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visits on art, design, architecture and literature

Category: LUXURY/FASHION/GOURMET

Capri : ‘Via Camerelle’ of Carthusia’ luxury from nature

 photo@ Nefeli Brandhorst

“Via Camerelle” _ Note Room fragnance ; ‘Lemon, Seawater & Jasmin”_’the flavour of  a place enclosed in a trace of notes’

This fragrance signed “Via Camerelle”_ Note Room,  of Carthusia, a small niche perfume house from the italian island of Capri.  This scent shares its name with the most prestigious street of the island Capri; it holds the freshness of lemon and orange, mixed with the fragrant notes  of sea moss and cedar wood create a flavour amazingly akin to the natural yearning of the sea, flowers and genuine living. My lovely teenage daughter Ana Nefeli was for a day in Capri and she brought me this fabulous scent being aware of my love for those citrus cents.

There is a beautiful story behind “Cathusia” …in 1380, the father prior of the Carthusian Monastery of St. James, caught unawares by the news of the arrival of Queen Joan of Anjou on Capri, picked a bouquet of the most beautiful flowers of the island; these remained in the same water for three days and, as he went to throw them away, the prior noticed that it had acquired a mysterious fragrance unknown to him. So he turned to the friar versed in alchemy, who traced the origin of the scent to the “Garofilium Silvestre Caprese” … in 1948 the Prior of the Charterhouse found the old perfume formulae and, upon obtaining permission from the Pope, revealed them to a chemist from Piemonte in the North of Italy, and thus created the smallest perfume laboratory in the world, calling it “Carthusia”, i.e.”Charter house”

International distribution of Carthusia  began in the early 2000s, when perfumer Laura Tomato  reworked four fragrances — Mediterraneo, Fiori di Capri, Io Capri and Ligea La Sirena — reportedly based on old formulas developed by the Carthusian monks at the Certosa di San Giacomo.

 

The symbol of the firm,  was created in 1948 by the painter Mario Laboccetta.  It portrays a “flower siren” that brings to mind the surreal and mythological landscapes of Capri’s heritage. She appears to be in the midst of an evolution, blooming with myriad colorful flovers, from wich Carthusia perfumes flow, achieving a logo wich recalls both art and nature in all their forms.

Carthusia has put into practice its centuries-old knowledge in order to develop a culture of perfume unique in the world. Over the years, it has refined its mastery over the olfactory senses, perfecting and structuring its discernment of essences, in order to grant patrons the purest and most titillating emotions. Nowadays, as was done in the past, all stages of production are carried out by hand to guarantee accurate application of the natural methods involved, and the exquisite care of traditional craftsmanship.

Elegant packaging for conveying luxury; a beautiful box, high-quality paper with meticulously crafted details, the finest rice paper, hand wrapped and folded around it.

photo@ Nefeli Brandhorst

“Carthusia”  brings me a literary memory  of  ‘ The Charterhouse of Parma” the novel by Stendhal published in 1839, telling the story of an Italian Nobleman,  in the Napoleonic era; The Charterhouse of Parma chronicles the adventures of the young Italian nobleman Fabrice del Dongo from his birth in 1798 to his death.  Fabrice spends his early years in his family’s castle on Lake Como, while most of the rest of the novel is set in a fictionalised Parma.

 

 

 

 

 

Munich; “Thomas Gentille – An American Jeweller”at Die Neue Sammlung

A fabulous exhibition at the Die Neue Sammlung ( The Design Museum, Munich) opened few weeks ago “Untitled. Thomas Gentille. American Jeweler”.  American Thomas Gentile  a leading studio jewelery artist in his first comprehensive exhibition on his oeuvre.  Die Neue Sammlung is presenting  190 jewelery objects and over 90 sketches supplemented by a film on the second floor of the Rotunda in Pinakothek der Moderne. Conception and curation of the exhibition: Dr Petra Hölscher. The exhibition will run through June 5 and is accompanied by a beautiful book by Arnoldsche Art Publishers.

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Thomas Gentille, Pin, 20th century
Cherry, maple
Back: Industrial pins (h. 16.2 cm, b. 4.3 cm, d. 0.6 cm)
Photo: Eva Jünger

It is a body of work to be conceived in its entirety, in which Gentille has developed over six decades without hierarchy or genealogy; he  refrains from providing any kind of information on dates.  Gentle  favors innovative plastics, solid aluminium  wide variety of woods, papier-mâché, sawdust, silk threads, old glass spheres hand blown in Bohemia and air – over gold, silver and precious stones.

