Eventi

“Foulard delle montagne”: Inaugurata a Courmayeur la mostra che racconta un’icona di stile,

Published

6 anni ago

4 Luglio 2017

DailyMood.it

Una vera e propria “foulard parade” a cura del Museo Nazionale della Montagna di Torino

Una incredibile carrellata di immagini e colori su seta, sei pregiati carré Hermès dedicati a Courmayeur, il Foulard Monte Bianco, in tiratura limitata, una sezione dedicata alle star degli ultimi decenni, da Frida Khalo a Sarah Jessica Parker, passando per Audrey Hepburn, celebrate attraverso il loro accessorio simbolo, il foulard, saranno in esposizione al Museo Transfrontaliero di Courmayeur fino al 3 settembre. Sabato l’inaugurazione, alla presenza del Sindaco Fabrizia Derriard e di Filippo DeMarchi di Maserati, Brand Ambassador di località. La mostra, a cura del Museo della Montagna di Torino, racconta attraverso oltre 70 pezzi unici, l’iconografia della montagna da un punto di vista insolito intrecciando alla storia delle Alpi, la poesia di un accessorio iconico e dall’intramontabile eleganza.

Dettaglio elegante, acconciatura esotica, “must have” di ogni diva hollywoodiana, o perfino bandana rock’n roll: a ciascuno il suo foulard, «il tocco finale di una mise», come lo definiva Christian Dior. Sabato scorso al Museo Transfrontaliero di Courmayeur è stata inaugurata la mostra “Foulard delle Montagne”: un’esposizione curata dal Museo Nazionale della Montagna di Torino, visitabile fino al 3 settembre.
«Siamo contenti di poter ospitare una mostra che racconta, attraverso stoffe e disegni, un emblema di raffinatezza e bellezza, un veicolo davvero originale per un approccio all’iconografia della montagna diverso e che incarna perfettamente l’eleganza sobria e sofisticata di Courmayeur» sottolinea il Sindaco di Courmayeur Fabrizia Derriard. «Un particolare ringraziamento va ad Aldo Audisio, direttore del Museo Nazionale della Montagna di Torino, per aver curato la mostra, a Maserati Italia per il supporto e la collaborazione, e a Radio Monte Carlo, media partner dell’iniziativa».
«Il foulard è un’icona senza tempo, che porta la firma di stilisti importanti e cattura e definisce come pochi altri dettagli lo stile personale» prosegue Filippo DeMarchi di Maserati «così come le nostre auto, iconiche, eleganti, sintesi perfetta tra lusso, sportività e un senso dello stile tutto italiano.”
La collezione raccoglie 70 foulard, dagli anni Venti e Trenta del Novecento ad oggi, e comprende i nomi delle grandi firme della moda, da Chanel a Hermès, Prada, Givenchy, Gucci, Céline, Krizia, Burberrys, Escada, Gabrielli, AAllard e Bogner, ma anche esempi più semplici, lontani dall’accessorio di lusso. Seta, principalmente, ma anche cotone e lana, fino ad arrivare ai materiali sintetici: il foulard può essere declinato in mille modi, così come il mito della montagna può essere raccontato attraverso stili differenti.
Tra i foulard in mostra, anche una serie di 6 pregiati carré Hermès, provenienti dalla collezione personale di Wanda Jacquemod, piccoli capolavori dedicati dalla casa di moda a Courmayeur e alla Valle d’Aosta. Un’edizione speciale ed esclusiva con motivi invernali, realizzata e serigrafata a mano in soli 100 pezzi per la Boutique Hermès di Courmayeur.
Un’altra sezione della mostra, a cura di Federica Migliazza, fashion stylist e grazie alla collaborazione di Bonaveri, storica azienda del saper fare italiano, di A.N.G.E.L.O, Vintage Archive e Beautick, è dedicata a 5 icone della moda che meglio di altre hanno incarnato, attraverso le epoche, l’immaginario legato a questo dettaglio di stile: Frida Khalo negli anni ’30, Audrey Hepburn negli anni ’50 e ’60, Jimi Hendrix negli anni ’70, Madonna negli anni ’80 fino ad arrivare a Sarah Jessica Parker negli anni 2000.
Non poteva infine mancare un omaggio al Tetto d’Europa, simbolo dell’alta montagna. In mostra il Foulard Monte Bianco – variante color arancio – acquistabile durante l’esposizione e realizzato in esclusiva con una tiratura limitata a soli 50 pezzi. Ideato dal Museo Nazionale della Montagna di Torino in collaborazione con Cattaneo Cravatte, Il Foulard del Monte Bianco è stato creato e disegnato da Maurizio Rivetti, artista e serigrafo, ma anche alpinista e frequentatore delle vette, è destinato a diventare un raro oggetto da collezione.
La mostra avrà anche un suo “beat” un ritmo speciale grazie alla media partnership con Radio Monte Carlo, che non solo allieterà la visita di “Foulard delle Montagne” con la sua musica ma che supporterà il progetto grazie a diverse attività “live” sulla radio oltre che sui canali social e internet nel segno dello stile e dell’eleganza che da sempre la contraddistingue.

