Wednesday, August 24

Time Machine & Lilicopter of Joana Vasconcelos at Versailles

Joana Vasconcelos was born in Paris in 1971 but now lives and works in Lisbon. She has exhibited regularly since the mid-1990s. After her participation in the 51st International Art Exhibition– la Biennale di Venezia in 2005, her work became known internationally.

During her a solo exhibition "Time Machine" at the Château de Versailles, France (2012) she introduced the Lilicopter, a beautiful folie mix of Marie Antoinette and helicopter, past and present, feminine beauty and manly machine, fashion and technology coexisting harmoniously.

The Lilicopter exudes a sensual magnetism embodying the kind of beauty one is helplessly drawn to; it's almost alive. Far from shy, dressed up in feathers and crystals, gold and leather inside out, the Lilicopter is a unique creature close to ones heart.

The nature of Joana Vasconcelos’ creative process is based on the appropriation and decontextualisation of pre-existent objects and everyday realities. Her acute sense of scale and mastery of materials and colour challenge the perception of beauty of the quotidian.

Joana explains why she travels in time and places as a result of her personal history and creative mind. Something more we have in common Joana, the relativity of space and time.

Tuesday, August 16

Jury @ Connections Chicago September 21st 2016

See you at Le Book Connections in Chicago! I am honored to be a member of the jury! Cecilia's profile page at #LeBookConnect #ConnectionsChicago

Saturday, July 18

Emilie Flöge and her Secession Dresses Ahead of her Time

In 1918, at the age of 56, Klimt's last words were “Get Emilie”.

In Vienna of 1886, the city of elegant cafés, grand opera houses, and a thriving and adventurous artistic community, is where the twelve-year-old Emilie meets the controversial painter. Hired by her father for basic drawing lessons, Klimt introduces Emilie to a subculture of bohemian artists, muses and decadent patrons that both terrifies and inspires her. 

The Painted Kiss follows Emilie as she blossoms from a naïve young girl to one of Europe's most exclusive couturiers—and Klimt's most beloved muse and mistress.

After wining a dressmaking competition in 1899, Emilie and her sister were commissioned to design a piece for a prestigious exhibition. From there, they established themselves as successful businesswomen and opened an haute couture fashion salon called the Schwestern Flöge (Flöge Sisters). 

Away from Klimt's other romantic adventures, her salon rose to become one of the leading fashion addresses for Viennese society, contemporary to Parisians Coco Chanel and Christian Dior. 

Outside of her haute couture salon, Emilie had a more rebellious taste for fashion that was misunderstood by the Austrian society of the time, but not GustavHer signature dresses had no corset and hung loosely from the shoulders with comfortable, wide sleeves. Emilie is the unrecognized creator of the mosaic-like dresses depicted on Klimt's work.

Despite Klimt's promotion, the dresses didn’t sell as much as her more traditional line. Even some have been attributed to other artists including Koloman Moser and Klimt himself. They proved to be too revolutionary for a female artist, ahead of her time.

Today Valentino Fall/ Winter 2015 Show’s quoted Emilie Flöge and Celia Birtwell as an inspiration for the collection. Flöge, who was a couturier in her own right and rejected the era of de rigueur corsets, gave the designers the collection's gentle A-line silhouettes and gold leaf effects on fox-fur coats, as well as lit-from-within quilted velvet coats.