2014年3月31日 星期一

Italy’s High Fashion on the Factory Floor

Italy’s High Fashion on the Factory Floor

A lineup of  couture gowns,  from left:  Valentino, Dolce &  Gabbana, Armani  Privé, Giambattista  Valli, Valentino and  Roberto Capucci at  the exhibition. Credit Andrew Testa for The New York Times

LONDON — A cathedral-like structure soars overhead — in fitting grandeur to the gorgeous gowns below: Valentino’s black silk, Dolce & Gabbana’s Sicilian flowers, Capucci’s sweeping geometry in grass green and shocking pink.
But what is that rhythmic sound, penetrating the background music? It is the hum and click of a factory sewing machine.
“The Glamour of Italian Fashion: 1945–2014” at the Victoria & Albert Museum from Saturday to July 27 is a rare show that chronicles the birth of an industry and celebrates its beating technological heart.
It would have been easy for the curator, Sonnet Stanfill, to fill the museum’s rooms with splashy fashion from the 1980s and with today’s red carpet gowns. But she chose, instead, to measure Italian fashion as it moved from the ruins of the postwar period and the “sartoria,” or dressmaker wardrobes, to what is still — even after the invasion of Chinese factories into the heartland of Prato — the most effective industrial fashion machine in the world.
A mannequin in a Pucci tunic and leggings from 1966 next to a Vespa scooter. Credit Andrew Testa for The New York Times
“Because this subject hasn’t been done, it offered us — the V&A — an opportunity to tell it in broad chronology, focusing on points of influence,” Ms. Stanfill said. “What we don’t have is a chronicle of Armani’s career or of Prada. It’s about key examples that help move the story along.”
Italian fashion history started in Florence, and the exhibition begins there with a photograph of ruined buildings after the Second World War. That morphs into displays of dresses against a background of twinkling chandeliers in the Sala Bianca, where couturiers, little known outside their Italian habitat, created dresses for contessas.
In Ms. Stanfill’s chronology, the kickoff point for Italian fashion was 1951, when the Florentine buying agent Giovanni Battista Giorgini opened up his home to American retailers like Bergdorf Goodman and I. Magnin, seducing them with a dolce vita of society balls and parties in his city’s Boboli gardens.
This was a period when the Parisian couturier Pierre Balmain sneered, “Let the Americans play around with baby bonnets in Italy — they’ll come to us for their serious buying.”
Yet Rome became a beacon for movie stars from the 1950s, and a striking section called “Hollywood on the Tiber” includes movies on giant screens, dresses worn by Ava Gardner or Audrey Hepburn and an image of Liz Taylor with glinting Bulgari emeralds.
The Italians had been smart enough to diversify from ball gowns to a postwar sporty glamour, represented in this exhibition by Irene Galitzine’s famous “palazzo pajamas” and Emilio Pucci’s beach and ski wear. A Pucci display has a mannequin in a patterned shirt and matching hose mounting a silvered green Vespa scooter, that symbol of youthful sexiness and postwar freedom.
Although Ms. Stanfill said that it was “quite daunting to concentrate on 70 years of fashion production,” the exhibition advances at a crisp pace — save a display of the dull wardrobe of a bourgeois wife.
The show embraces tailoring with verve, demonstrating that the differences between the seductive Neapolitan style and the elegant Milanese look are all about the sexual charge of the Alpha male. (John F. Kennedy chose a sensual suit from the Roman designer Angelo Litrico.)
A multilayered silk gown with velvet stole by  Roberto Capucci from 1957. Credit Andrew Testa for The New York Times
But it is the exhibition’s second half that gets to the point: how Italy, for all its regional variations and often disputing designers, managed to make high fashion on the factory floor.
Visitors can gaze at Krizia’s knitted cat on the breast of a sweater or the intricacy of Missoni’s stitches. They will wonder at Trussardi’s laser-cut leather, Romeo Gigli’s romantic drapes, Moschino’s cheeky, iconoclastic designs and Gianni Versace’s sexually charged menswear. And so they should, since this section is labeled “The Cult of the Fashion Designer.”
That cult is defined by Anna Piaggi, the late and much lamented fashion oracle, as “a secret society, made up of pioneers, a few inventors and a few poets. They are the new phenomenon and the new elite.”
Some of those featured — like Walter Albini and Fiorucci — are fading names. And even with the early work of Giorgio Armani on display and a vitrine devoted to the textiles that helped create the extravagant gestures of Gianfranco Ferré, the real story of Italian fashion is in a digital map showing the areas of production: silk from Como, wool from Biella and leather goods from Tuscany, made famous by Gucci and Prada.
The exhibition’s accompanying V&A book, edited by Ms. Stanfill and including essays with rich illustrations, also sets out the story of the rise of different areas of Italy.
A later display underlines the importance of Italy’s material world, with a sexy outfit from Tom Ford’s last collection for Gucci, and a focus on Prada’s accessories, rather than the clothes — not forgetting Fendi furs.
The subtext of the exhibition is the rise of Milan — home of magazine and book publishing and of the advertising that produced the iconic mixed-race ads from Benetton. These ads are displayed at the show, among the work of the photographer Paolo Roversi and the Gian Paolo Barbieri image of a Ferre white blouse, which is used as the exhibition poster.
But is Milan now on the wane? This Italian story ends with a video debate about Milan’s current position in fashion, including Angela Missoni, Pier Paolo Piccioli and Maria Grazia Chiuri of Valentino and Franca Sozzani, editor in chief of Vogue Italia.
It is to the curator’s credit that the exhibition can raise questions for the fashion cognoscenti about the state of the Italian industry, while allowing a more general audience to appreciate La Bella Figura.