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Eventi

Azzedine Alaïa, couturier and collector

Published

2 settimane ago

20 Settembre 2023

DailyMood.it

«For many years now, I’ve been buying and receiving dresses, coats and jackets that reflect the glorious history of fashion. It has become part of my corporate attitude to preserve them, a mark of solidarity with those who, before me, knew the pleasures and demands of the scissor. It is my personal tribute to all the crafts and all the ideas that these garments embody » – Azzedine Alaïa

Ten years after the major retrospective devoted to him at the Palais Galliera, Azzedine Alaïa (1935-2017) is back in the spotlight with an exhibition showcasing the remarkable heritage collection he amassed over the years, and which has never been exhibited before.

Azzedine Alaïa was a virtuoso cutter. His technical skills stemmed from his deep admiration for the couturiers of the past and from his long experience with the clients he so expertly served.

Alaïa was also an exceptional collector. He started in 1968 with some exquisite pieces acquired when Cristóbal Balenciaga closed his fashion house. He found studying the haute couture creations of the Spanish master enthralling and it led to a passion for the history of his own discipline..

Alaïa collected over 20,000 pieces documenting the art of his predecessors, from the birth of haute couture in the late 19th century to pieces by some of his contemporaries. He was the world’s foremost collector of some of the most prestigious couturiers, including Worth, Jeanne Lanvin, Jean Patou, Cristóbal Balenciaga, Madame Grès, Paul Poiret, Gabrielle Chanel, Madeleine Vionnet, Elsa Schiaparelli and Christian Dior. Contemporary creation is represented by pieces by Jean Paul Gaultier, Comme des Garçons, Alexander McQueen, Thierry Mugler and Yohji Yamamoto….

The exhibition features some 140 exceptional pieces tracing the history of this priceless collection, which Alaïa built up in total secrecy. Nobody saw it during his lifetime, neither in France nor elsewhere.

To conclude their tour, visitors are invited to cross over to the Salle Matisse in the Musée d’Art Moderne, opposite the Palais Galliera, Three stage costumes designed by Henri Matisse for the Ballets Russes in 1919 are on display there − typical of the dialogue between fashion and art so dear to Azzedine Alaïa.

Vademecum

PALAIS GALLIERA
MUSĒE DE LA MODE
DE PARIS

EXHIBITION
27 SEPTEMBER 2023
21 JANUARY 2024

INFORMATION
www.palaisgalliera.paris.fr
#alaiacollectionneur

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Eventi

Tempesta Gallery presenta: il viaggio nel “vuoto” di CARLO COSSIGNANI Speak to Me in a Floating Way

Published

2 settimane ago

19 Settembre 2023

DailyMood.it

Tempesta Gallery è lieta di annunciare l’esposizione di Carlo Cossignani, artista poliedrico che si muove agilmente tra pittura e scultura in un dialogo costante e riflessivo. Il percorso installativo è stato pensato e realizzato appositamente per la galleria e presenta una selezione di lavori inediti incentrata sul tema del vuoto quale elemento fondativo della realtà visibile e invisibile.

Le opere di Cossignani sono frutto di una stratificazione cerebrale e visiva, un’attenta osservazione oltre il contenuto che valorizza gli “scarti”, lo stato di vuoto che resta aldilá dei contorni del pennello e rivela forme, visi, corpi. Lo sguardo si perde viaggiando nelle diverse dimensioni ed entrando nella profondità dell’immagine che apre mondi e riflessioni diventando molteplice, fluida e indefinita. Le interpretazioni si sovrappongono e parlano allo spettatore del lato piú intimo e personale.