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Thomas Gentille, Armlet, 20th century
Acrylic, nodized aluminum, bronze bolts
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Photo: Eva Jünger

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Thomas Gentille, Pin, 20th century
Colorcone (plastic), steel
Back: Industrial pins
h. 6.5 – 8 cm, b. 4 – 7.5 cm, d. 1 – 2.5 cm
Die Neue Sammlung – The Design Museum. Permanent loan of the Danner Foundation, Munich, photo: A. Laurenzo

The pieces of jewelery created by Thomas Gentile possess their own unmistakable pictorial language. Their geometrical and polygonal forms play with surfaces that are combined with three-dimensional and sometimes architectural shapes. The surfaces are primarily monochrome or display the colors and internal structure of the material used…..

The jewelery objects by Thomas Gentille developed in the context of the international emergence of studio jewelery as a field in its own right, but also in light of an approach that bridged the ornament as an all over- structure.  This means the works also forge a lint to art, to representatives of Minimalism, such as Donald Judd or Robert Mangold, and to Hard Edge approaches, such as that of Frank Stella. Such ideas are as relevant as is Jackson Pollock as a campion of Abstract Expressionism.  (Dr. Angelika Nollert, at foreword of the Thomas Gentille publication)

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Thomas Gentille, Pin, 20th century
Eggshell inlay (Emu)
Back: Industrial pins (h. 14.9 cm, b. 5.2 cm, d. 0.8 cm)
Photo: Eva Jünger

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Thomas Gentille, Pin, 20th century
Eggshell- inlay
Back: Industrial pins (h. 7.2 cm, b. 13.8 cm, d. 0.8 cm)
Photo: Eva Jünger

His works with an eggshell overlay are famous. Using this mysterious method and even without employing the old Asian lacquer technique he produces a krakelée surface on his works. Gentille explains that it takes years of experimentation and practice with the technique until you finally grasp the “soul of the material”. (press)

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Thomas Gentille, late 1980s
Photo: Bill Philipps
Archive: Thomas Gentille

Thomas Gentille is born 1936 in Mansfield, Ohio, and a resident of New York since 1960. With Gentille, Die Neue Sammlung is continuation its tradition of exhibiting international studio jewelery.  Following extensive monographs of the works by Hermann  Jünger, Gijs Bakker, Dorothea Prühl, Giampaolo Babette, Peter Skubic, Otto Künzli and Anton Cepka, with Thomas Gentille another broad oeuvre is acknowledged – one which is closely linked to Munich and its development as a centre for studio jewelry. It was back in 2001 that Thomas Gentile was awarded the Herbert Hofmann Award in the jewelry section of the Internationale Handwerksmesse, Munich’s annual exhibition of craftsmanship, and since the artist has exhibited regularly in the city. In 2004 he was presented with he Bavarian State Award, in Munich. (Dr Angelika Nollert, foreword of published book, ‘Untitled. Thomas Gentille. American Jeweller.’) 

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Thomas Gentille, Bracelet, 20th century
silver
h. 6.9 cm, b. 3.8 cm
Photo: Eva Jünger

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                                                                  Thomas Gentille, feb 26th, 2016,  photo@Venetia Kapernekas
a film conceived and realized by the artist about the two most important cities in his life, namely New York and Munich is projected in the premised of the Rotunda at Pinakothek der Moderne.

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A beautiful  230-page catalog  by Arnoldsche Publications on the life and work of the artist with a preface by Dr.Angelika Nollert, an essay by Andrea DiNoto and an interview with Thomas Gentille conducted by Bettina Dittlmann and Dr.Petra Hölscher.

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Thomas Gentille, Pin, 21st century
Air, plywood, maple, paint
Back: Industrial pins
h. 22.3 cm, b. 2.2 cm, d. 1.2 cm
Photo: Eva Jünger

Gentille’s works are owned by leading museums worldwide, including The Metropolitan Museum of Art, New York, Cleveland Museum of Art, Philadelphia Museum of Art, The Museum of Fine Arts, Houston, National Gallery of Victoria, Melbourne, Victoria and Albert Museum, London and Die Neue Sammlung – The Design Museum, Munich.

Munich; Studio visit _ Thilo Westermann and ‘Vanitas’

An afternoon of incredible beauty and inspiration visiting  Thilo Westermann‘s studio last week.