2014年3月30日 星期日

朱德群1922-2014「奇妙之光」、朱德群的抽象畫 一看就懂、朱德群88回顧展

提攜藝術後進 朱德群捐贈作品設獎學金 

  高齡88歲的藝術家朱德群,目前旅居法國,因為身體現況不適旅行,捐贈儀式由三名子女朱凱蒂、朱以華及朱以峰出席代表。朱德群的長女朱凱蒂表 示,父親希望藝術領域能後繼有人,但因為家中三姊弟各學有專長,無人承襲父親衣缽,於是希望能貢獻一己之力,提攜美術後進,將作品拍賣所得作為師大美術系 學生獎學金。相關獎學金成立辦法,美術系主任蘇憲法表示,目前還在規劃當中,可能提供美術系學生出國深造、交換學生之用。
  朱德群1951年起在台師大美術系任教,1955年離開台灣前往巴黎深造,從此展開大師的藝術創作之旅。法國國立吉美亞洲藝術博物館總館長戴浩 石讚許,朱德群是中西方藝術交流的重要人物,還是兩百年來首位進入法國「法蘭西研究院美術院士」的華裔人士,在他的眼中,朱德群在中西方藝術交流佔有舉足 輕重的地位。
  跨越半世紀對藝術的執著和奉獻,朱德群大師儘管已經88歲高齡,但現在仍然每天創作。校長郭義雄轉述先前和大師談話,朱德群教授對師大有種看不見的情 感,念茲在茲的是台灣藝術人才的養成;大師也了解藝術家的環境艱辛,因此希望貢獻力量,鼓勵優秀同學出國深造,讓藝術風氣薪火相傳。有感大師精神,郭校長 還預告要將師大藝廊改為德群館,讓朱大師的精神能一直流傳。
  朱德群的抽象作品,向以同時具備東方藝術的溫婉細膩,又帶有西方繪畫的濃烈粗獷聞名。這幅120F的油畫作品「奇妙之光」,是馨昌電子董事長鄧 傳馨,同時也是朱德群畫作的收藏家,特地協助朱大師從法國帶回台灣。美術系主任蘇憲法表示,「奇妙之光」融合西方的光線與中國的書法繪畫,吸引許多美術系 同學爭相與畫作合照。美術101范嘉恩就說,這幅畫看起來很和諧,朱大師的作品真是太棒了,也很謝謝他捐贈給美術系作為獎學金。

