Monumental animal art infuses Chanel, Armani sports lozenges | Canada News Media
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Monumental animal art infuses Chanel, Armani sports lozenges

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2 years ago

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PARIS (AP) — Art returned to a glittering Chanel couture universe Tuesday with monumental animal sculptures gathering in the center of the runway-in-the-round like a surreal zoo for its Paris Fashion Week show.

Designer Virginie Viard collaborated with contemporary artist Xavier Veilhan who used a bestiary in house founder Coco Chanel’s apartment as a creative springboard for the carnival-like spring decor.

Yet as much as the animals — made of unpainted wood, paper and cardboard — appeared simplified, lifeless and monochrome, the Chanel collection contrasted strongly, sparkling with color and sequins in an unusually vibrant display.

Here are some highlights:

CHANEL’S ANIMAL PARADE

Veilhan said he wanted to “evoke the relationship to animals which is constantly evolving in our societies.”

A front row that included Marion Cotillard, Tilda Swinton, G-Dragon and Vanessa Paradis, watched as a gargantuan camel, bull, fish, horse and lion resembling blown-up mobiles were wheeled onto this strange runway, beneath a ceiling installation of large geometric discs.

One bird pushed on set with a large beak and myriad scruffy wooden plumes seemed to give birth to a model in a top hat and a split white riding jacket with fringed skirt. It had guests reaching for their cameras — with one dubbing it the “Trojan chick.”

 

The rest of the collection seemed less directly connected to the animal theme — and this level of subtlety was not a bad thing. There were strong equestrian styles, building on ideas from previous Viard seasons. Here, the riding jacket was a key theme, constructed in gleaming silken tweeds above gamine miniskirts and youthful skorts.

There were fun quirks galore in the long white gloves, black and white bow ties and skintight gold- or black-capped boots with white boxer-like lace ups — which sometimes felt disconnected from the general aesthetic.

The detailing of this superlative and at times poetical couture — which sparkled throughout with brocade, paillettes, sequins and gleaming silks — spoke for itself.

One loose amorphous gown glistened like a silver fish with its thousands of embroidered sequins and black, white and gold silken breast. Elsewhere, a thickly textured bell skirt was constructed using rippling layers of white-colored silk like a underwater shell, or perhaps a delicate stratus cloud.

ARMANI PRIVE’S CIRCUS

At the grand stone entrance of the Garde Républicaine, Giorgio Armani’s late start forced guests — some scantily clad — to wait in the freezing evening cold. Once the green light was given, Michelle Yeoh was among the first to walk down the path of romantic lanterns — effusing that she was “very happy to be here.” Then came Carla Bruni-Sarkozy extolling the “feminist power of couture.”

Juliette Binoche dodged questions about playing Coco Chanel in an upcoming Apple TV series “The New Look,” saying “this is not for tonight, now it’s time to support Giorgio — he’s a big supporter of artists.”

Once the media circus subsided, guests sat by a harlequin stage lined with interlocking-colored lozenges, ahead of a playful collection.

Silk bolero jackets opened the display that riffed on the 1980s, with lozenges appearing throughout — first as a 3D relief on jackets and, most dramatically, on a blown-up courtly ruff.

Fastidious embroideries in every color under the sun dripped down sometimes slinky A-line and body-caressing column silhouettes.

But too many styles and shapes came together in this rather exhaustive collection, with big jeweled flower appliques, dazzling sequin-encrusted jackets and round collar tops with geometric shapes — and that made the show hard to pin down as a whole.

Sometimes garments were overly structured, such as one paneled gown that creased awkwardly at the skirt, but there was so much dazzle and razzmatazz it’s unlikely many guests noticed.

 

ALEXIS MABILLE’S COLOR

His couture fusion dripped with drama.

French designer Alexis Mabille mixed old-school Grecian draping with a take on the Indian sari in the bright colors of South Asian dress. It produced a soft spring collection with longer silhouettes and fluttering scarves that used dozens of meters of floor-sweeping silk.

Bejeweled flowers adorned hairstyles, which, like the dangling lengths of fabric, flowed freely.

A bottle green gown cut a sublime hourglass silhouette. It reshaped the model’s body — open at the sides, wider at the top — and was held in place by a Grecian waistband. A cerulean blue gown, flowing unstructured from a round neck right to the floor, was notable for its pure simplicity.

Not everything was a hit, though, such as a blue hooded gown with slightly incongruous, spiked satin lapels and a misplaced belt that confused the eye.

STEPHANE ROLLAND GOES FOR GLAMOUR

A film projected on a giant screen to Stephane Rolland’s guests ahead of the show featured a homage to 1959 movie “Black Orpheus” filmed in Brazil. The movie, which won an Academy Award for Best Foreign Film, is set in the context of a favela during the famed Carnival time.

But Rolland seemed interested more in the carnival than the poverty of any favela — and the couture itself was highly stylized, haute glamour with a ballroom kick and, as ever, highly sculptural.

Purified white and black gowns sported giant whooshes of fabric, one as a floor-scraping train or as a huge neck band that when the model turned revealed a naked back. Another look, one of the collection’s best, was a three-dimensional back mini gown with skirt cut on the bias. It shot out in a huge wave from the hip.

 

Rolland played on the dramatic effect of flesh reveals against the purity of the often clean lengths of fabric — with scooped out plunging V-lines in the neck, split skirts and lopped-off shoulders.

 

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Calvin Lucyshyn: Vancouver Island Art Dealer Faces Fraud Charges After Police Seize Millions in Artwork

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4 days ago

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September 13, 2024

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In a case that has sent shockwaves through the Vancouver Island art community, a local art dealer has been charged with one count of fraud over $5,000. Calvin Lucyshyn, the former operator of the now-closed Winchester Galleries in Oak Bay, faces the charge after police seized hundreds of artworks, valued in the tens of millions of dollars, from various storage sites in the Greater Victoria area.