Flowers of almost supernatural perfection, arranged in exquisite crystal vases, captured in classical black and white – timeless elegance….he has entitled the series Vanitas, and he uses this term with a very careful precision.

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‘Lilies and card with putto, 2013. Reverse plexi painting, 11.7 x 8.3 ins (29,7 x 21 cm)

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‘Vanitas (Paeonia lactiflora) 2, 2014. Reverse plexi painting, 8.3 x 5.8 ins (21 x 14,8 cm)

Westermann uses the old technique of reverse glass painting – a craft that in contrast to other ways of painting works in a negative process (as it were from back to front)…

He builds each image from tiny dots he scratches from his blackened surfaces. He makes a minute mark, he repeats the gesture again and again. He continues to do so in lengthy way… this is a weeks-long, detailed process.

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Detail of the yet unfinished painting „Homage to Redouté“

He creates trompe-l’oeils, not just of photographic images, but of the entire technical process connected to them, and he correspondingly builds each image from tiny black dots in front of a white background….  (Martin Thierer)

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Detail of the yet unfinished painting „Vanda Miss Joaquim 3“

 Martin Thierer has described, Westermann’s still lives persist in a tradition that reached its apogee hundreds of years ago in the Baroque period. It may not be entirely abandoned today, but when artists return to the still life it is always with a nod to its earlier heyday….Vanitas – the term was coined in Classical Antiquity and from early Christianity onwards characterized and defined man’s relation to his worldly existence in the philosophical-religious context. It was said that all man-made things by intrinsically being perishable, were doomed to failure, and first and foremost this meant art. The influence of the Vanitas idea was so far-reaching that in Renaissance Florence, thousands of art works suspected of being blasphemous in thrust were consumed by the flames of Savonarola’s infamous Bonfire of the Vanities. (Martin Thierer, published in: Thilo Westermann Vanitas. Nürnberg, Verlag für moderne Kunst, 2014

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Bouquet with Prada card, Munich 2014. Print on paper, Diasec, 39.4 x 59 ins (100 x 150 cm)
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Detail of the painting „Chinese orchid (Homage to Ma Lin)

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Thilo is  influenced by history and the „stories“ behind things.  “For example I am most intrigued by the fact that there are certain breeds of peony having been named after European celebrities. Peonies origin in Asian countries but Western explorers took the plant to their homecountries as a souvenir or as precious exotica hundreds of years ago. From here on the original peony has been transformed and redesigned according to Western aesthetics. Moreover the flower became even more westernized by being named the name of a (Western) movie star etc. It’s a way of dealing with colonial heritage and identity.” (Thilo Westerman, studio visit)

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a beautiful book has been published by Verlag für moderne Kunst
Edited by Institut für moderne Kunst Nürnberg and Oechsner Galerie
Concept and layout by Thilo Westermann
Texts by Christin Müller, Aoife Rosenmeyer and Martin Thierer
Language: English/German
Edition: 1,500 copies
168 pages (you can buy the book here)

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Kathja Fast,   a lovely & promising young filmmaker preparing for shooting a documentary on Thilos’s work

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Kathja Fast and Thilo Westermann
….Thilo Westermann is attuned to the languages of attraction but resists the imperative to make evanescent images. And thus he is thoroughly contemporary, working in but at a remove from his time. If the great still lives of the Baroque period celebrated the perfection and the fleeting duration of all that is worldly, Westermann reconsiders that period as a means to hold fast to something lasting while all around him is fleeting.(Aoife Rosemeyer, published in: Thilo Westermann Vanitas. Nürnberg, Verlag für moderne Kunst, 2014, p. 136-143.)

Thilo Westermann is represented by Oechsner galerie in Nürnberg

In his collaboration with Daniel Wingate for the international luxury brand ESCADA Thilo transferred his concept of the self reflecting image from painting to the world of fashion. Transcience clashes with the approach to create something lasting. Excellent workmanship and the masterly depiction of all details form a new language oscillating between picture pane and three-dimensionality.