發布單位:媒體關係組 日 期:2008-09-20

朱德群88回顧展  Chu Teh-chun 88 Retrospective 2012


出生於江蘇。1935年入國立杭州藝專就讀,師從林風眠和潘天壽。1949年來臺曾在師 範大學藝術系任教。1955年赴法國巴黎深造定居,並開始創作抽象畫。一生中以賽尚和抽象畫家尼古拉‧德‧斯塔埃爾對朱德群影響最大。1957年以其妻董 景昭為模特兒的作品《景昭畫像》獲得巴黎春季沙龍銀牌獎。1987年在臺灣國立歷史博物館主辦朱德群回顧展,是他離臺三十二年後的第一次大型個展。 1997年當選法蘭西學院藝術院士。1998年臺北市立美術館個展。2000年在法國,上海,廣東各地個展,成為享譽國際藝壇的華裔藝術家之一。將對於中 國畫法與水墨詩詞的喜愛融匯於畫布上,賦予色光,使畫面淋漓地耀動璀璨起來。他的繪畫兼具東方藝術的細膩與西方繪畫的狂曠。運用線條與光線的明暗,產生高 低起伏的旋律與節奏感,把空氣、光、風、霧、水波的漣漪,都賦予蓬勃生命力。

whitespace Chu Teh-Chun (Chinese/French, b.1922,  sic) is a Chinese artist who established himself in France as an abstract painter. Born in the eastern city of Hangzhou, Chu studied traditional Chinese painting at Hangzhou’s School of Fine Arts. Chu followed the trajectory of many university instructors and students, who moved further west within China due to the 1937 Sino-Japanese War, and became a professor at the University of Nanking. In 1949, he moved to Taipei, where he taught at the National University for a decade and a half, before moving to Paris in 1955. The exposure to European art altered the focus of his career: Chu immersed himself in Western art, painting the Parisian countryside and visiting the Louvre. In 1956 he attended an exhibition of the Abstract works of Nicolas de Stäel, which spurred him to abandon figurative painting for colorful abstractions evocative of landscapes. He gained French recognition for his works during the second half of the 1950s, and his 1964 exhibition at the Carnegie Art Museum in Pittsburgh, shows in Jerusalem and Athens, and his participation in the 1969 Sao Paulo Biennial established his international reputation. In the 1970s, Chu returned to the practice of traditional Chinese calligraphy, which he studied as a youth and incorporated calligraphic elements into his paintings. In 1987, the Taipei Museum of National History held a retrospective of Chu’s work, assembling the entirety of his oeuvre for the first time in the 32 years since he left Taiwan. Chu lives and works in Paris today.

抽象畫家朱德群逝世 留法三劍客時代結束






朱德群88回顧展 = Chu Teh-chun 88 Retrospective / 國立歷史博物館編輯委員會編輯.

朱德群, 1920-
Bib IDvtls001110179
出版項臺北市 : 國立歷史博物館, 民國97年9月.
稽核項338面 : 圖, 彩圖版 ; 28公分.

 2008.9.19-11.23 展期 150元

朱德群》朱德群的抽象畫 一看就懂
從黑線中 散發雪的冷冽
在色塊裡 彈出動人音樂
朱德群和台灣的淵源頗深,民國38年從大陸到台灣,在台灣五年,曾任教於台北工專和省立台灣師範學院(現在的國立台灣師範大學),之後到法國深造。畫抽象 畫是到法國之後的事,他在台灣時的創作都是寫實作品。朱德群早期的畫作多由台灣收藏家收藏,收藏數量也很多,後來大陸收藏家有興趣收藏時,畫作價格已相當 貴,大陸收藏家的收藏數量不如台灣。

2014年3月16日 星期日

Nike Magista

在2014年巴西世界杯即將開戰之際,耐克發布了新概念的足球鞋“MAGISTA”。看到這款足球鞋,首先令人吃驚的是類似襪子的外觀。鞋面部分使用的是耐克的獨有技術“飛線針織技術”…… (詳見全文)


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