Industrial landscape’s photos by Emil Otto Hoppé at the MAST BOLOGNA.

From GERMAN to EMILIA LAND: EMIL OTTO HOPPE’ “UNVEILING SECRET”. WORLD PREMIERE of Industrial landscape’s photos by Emil Otto Hoppé at the MAST BOLOGNA.


Mast gallery “ Emil Otto Hoppé il segreto svelato/unveiling a secret”,
21 january – 3 may 2015, Bologna (Italy), free enter.

To picture the rhythm and design of very ordinary, everyday things, which ninety-nine persons out of every hundred are probably passing every hour of every day without noticing them, because they are so familiar with them that they would consider it a sheer waste of time to give them a second glance. It is one of the chief delights of photography that it creates a spirit of adventure and sharpens the powers of observation. So many people miss the significance of little things and are therefore robbed of a fundamental key to beauty”. -E.O. Hoppe’

Skeleton of Graf Zeppelin, Friedrichshafen, 1928.

Skeleton of Graf Zeppelin, Friedrichshafen, 1928. © The E.O. Hoppé Estate|Curatorial Assistance, Inc

I’ m so proud to talk about this philanthropic emilian foundation that is excellence in the cultural world and offers some of the most interesting exhibitions of photography.

After exhibiting the David Lynch photographs, the FONDAZIONE MAST (Arts, Experience, Technology) is opening a new exhibition in its Gallery, curated by Urs Stahel, and dedicated to EMIL Otto Hoppé (1878-1972), with over 200 works on industry and labour, taken between 1912 and 1937.
Like his contemporaries Alfred Stieglitz, Edward Steichen, Walker Evans, August Sander, and Edward Weston,
Hoppé was one of the most important photographers of his era, also famous for his landscape and travel images.

In the twenties and thirties, after having consolidated his reputation as a topographic and portrait photographer depicting famous European artists, scientists and politicians like George Bernard Shaw, Ezra Pound, T.S. Eliot, Rudyard Kipling, George V, Vita Sackville-West, Filippo Tommaso Marinetti, and Albert Einstein, E. O. Hoppé set off on his travels to capture the romance and grandeur of industrial sites around the world.

During his explorations – in Germany, Great Britain, the United States, India, Australia, New Zealand and other countries – he photographed the futuristic industrial landscape, seeing its gargantuan machinery as both technology and art. Hoppé was acutely aware of how contemporary industrial technology was heralding the world into a new era where the very nature of work and production would profoundly change.

Emil Otto Hoppé: Unveiling a secret presents for the first time his iconic images of the second industrial revolution and brings Hoppé’s work to the attention of the public.

Camell Laird's Yards, The Midlands, c.1926.

Camell Laird’s Yards, The Midlands, c.1926.© The E.O. Hoppé Estate|Curatorial Assistance, Inc

This work had remained hidden for a long time in the London photographic archives which had purchased fifty years of works from the artist himself at the end of his long and prestigious career.
Alongside
Hoppé’s industrial photography on show, in the area dedicated to “side events”, MAST will exhibit the rich variety of subject matter in the artist’s repertoire with a series of digital projections of other themes from celebrity portraits to nudes and from human typologies to landscapes.

Emil Otto Hoppé was born on April 14th 1878 in Munich, where he received his initial schooling and drawing lessons from the watercolorist, Hans von Bartels (1856-1913).
In 1897, after two years compulsory service in the Army, Hoppé followed his father into banking but he also travelled to Paris and Vienna to study painting and portrait photography. In 1900 Hoppé moved to London to work at the Deutsche Bank and Lombards and in 1903 met British photographer John Cimon Warburg (1867-1931) who demonstrated the artistic possibilities of photography to him.
Inspired by Warburg he acquired his first camera, a Goertz-Anschutz model, and the same year was admitted as a member of the Royal Photographic Society where, over the next four years, he regularly exhibited his amateur photographic works. In this same year Hoppé was also associated with The Linked Ring Brotherhood with fellow members, Alvin Langdon Coburn (1882-1966), Henry Peach Robinson (1830-1901) and George Davidson (1854-1930), who played an important role in international art photography, maintaining close ties with continental and American groups including the Vienna Camera Club and the Photo-Secession, New York.

Modern Gasometer, Fulham, London 1925.