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Installation view of „Vanda Miss Joaquim 2“ and visitor with the ESCADA meets THILO WESTERMANN blazer at Thilo’s solo show „Stilblüten“ at Institut für moderne Kunst Nürnberg

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Window display at Saks Fifth Avenue New York: the cocktail dress of the ESCADA meets THILO WESTERMANN collection

Giorgio Agamben’s essay What Is the Contemporary was published in English in 2009.  For Agamben, the two kinds of seeing are inseparable; brightness harbours its own ‘intimate obscurity’. Darkness is also key in the tradition of still life; often flowers, fruits or foodstuffs seemed to emerge from the darkness of an interior, as if to emphasize their fleeting existence and their fate to return to dust like all mortal things. (Aoife Rosenmeyer on  The Contemporary Artist,Vanitas. Nürnberg, Verlag für moderne Kunst)

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‘Vanitas (Vanda Miss Joaquim)’, 2013. Reverse plexi painting, 8.3 x 5.8 ins (21 x 14,8 cm)

 

… a new film about love “Carol” UK cinemas release on 27th November

……extraordinary performances we have come to expect from Cate Blanchett, who is paired with the no less impressive Rooney Mara as Therese in the director Todd Haynes and the writer ­Phyllis Nagy’s mesmerizing and moving film adaptation of  Patricia Highsmith’s anxiety-laced romance “Carol“. (Frank Rich,’Loving Carol‘) at  New York Magazine,  November 15, 2015)

In early December 1948, Patricia Highsmith took a Christmas-season temp job as a shopgirl in the children’s toy department at Bloomingdale’s. Highsmith, a 27-year-old native of Fort Worth, Texas, and a 1942 Barnard graduate, was a budding novelist who had been supporting herself for five years as a freelance action-comic-book writer, concocting stories for lesser superheroes like Spy Smasher and Black Terror — a rare gig for a woman in the golden age of comics. 

Pathigh                                   Patricia Smith, publicity photo, 1966

Patricia Highsmith (19 January 1921 – 4 February 1995) was an American novelist and short story writer, known for her psychological thrillers, which led to more than two dozen film adaptations. Her first novel, Strangers on a Train, has been adapted for stage and screen numerous times, notably by Alfred Hitchcock in 1951. In addition to her series with Tom Ripley as protagonist, she wrote many short stories. Michael Dirda observed, “Europeans honored her as a psychological novelist, part of an existentialist tradition represented by her own favorite writers, in particular Dostoyevsky, Conrad, Kafka, Gide, and Camus.”[2]

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The Price of Salt (later published under the title Carol) is a 1952 romance novel by Patricia Highsmith, first published under the pseudonym Claire Morgan.

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“Carol’  is certain to bring new readers to Highsmith, and once they dig in, they will be ravenous for more.

Highsmith was a lifelong diarist. She left behind eight thousand pages of handwritten notebooks and diaries.[6] After graduating from college, she started applying for work in various magazines, such as Harper’s Bazaar, Vogue, The New Yorker, Mademoiselle, Good Housekeeping and others, carrying “impressive” recommendations from “highly placed” professionals, and was getting rejected.[4] Her short stories started appearing eventually in Ellery Queen’s Mystery Magazine, in the early 1950s.

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The simple use of color for Blanchett and Mara’s clothing says plenty about the characters, especially in the silences the movie wanders into for extended periods. If there’s one complaint, and it’s just a personal preference, it’s the use of filters. (Lesley Coffin, movie Review, ‘Carol’ is a Beautiful, Composed Slow-Burn)

….But then you look at a film like Carol, and peer through the windows it opens onto both cultural history and actual history, and you realize how much we don’t know about a past that unfolded in the shadows until not very long ago. You also start to wonder how many cultural treasures and figures are buried in that antiquity, invisible to most of heterosexual America and perhaps to much of younger gay America, too. Highsmith’s “lesbian book,” its million paperback copies of six decades ago notwithstanding, is just such a case.(Frank Rich, ‘Loving Carol’at New York Magazine,  nov 15, 2015) 

…..Throughout, Haynes’s direction translates Highsmith’s hushed, spare, unnerving narrative voice into visual terms reminiscent of James Stewart’s feverish fixation on Kim Novak in Vertigo. (Frank Rich, ‘Loving Carol,at New York Magazine)

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20-minute interview, Cate Blanchett, Rooney Mara, director Todd Haynes and screenwriter Phyllis Nagy talk about making the 1950s-set romantic drama Carol, adapted from the novel by Patricia Highsmith
Anatomy of a scene “Carol” at New York Times/Culture

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What Haynes gets so perfectly right with this film really is the very specific sense of time and place, the urban life of those torn between domestic life and beat culture, before public and vocal feminist and LGBT activism. (Lesley Coffin, movie Review)