“Il progetto nasce da un’evoluzione di un lavoro che porto avanti da qualche anno, avevo un’ossessione verso la parte non visibile e ho iniziato a sviluppare una serie di riflessioni sul tema del vuoto trovando riscontri anche nella scienza che conferma come non solo l’origine di tutto sia nata da uno stato di vuoto, da uno zero, ma che il vuoto stesso abbia una propria sostanza. Anni fa, durante la realizzazione di alcune scenografie per un cortometraggio, lavoravo con tutti questi ritagli di carta, mi
sono reso conto che gli scarti parlavano piú del soggetto che ne ricavavo, queste sagome che rimanevano vuote lasciavano libera interpretazione, diventando esse stesse sostanza. Il vuoto non rappresenta una controparte del pieno ma l’uno il costituente dell’altro. Mi sono trovato ad applicare questa modalitá anche alla mia vita contemplando l’impercettibile, lo sfondo miope, e andando oltre la realtá come apparenza. Il vuoto è la caratteristica dominante con cui io costruisco il lavoro, la sostanza in cui sono immerse le forme del mio sentire”. Carlo Cossignani.

Il percorso espositivo presenta un racconto continuo, una fluttuazione attraverso la materia impressa dalla leggerezza dell’acquerello, espressione apparentemente fragile che nasconde una forza endogena che rimanda a concetti pittorici classici e li travalica nelle forme organiche e oniriche che lambiscono le figure dell’intelligenza artificiale. Le sculture in acciaio specchiato, fredde e taglienti ricordano le architetture arabo-normanne, pretendono una parte di spazio ma senza fondamenti e legami alla terra, come aquiloni sospesi sono strutture aliene e impossibili la cui funzione è negata,
svuotata. Si rivela un dualismo precario dove la carta, materia delicata, si confronta con le sagome taglienti dell’acciaio, ed esprime la struttura originaria del nostro universo costituita da diversi stati di stabilitá, é in questo fragile equilibrio tra aggregazione e la disgregazione, tra uno stato e l’altro che l’artista accede a quella dimensione di realtà del percepito, dove i soggetti si spogliano di ogni resistenza, lasciandosi modellare da presenze impercettibili così da renderli compiuti, laddove l’apparenza lascia spazio alla somiglianza e il tempo della contemplazione induce domande profonde.

“Il lavoro di Carlo Cossignani sfida l’effimera contemporaneità del nostro mondo digitale. In un’epoca in cui tutto sembra essere immediato e fugace, dove le informazioni scorrono veloci e superficiali, la decisione di dedicare una mostra all’arte di Cossignani è un atto di resistenza alla fretta e all’effimero. La scelta di focalizzarsi sul lavoro di questo eclettico artista è motivata dalla profonda convinzione che l’arte non debba essere consumata in un istante, ma debba essere assaporata, contemplata e interpretata con calma. Le opere di Cossignani ci costringono ad abbandonare la corsa frenetica del nostro quotidiano per immergerci in un mondo di strati e complessità. Questa mostra rappresenta l’opportunità di sfuggire alla frenesia del mondo moderno e di immergersi in un universo artistico dove il tempo assume una dimensione diversa.” Elisa Bonzano, art director Tempesta Gallery.

TEMPESTA GALLERY
Foro Buonaparte 68

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Eventi

The “Gabrielle Chanel. Fashion Manifesto” exhibition at the Victoria and Albert Museum, London

Published

3 settimane ago

14 Settembre 2023

DailyMood.it

The “Gabrielle Chanel. Fashion Manifesto” exhibition at the Victoria and Albert museum, London
16 September 2023 – 25 February 2024

V&A opens first UK exhibition dedicated to the work of Pioneering Fashion Designer Gabrielle ‘Coco’ Chanel Tickets available at vam.ac.uk/chanel
Gabrielle Chanel. Fashion Manifesto
Exhibition presented in partnership with Palais Galliera, Fashion Museum of the City of Paris, Paris Musées
With the support of CHANEL
The Sainsbury Gallery
16 September 2023 – 25 February 2024 vam.ac.uk | @V_and_A

Opening this Saturday, Gabrielle Chanel. Fashion Manifesto is the first UK exhibition dedicated to the work of French couturière, Gabrielle ‘Coco’ Chanel, charting the evolution of her iconic design style and the establishment of the House of CHANEL, from the opening of her first millinery boutique in Paris in 1910 to the showing of her final collection in 1971.
Featuring almost 200 looks seen together for the first time, as well as accessories, perfumes and jewellery, the exhibition explores Chanel’s pioneering approach to fashion design, which paved the way for a new elegance and continues to influence the way women dress today.