Modern Gasometer, Fulham, London 1925.© The E.O. Hoppé Estate|Curatorial Assistance, Inc

Hoppé also contributed reviews, illustrations and photographs to various established magazines of the time including ‘The Bookman’ and around 1917 he became one of the founding members of ‘The Plough’ theatre club in London, a group who specialised in producing plays that had previously not been performed in Britain where Hoppé designed some of the stage sets. By this time Hoppé was one of the most sought after portrait photographers of the time and is reported to have made over 600 portraits during one year. In 1922, a highlight of Hoppé’s career was a large one-man exhibition consisting of 221 prints at the Goupil Gallery, London, for which he was widely celebrated. Prior to this, in 1918 Hoppé made his first visit to New York where he photographed modernist cityscapes and made portraits of “street types.”

In 1921 Hoppé returned to New York to open a studio on West 57th Street and was celebrated that year by a major exhibition of his work at the famous Wannamaker Gallery and with the publication of his “The Book of Beautiful Woman.”

The publicity garnered by Hoppé at this time made him more famous in the United States and elsewhere than the one we now point to as the champion of photographic art, Alfred Stieglitz.From this time on, and using London as his base, Hoppé travelled to many different countries throughout the world for the purpose of making a comprehensive photographic portrait of each as the subject of his many photographically illustrated books that he published over the next decades.

Sydney Harbour Bridge from the North Side, Australia, 1930

Sydney Harbour Bridge from the North Side, Australia, 1930, © The E.O. Hoppé Estate|Curatorial Assistance, Inc

Many of Hoppé’s titles were made for the Orbis Terrarum series of books that were beautifully printed in the gravure process. Countries photographed by Hoppé include Romania, North America, Cuba, Jamaica, the West Indies, United Kingdom, Germany, India, Ceylon, Australia, New Zealand, Indonesia, Singapore, Malaya, Africa, Bavaria, Poland, and Czechoslovakia.

His subjects in each country include the natural and man-made landscape and people. A favourite subject of Hoppé is large-scale industrial machinery found in factories, shipyards and steel mills where he is less interested in the subject’s function as he is in its artistic potential for abstraction. In this sense Hoppé’s photographs of the 1920s anticipate the work of Bernd (1931-2007) , Hilla (1934- ) and Albert Renger-Patzsch (1897-1966).

In the late 1920’s whilst travelling, Hoppé continued with some photographic work in Germany for the UFA studios (Universum Film AG ) which included photographs of Fritz Lang, Conrad Veidt, Victor McLaglen, Brigitte Helm, Mona Maris, Erich Pommer, Lilian Harvey and many more, as well as production stills of Marlene Dietrich and Anna May Wong.

Then thanks to MAST you will have the opportunity to discover this enormous artist, although unknown to date.

View from the Delaware Bridge, Wilmington, 1926

View from the Delaware Bridge, Wilmington, 1926 © The E.O. Hoppé Estate|Curatorial Assistance, Inc

Industrial Docks on the Thames.

Industrial Docks on the Thames, © The E.O. Hoppé Estate|Curatorial Assistance, Inc

Hosch Steelworks, 1928.

Hosch Steelworks, 1928. © The E.O. Hoppé Estate|Curatorial Assistance, Inc

Power Station, Sydney Harbour, 1930

Power Station, Sydney Harbour, 1930 © The E.O. Hoppé Estate|Curatorial Assistance, Inc

Girl and lamp post Frankfurt am Main, 1928.

Girl and lamp post Frankfurt am Main, 1928. © The E.O. Hoppé Estate|Curatorial Assistance, Inc

Ford Factory, Detroit, Michigan2, 1926.

Ford Factory, Detroit, Michigan2, 1926. © The E.O. Hoppé Estate|Curatorial Assistance, Inc

Ford Factory, Detroit, Michigan, 1926

Ford Factory, Detroit, Michigan, 1926 © The E.O. Hoppé Estate|Curatorial Assistance, Inc

Crane on London Docks, London

Crane on London Docks, London © The E.O. Hoppé Estate|Curatorial Assistance, Inc

03_Rotary_Kilns_Under_Construction_in_the_Boiler_Shop_-_Vickers_Armstrong_Steel_Foundry_-_Tyneside_590-490

Rotary Kilns Under Construction in the Boiler © The E.O. Hoppé Estate|Curatorial Assistance, Inc

Delaware Bridge, Philadelphia, Pennsylvania, USA, 1926

Delaware Bridge, Philadelphia, Pennsylvania, USA, 1926 © The E.O. Hoppé Estate|Curatorial Assistance, Inc