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Phyllis Nagy, Cate Blanchett, Rooney Mara, Todd Haynes and Kent Jones attends a Q&A for the film ‘Carol” during the 53rd New York Film Festival at Alice Tully Hall, Lincoln Center on October 8, 2015 in New York City
Rooney Mara, beautifully  photographed by Peter Lindberg at the recent (December 2015/Jan 2016) German  Interview

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Director Todd Haynes on film Carol/BBC radio /Film Programme,’Radio in Four’, 6min

 

 

 

Athens; “BLESS” at Radio Athenes

A short visit in Athens few days ago, caught me by surprise of the amazing installation by BLESS at Radio Athenes, where its  dynamic founder Helena Papadopoulos full force completed an amazing installation on the ground floor of the space and continue ‘aggressively’ but yet so beautifully on first floor at her  living space; indeed, an installation with no limits!

The Paris and Berlin based duo BLESS (Désirée Heiss and Ines Kaag) refuse to capitalize on any one milieu, and instead explore the differences between, and the mixing of, the systems of art, fashion, and design. They glide over the conventions of production, distribution and display to create things (to wear, to use, to look at, to smile at) for now and forever. Their collections are titled to reflect a current mood that may ostensibly last for many seasons to come, questioning consumerist behavioral patterns and proposing instead a ‘Present Perfect Continuous’.

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They came  to Athens to inhabit the Radio Athènes headquarters at 15 Petraki Street and the  private apartment on the first floor of the same building.  They transformed these interior spaces into a BLESSHome and  presented their ideal and artistic values to the greek public for the first time.

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What they do is not so easily summed up. “Many of our clothes are not spectacular catwalk items, but aim to be all time favorites for everyday life,” says BLESS. The collections they create (which is classified by a number rather than a season) feature reinvented garments like the N°10 pleatskirtscarf, a combination of a pleated skirt and scarf. Their projects remain somewhat simple, inspired by the ins and outs of daily life. (somethingabloutMagazine)

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The work of BLESS has been exhibited internationally including the 1st Berlin Biennial, the Musée d’Art Moderne de la Ville de Paris, the Centre Pompidou, Paris, Manifesta 4, the Palais de Tokyo, Paris, the Moderna Museet, Stockholm, the Stedelijk Museum Bureau, Amsterdam, the Goethe-Institut, Tokyo, the Museum Boijmans Van Beuningen, Rotterdam and the Istanbul Design Biennial.

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Is BLESS more successful in Berlin or Paris? Where do you more commonly see your garments worn?

Neither nor. BLESS supporters are spread all over the world. In Berlin or Paris, (there) is a concentration of friends and family. The ambitious aim in the beginning was that we wanted to feel like ‘Europeans’ are still relevant; we still don’t care if we get labeled in articles as French or German designers. With time it became more important to concentrate the energy we need for production more in a local context, but the outcome of our work is really without destination. With our perspective as a niche-designer, we appreciate that modern media spreads the information round the globe and connects us with like-minded people from far destinations.(Interview at somethingablout Magazine) 

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all photos@VK by permission
Radio Athènes institute for the advancement of contemporary visual culture is a non profit organization  in Athens. Radio Athènes was conceived and founded by Helena Papadopoulos in December 2014 with founding member Andreas Melas. The centre of operations that doubles as a bookstore is on 15 Petraki Street in Athens, Greece, zip code 10563, near Mitropoleos Square. The nearest metro stops are Syntagma and Monastiraki.

Munich: Jean Paul Gaultier “From the Sidewalk to Catwalk” at Kunsthalle der Hypo

The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk-a major retrospective of the haute-icon’s phenomenal oeuvre- at Herzog & de Meuron-designed Kunsthalle in Munich, preview opening, September 17th

September 18, 2015 – February 14, 2016.

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Thierry-Maxime Loriot, curator of the exhibition, working  with Swarovski as the premium partner, opens  up Gaultier’s historic archive and amazingly uncovers  some brilliant gems.  A super spectacle exhibition!

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For the past 40 years, the French couturier Jean Paul Gaultier (born in 1952), dubbed the ‘enfant terrible’ of haute couture, has been one of the most influential designers of contemporary fashion. More than any other, his bold and ironic creations have repeatedly challenged our concept of fashion and beauty.