Alleged Fraud Scheme

Police allege that Lucyshyn had been taking valuable art from members of the public under the guise of appraising or consigning the pieces for sale, only to cut off all communication with the owners. This investigation began in April 2022, when police received a complaint from an individual who had provided four paintings to Lucyshyn, including three works by renowned British Columbia artist Emily Carr, and had not received any updates on their sale.

Further investigation by the Saanich Police Department revealed that this was not an isolated incident. Detectives found other alleged victims who had similar experiences with Winchester Galleries, leading police to execute search warrants at three separate storage locations across Greater Victoria.

Massive Seizure of Artworks

In what has become one of the largest art fraud investigations in recent Canadian history, authorities seized approximately 1,100 pieces of art, including more than 600 pieces from a storage site in Saanich, over 300 in Langford, and more than 100 in Oak Bay. Some of the more valuable pieces, according to police, were estimated to be worth $85,000 each.

Lucyshyn was arrested on April 21, 2022, but was later released from custody. In May 2024, a fraud charge was formally laid against him.

Artwork Returned, but Some Remain Unclaimed

In a statement released on Monday, the Saanich Police Department confirmed that 1,050 of the seized artworks have been returned to their rightful owners. However, several pieces remain unclaimed, and police continue their efforts to track down the owners of these works.

Court Proceedings Ongoing

The criminal charge against Lucyshyn has not yet been tested in court, and he has publicly stated his intention to defend himself against any pending allegations. His next court appearance is scheduled for September 10, 2024.

Impact on the Local Art Community

The news of Lucyshyn’s alleged fraud has deeply affected Vancouver Island’s art community, particularly collectors, galleries, and artists who may have been impacted by the gallery’s operations. With high-value pieces from artists like Emily Carr involved, the case underscores the vulnerabilities that can exist in art transactions.

For many art collectors, the investigation has raised concerns about the potential for fraud in the art world, particularly when it comes to dealing with private galleries and dealers. The seizure of such a vast collection of artworks has also led to questions about the management and oversight of valuable art pieces, as well as the importance of transparency and trust in the industry.

As the case continues to unfold in court, it will likely serve as a cautionary tale for collectors and galleries alike, highlighting the need for due diligence in the sale and appraisal of high-value artworks.

While much of the seized artwork has been returned, the full scale of the alleged fraud is still being unraveled. Lucyshyn’s upcoming court appearances will be closely watched, not only by the legal community but also by the wider art world, as it navigates the fallout from one of Canada’s most significant art fraud cases in recent memory.

Art collectors and individuals who believe they may have been affected by this case are encouraged to contact the Saanich Police Department to inquire about any unclaimed pieces. Additionally, the case serves as a reminder for anyone involved in high-value art transactions to work with reputable dealers and to keep thorough documentation of all transactions.

As with any investment, whether in art or other ventures, it is crucial to be cautious and informed. Art fraud can devastate personal collections and finances, but by taking steps to verify authenticity, provenance, and the reputation of dealers, collectors can help safeguard their valuable pieces.

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Ukrainian sells art in Essex while stuck in a warzone – BBC.com

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2 weeks ago

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September 2, 2024

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Ukrainian sells art in Essex while stuck in a warzone  BBC.com



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Somerset House Fire: Courtauld Gallery Reopens, Rest of Landmark Closed

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1 month ago

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August 18, 2024

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The Courtauld Gallery at Somerset House has reopened its doors to the public after a fire swept through the historic building in central London. While the gallery has resumed operations, the rest of the iconic site remains closed “until further notice.”

On Saturday, approximately 125 firefighters were called to the scene to battle the blaze, which sent smoke billowing across the city. Fortunately, the fire occurred in a part of the building not housing valuable artworks, and no injuries were reported. Authorities are still investigating the cause of the fire.

Despite the disruption, art lovers queued outside the gallery before it reopened at 10:00 BST on Sunday. One visitor expressed his relief, saying, “I was sad to see the fire, but I’m relieved the art is safe.”

The Clark family, visiting London from Washington state, USA, had a unique perspective on the incident. While sightseeing on the London Eye, they watched as firefighters tackled the flames. Paul Clark, accompanied by his wife Jiorgia and their four children, shared their concern for the safety of the artwork inside Somerset House. “It was sad to see,” Mr. Clark told the BBC. As a fan of Vincent Van Gogh, he was particularly relieved to learn that the painter’s famous Self-Portrait with Bandaged Ear had not been affected by the fire.

Blaze in the West Wing

The fire broke out around midday on Saturday in the west wing of Somerset House, a section of the building primarily used for offices and storage. Jonathan Reekie, director of Somerset House Trust, assured the public that “no valuable artefacts or artworks” were located in that part of the building. By Sunday, fire engines were still stationed outside as investigations into the fire’s origin continued.

About Somerset House

Located on the Strand in central London, Somerset House is a prominent arts venue with a rich history dating back to the Georgian era. Built on the site of a former Tudor palace, the complex is known for its iconic courtyard and is home to the Courtauld Gallery. The gallery houses a prestigious collection from the Samuel Courtauld Trust, showcasing masterpieces from the Middle Ages to the 20th century. Among the notable works are pieces by impressionist legends such as Edouard Manet, Claude Monet, Paul Cézanne, and Vincent Van Gogh.

Somerset House regularly hosts cultural exhibitions and public events, including its popular winter ice skating sessions in the courtyard. However, for now, the venue remains partially closed as authorities ensure the safety of the site following the fire.

Art lovers and the Somerset House community can take solace in knowing that the invaluable collection remains unharmed, and the Courtauld Gallery continues to welcome visitors, offering a reprieve amid the disruption.

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