Based upon the Gabrielle Chanel. Fashion Manifesto exhibition organised by the Palais Galliera, Fashion Museum of the City of Paris, the exhibition is re-imagined by the V&A, with over 100 new objects including 60 new looks. It features rarely seen pieces from the V&A’s collection, alongside looks from Palais Galliera and the Patrimoine de CHANEL, the heritage collections of the fashion House in Paris. Highlights include one of the earliest surviving Chanel garments from 1916; original costumes designed by Chanel for the Ballets Russes production of Le Train Bleu in 1924; outfits created for Hollywood stars Lauren Bacall and Marlene Dietrich; an early example of Chanel’s ground-breaking evening trousers and ensembles from Chanel’s final collection of 1971.

Chanel designed first and foremost for herself. By creating clothes fit for an independent and active lifestyle, she anticipated the needs and wants of the modern woman. Through ten themed sections, the exhibition explores Chanel’s innovative approach to fabric, silhouette and construction, and will examine how she drafted a new framework for fashion in the twentieth century. Showcasing a stunning array of some of Chanel’s most notable designs from her sixty years in fashion, the exhibition analyses her professional career, the emergence and the development of her style, and her contribution to the history of fashion. The exhibition also highlights Chanel’s British inspirations, such as her adoption of tweed, partnerships with British textile firms and textile factory in Huddersfield.

Tristram Hunt, Director of the V&A, said: “As one of the most successful fashion houses in existence, CHANEL owes much to the templates first laid down by its founder Gabrielle Chanel, over a century ago. We are delighted to be partnering with CHANEL and the Palais Galliera on this exhibition, which provides us with the opportunity to explore the origins and elements of this enduring style and to display little-known historic Chanel garments from the V&A collection.”

Director of the Palais Galliera, Miren Arzalluz said: “Gabrielle Chanel devoted her long life to creating, perfecting and promoting a new kind of elegance based on freedom of movement, a natural and casual pose, a subtle elegance that shuns all extravagances, a timeless style for a new kind of woman. That was her fashion manifesto, a legacy that has never gone out of style.”
“Her success was based not only on the functionality, comfort and chic elegance of her designs, but also on her ability to grasp and interpret the needs and desires of the women of her time.”

Bruno Pavlovsky, President of CHANEL SAS and President of CHANEL Fashion, said: “We are happy and honored that the first exhibition dedicated to Gabrielle Chanel to be held in the UK, will be presented at the V&A, one of the most prestigious museums in the world. Gabrielle Chanel was a legend in her own lifetime. This exhibition will analyze her contribution to fashion and her radical vision of a style that created modernity and reflected the aspirations of women and the evolution of their place in society.”

“CHANEL is delighted to contribute to this project, providing access to the Patrimoine de CHANEL, and thanks the V&A for hosting this exceptional exhibition.”

Across ten sections, Gabrielle Chanel. Fashion Manifesto showcases the exquisite skill and innovation from the founder of the House of CHANEL:

• Towards A New Elegance offers an introduction to the beginning of Gabrielle Chanel’s career as a milliner, opening her first boutique on the rue Cambon in Paris in 1910, and further boutiques in the fashionable coastal resorts of Deauville and Biarritz. The section outlines how the success of this business enabled her expansion into clothing. It will feature one of the earliest surviving Chanel garments, characterised by minimalism and precision – a streamlined way of dressing that contrasted with the excessively decorative fashions of the day, and would lay the foundations of her design principles.