FullSizeRender copy 3conThroughout his career, Gaultier has made it his mission to challenge conventional views on the social roles of fashion, while audaciously extending the fundamental manufacturing principles of fashion design. He uses a wide range of materials like feathers, crystals, animal skins, jet stones, metal cans or rubber. In his Paris couture atelier, these are finished with superb workmanship – often in unconventional combinations – for his avant-garde creations. Besides his hometown, he finds inspiration in a variety of sources: from the world of pop and mass media or the trends of subcultures like London’s punk scene to different cultures from around the world; prototypical figures like the geisha, the Native American or the torero inhabit his universe, yet always with surprising twists.

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…….In addition to his haute couture and prêt-à-porter designs, the show includes costumes for theater, dance, and cinema. Gaultier repeatedly worked together with film directors like Pedro Almodóvar, Luc Besson or Peter Greenaway and created stage outfits for popstars, like the famous bustier worn by Madonna in 1990 that caused a stir on her Blonde Ambition tour.

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above photos@VK taken during the opening exhibition

 

Exclusively for the Munich venue, Peter Lindberg shot the lead image, featuring Jean Paul Gaultier and Nadja Auermann. (photo published at kunsthalle der Hypo website )

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This exhibition celebrates haute couture legend Jean Paul Gaultier’s sparkling forty-year career and is Kunsthalle’s first fashion presentation, its 30th anniversary and its 100th exhibition.  Enjoy some of the celebrities during  the opening evening, 

Paros, Cyclades: a true craftsmanship designer; Christiane Smit

While sailing in the Cyclades islands in August, enjoying the blue water,  during a beautiful hot morning a visit  at  Christiane Smit’s studio in the island of Paros;  a pure craftsmanship  of refined simplicity of  hand stitching marvelous bags.

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Christiane Smit, born in Netherlands, lives and works in Papos island, one of the most beautiful island in the Cyclades, Greece.  She creates leather bags the old fashioned traditional way, using her hands. Each stitch is formed by hand with nothing more than an awl, one needle and a length of waxed linen. Having a passion for natural and organic materials it came natural to her choosing to work with natural dyed hole grain leather form the finest quality showing all original structures and the linen wax wire, which is used in book binding and baskets weaving…

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photos @VK, Christiane Smit’ s studio, Paros, Cyclades

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“It all started all when I fell in love with a piece of skin when I was travelling in Turkey, the most butter soft,  blood red, piece of goat suede just felt as silk in my hands and I started to design a small evening bag, using a vintage Japanese silk cloth as lining and grey sweet water pearls as handles…and the story takes it from there…”

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photos@Christiane Smit

As Christiane says, very few companies can invest the time necessary to hand stitch their items, but the strength and resilience of hand stitching far exceeds the machine made equivalent.

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we women, carry our life in our bags, they should be something more than a product, they should be a  extension of our own soul and personal style. Unique as every woman is.. versatile and honest good…refined simplicity:uncomplicated and pure.. 

Christiane’s “Petite Maison Christiane”, was born in 2011.  Christiane’s women are effortless chic: sophisticated but relaxed and simple.
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Christiane Smit’s inspirations came from living in the Caribbean and travelling through countries as Mexico, Guatemala, Suriname, America and Asia always having a soft spot for all things hand made.

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Christiane is  working only by order and customized so she cannot come out with a collection every season. The designs stay in the collection and she might make a change during time, for example The Basket Bag she did it in two colours, combined and every year or half year she  comes out with a new design. The Basket Bag that has two colours has a lot more stitching than the one colored bag. This bag goes with the summer breeze, bohemian chic, easy to wear from morning till the evening.

“I am passionate about all that’s real, clean and pure things, colour combinations because they created atmosphere. About love and my love for my work, people and working with my clients… enjoying always my passion for hand stitching… craftsmanship and creating”

Christiane Smit studied at University of The Arts London and Amsterdam. She worked  in Amsterdam in High End Jewellery, Bvlgari, Pomellato and Pasquale Bruni and High End fashion, Yohji Yamamoto, Comme des Garcon and Giorgio Armani. Travelling to Paris and Milan selecting collections for the different seasons… Life and her dream brought her to Paros island,  to create and live by the blue sea where she is inspired.

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some  photos were taken that beautiful morning at Christiane’s studio, on August 10th, 2015 in  Paros.

here a great shot by Christos Drazos and words by Maria Alipranti, Christiane Smit in Paros, “The Tide”

 

 

Munich; ARKADENDINNER​ at Kunstverein München

A lovely annual gala dinner ‘Arkadendinner’ for support the Kunsteverein of Munich last Wednesday evening. A lovely summer evening helped so the dinner took place under the Arcade.

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a performance by the artist Eglė Budvytytė took place in the garden. The performers/players worn ‘Mongolian Dragging Hoodies’. Produced together with fashion designer Andrea Kränzlin, the hoodies are inspired by attire worn by Mongolian fighters. Originally designed for practicality, the artist had these Hoodies specially-made to protect the heads, necks and shoulders of the performers in her piece Some were carried, some – dragged behind for Kunstverein München’s Akardendinner. Budvytytė has had each of the Hoodies – one of each of the performers – remade as a unique edition of 5.

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an amazing 3 course dinner by the legendary Schumann’s

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lovely to sit with my friends,  Esther Donatz, gallerist/MU and Daniel Wingate (Escada’s artistic director)

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Venetia Kapernekas & my lovely daughter Nefeli and Chris Fitzpatrick, director of K.m

Bavaria: a day visiting Schloss Elmau

A beautiful day with my daughter visiting the ultimate Wellness Retreat, a sanctuary at Schloss Elmau.   A magical  trip  to see our jivamukti yoga teacher and friend Ekaterini Lambropoulou.   Spectacular views and tranquility in a mystique foggy day until  the sun started warming up in the afternoon.   Driving to Schloss Elmau one can have spectacular views of Wetterstein Mountain and the crystal clear Ferchenbach Creek.

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a steaming pool for the foggy days,

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Ana Nefeli truly enjoyed it,

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the yoga practice room

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afternoon departure time, the sun warmed our way back

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Schloss Elmau is a luxury hotel at the foot of the Wetterstein mountains, in a nature reserve belonging to the municipality Krün, lying between Garmisch-Partenkirchen and Mittenwald in Bavaria, Germany.

The building was completed in 1916 as a place for artists, rather than as a schloss (palace), as the name implies. The five-star hotel today offers 123 rooms and suites, as well as a concert hall and several restaurants. It is a forum for renowned international conferences and meetings.[1] It is among The Leading Hotels of the World.

Schloss Elmau will be the site of the 41st G7 summit June 7-8 2015,

 

 

Vienna; Velázquez at Kunst Historisches Museum

My wonderful 3 day visit to Vienna with my children by invitation of my wonderful friends Lina and Nikolas included on  Saturday morning to enjoy the amazing show of Velázquez (1599 – 1660) at the Kunst Historishes Museum.

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This major exhibition in collaboration with, among others, the Museo Nacional del Prado Madrid, who holds the largest collection of works by Velázquez and has been the main lender, the National Gallery in London and the Boston Museum of Fine Arts.

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28 October 2014-15 February 2015

The Kunsthistorisches Museum hosts the first show in a German speaking country of the work of the Spanish artist Diego Velázquez (1599 – 1660). In addition to Velázquez’ charming portraits of the royal children – one of the highlights of the Picture Gallery of the Kunsthistorisches Museum – the show comprises other genres such as kitchen still lifes, religious subjects, mythologies and history paintings, offering a comprehensive survey of the master’s versatility and virtuosity. Among the seminal loans to this exhibition are the “Rokeby Venus”, “Apollo in the Forge of Vulcan” and the “Adoration of the Magi”, all of which have never been shown in Vienna. (museum press release)

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my favorite painting and I took time to listen to my wonderful friend Nikolas that we visited together was ‘The Waterseller‘, as many regard Velazquez’s best work from his early years in Seville.  “… throughout Europe, watersellers were essential in Seville. Nonetheless, they were ranked newar the bottom of the social pyramid. But Velazquez reverses this completely and inbues the old man with dignity, although the higher social status of the boy clutching the full glass is clearly indicated by his fine clothes and light skin….”

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‘The Waterseller’, c.1922 London, Apsley House, The Wellington Collection  

My beautiful stay was highlighted as I stayed at my friends’ house  on the 19th,  in the beautiful historical villa of Heinrich Schnitzler, son of the great writer Arthur Schnitzler.

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and a visit at cafe  Demel

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and of course a Viennese cafe on Sunday morning at Cafe Central with Lina

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Dear  Lina and Nikolas thank you  for the great hospitality to me and my children over the weekend in Vienna.

Keith York City

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