• The Emergence of a Style focuses on how Chanel developed an immediately identifiable signature style in the 1920s and 1930s. With clean lines, fluid materials and a simplistic colour palette, her understated designs were radical in their practicality yet displayed a refined elegance. Several sub-sections will also examine the role of textiles and manufacturing, her use of embroidery in her designs and spotlight Chanel’s famous little black dress. This section also includes Chanel’s British influences and
business ventures, and her creations being worn on the theatre stage and silver screen.

• The Invisible Accessory showcases the creation and impact of Gabrielle Chanel’s debut perfume N°5 which became the world’s best-selling fragrance. Designed as an extension of her clothing and echoing her vision of modernity, Chanel made N°5 the signature of her fashion house. This section will also explore the launch of Chanel’s range of make-up in 1924 and skincare in 1927. Visitors will walk-through a gold tinted installation referencing the iconic No°5 perfume bottle.

• Luxury and Line focuses on how Chanel’s eveningwear demonstrated a refined mix of inventiveness and classicism which subtly accentuated the female form. She harmonised proportions and materials aiming to create garments which expressed elegance, freedom and simplicity. The resulting designs conveyed the tension between garment and body, described in French as the ‘allure’. This section will also look at “Bijoux de Diamants”, her first and only 1932 collection of fine jewellery commissioned by the International Diamond Corporation of London.

• Closing the House will outline the impact of the outbreak of war in 1939 on her personal and professional life. The exhibition will continue with Chanel’s official Return to Fashion on 5 February 1954, with the relaunch of her couture house at the age of seventy-one. Chanel’s return collection featured the signature hallmarks that she had so successfully introduced during the 1920s and 30s, representing her updated vision of the modern woman’s wardrobe.

• The Suit will spotlight the defining garment of Gabrielle Chanel’s post-war contribution to fashion, with over fifty ensembles in a range of colours on display across two levels. A declaration of her vision of modern femininity, the Chanel suit combined ease and comfort with simplicity and style. Described by Vogue in 1964 as “the world’s prettiest uniform,” the Chanel suit, which has since become a timeless classic, remains a staple reference for fashion today.

• Chanel Codes will focus on how accessories were fundamental to Chanel’s conception of a harmonious silhouette. They reflected her pragmatic vision of fashion and provided recognisable codes which underlined the unity of her style. Since the 1950s, the Chanel 2.55 handbag and two-tone slingback shoes have become two of the most enduring accessories in the world of fashion.

• Into the Evening showcases eveningwear as an important part of Chanel’s couture collections in the latter part of her career. From the late 1950s onwards, she adapted her suits to include a range to be worn into the evening. These cocktail suits followed the same form as her day suits, realised in a plethora of richly decorative fabrics such as gold and silver lamés, textured weaves and intricately patterned silks. This section draws inspiration from the golden colour palette and black lacquer coromandel screens of Chanel’s own apartment.

• Costume Jewellery will explore this essential part of Gabrielle Chanel’s distinct style. Rejecting the conventions of fine jewels, Chanel gave costume jewellery a new status. From the beginning of the 1920s, Chanel’s boutiques offered a dazzling range of
costume jewellery to wear with her sleek fashionable garments. The couturière’s costume jewellery drew inspiration from many places and historical epochs.

• A Timeless Allure – the exhibition finale – celebrates the evening dress as Chanel’s exercise in style with looks displayed on a recreation of the iconic mirrored staircase based on the designer’s atelier. She proposed a relaxed version of the formal dress that was both discreet and refined, revisiting the foundations that had governed her aesthetic and punctuated her career. This section will showcase that right up until her final collection of Spring-Summer 1971, Gabrielle Chanel reinterpreted, updated and perfected her rules and principles, continuously refining her quintessential style.

The “Gabrielle Chanel. Fashion Manifesto” exhibition at the Victoria and Albert museum, London
16 September 2023 – 25 February 2024

The V&A is to stage the first UK exhibition dedicated to the work of French couturière, Gabrielle ‘Coco’ Chanel, charting the evolution of her iconic design style and the establishment of the House of CHANEL, from the opening of her first millinery boutique in Paris in 1910 to the showing of her final collection in 1971.
This exhibition will be presented in partnership with Palais Galliera, Fashion Museum of the City of Paris, Paris Musées. With the support of CHANEL.
On Tuesday 12th September ambassadors and friends of the House attended a dinner at the Victoria & Albert Museum in London to celebrate the exhibition.

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Ambassadors and Friends of the House

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