Wednesday, 22 November 2017

Damien Hirst - Palazzo Grassi Venice

Treasures from the Wreck of the Unbelievable Damien Hirst

‘Treasures from the Wreck of the Unbelievable’. It is the first major solo exhibition dedicated to Damien Hirst in Italy since the 2004 retrospective at the Museo Archeologico Nazionale in Naples (“The Agony and Ecstasy”) and is curated by Elena Geuna, curator of the monographic shows dedicated to Rudolf Stingel (2013) and Sigmar Polke (2016) presented at Palazzo Grassi.

The exhibition is displayed across 5,000 square meters of museum space and marks the first time that Palazzo Grassi and Punta della Dogana, the two Venetian venues of the Pinault Collection, are both dedicated to a single artist.

Damien Hirst’s most ambitious and complex project to date, ‘Treasures from the Wreck of the Unbelievable’ has been almost ten years in the making. Exceptional in scale and scope, the exhibition tells the story of the ancient wreck of a vast ship, the ‘Unbelievable’ (Apistos in the original Koine Greek), and presents what was discovered of its precious cargo: the impressive collection of Aulus Calidius Amotan – a freed slave better known as Cif Amotan II – which was destined for a temple dedicated to the sun.

Tuesday, 21 November 2017

Venice Art Biennale 2017

Lorenzo Quinn

The 57th edition of Venice Biennale is closing 26th of November. Beinig there for the very first time, I felt rather overwhelmed but the intense programme. However, during the short stay I have managed to see most of the national pavilions in the Giardini and the ancient industrial buildings of the Arsenale. Furthermore, I visited several collateral events.
Starting at Giardini, among the 29 national pavilions in the city’s public gardens there are standouts and dissapointments. The next day was more satisfying at the Arsenale, that also includes Christine Macel’s specially curated show Viva Arte Viva.
The national pavilions that stood out where South Africa, France, Germany, Finland, Austria, South Korea, New Zealand, Italy and Great Britain.
The 57th International Art Exhibition, titled Viva Arte Viva, is open to the public from Saturday May 13th to Sunday November 26th, at Arsenale and Giardini venues, and in several locations in Venice. The show features 120 invited artists, 103 of these are participating for the first time, 86 national participations, special projects, and 23 collateral events and exhibitions.

The Venice Biennale has been for over 120 years one of the most prestigious cultural institutions in the world. The history of the La Biennale di Venezia dates back from 1895, when the first International Art Exhibition was organized. In the 1930s new festivals were born: Music, Cinema, and Theatre (the Venice Film Festival in 1932 was the first film festival in history). In 1980 the first International Architecture Exhibition took place, and in 1999 Dance made its debut at La Biennale.

Here are some images from Giradini, the city and Arsenale.
The Golden Tower by James Lee Byars

Wednesday, 15 November 2017

Vivian Heyms - The Modern Dutchman

Vivian Heyms presented her project 'The Modern Dutchman' at TAC during Dutch Design Week.
Graduated from AKV|St.Joost, with her project Vivian questions the Dutch Identity.

In a changing Netherlands there is an indistinctness about our country and our citizens. And there is an ongoing search for the Dutch Identity. And a clear call for nostalgia. ​
Our Identity has a lot of different aspects but what we all recognize and acknowledge, is our cultural heritage and our directness. In this project the modern Dutchman is put into our cultural heritage in a simple and direct way. In this way it aims to connect the old Netherlands to the modern Netherlands and the other way around. ​
The illustrations were placed on top of everyday products to portray and show the beauty of the modern Dutchman. In this modern interpretation of classic Dutch cultural heritage, you can see that the Netherlands is constantly changing but remains the same.

Fashion as a platform for protest

Markéta Martišková
Wat is the role of fashion in the context of society? With the 2017 edition of FASHIONCLASH Festival aim to question if fashion makes sense I kept thinking about the morality of fashion. Can fashion be more activist and is it legitimate for fashion to take a position in critical debate.
Recently, there is a shift and  increasing involvement in relation to sustainability issues. Without taking away the importance to this, the question is what other topics can be addressed with fashion.
Looking back through the eyes of the past events there are many examples to be highlighted where fashion as a form of protest played a major role in historical events.

Fashion hasn’t always been the way it is now: increasingly acceptive, liberating and accessible to everyone. Fashion overcame many obstacles, which were back in the day ridiculed and controversial. It might be hard to imagine, but women from past generations, were shunned for wearing pants. The idea of menswear-inspired suits for women was unthinkable. Risking their reputation and career, a number of fashion designers challenged the rules with their designs. Coco Chanel was at the helm of popularizing the lady trousers and thankfully for us, she succeeded. Yves Saint Laurent,  fearlessly brought back clothing styles and cuts reminiscent of the war years — think bouffant shoulders and mini shift dresses — and had to go into hiding from the public in consequence. His 1971 'Scandal' collection saw revealing sheer blouses, flared pants, bouffant shoulders, short dresses, and platform shoes. It was dubbed the "Ugliest collection in Paris" and YSL had to go into hiding as he waited for the public's politically-fueled rage to pass.
Nowadays we have maxi, midi, knee-length and ultra-short skirts. But the latter only started in the 50s, when Mary Quant's customers asked her to stitch them shorter skirts. Finally she coined the term 'miniskirt' in the 60s, naming it after her favourite car, Mini Cooper. She said the practical frock allowed her to run for the bus, and is in no way restrictive.
Dame Vivienne Westwood is the heroine of punk. She helped the trend emerge in the 1970s, with her tartan clothing, metal studs, gothic makeup and eccentric hair colours. It was a much-needed freedom to express creativity in the mainstream British society.

It remains hard to define what platform fashion takes within our contemporary society. Though often dismissed as superficial and irrelevant, perhaps fashion plays a much more important role in our lives than we might think. What is the right format to do so? How can we engage the younger generation to get active and really speak out, not only by wearing a slogan.

Hereby, I would like to share with you some examples articles concerning 'fashion and protest'.
In particular, looking back to actual historical events proves the power fashion possess as a medium to address issues.

Fashion and protest articles in media
i-D magazine published an article 'Is fashion a legitimate form of protest?' Clothes can send a powerful message, as long as the activism doesn't begin and end at a t-shirt.

In 2016 published a very relevant article 'When Fashion Becomes a Form of Protest' written by Alexander Fury, illustrating a connection with 18th century punks and our contemporary rebels.
Bof already published an article in 2014 'Is Fashion a Credible Platform for Protest', followed by the fashion show Karl Lagerfeld presented for Chanel where he appropriated the visual signifiers of feminist protest for its seasonal runway show.
"The $1 trillion fashion industry has a huge impact on lives, economies and the environment. Thus, it has the capacity to engage with the serious issues affecting these things. But to do so, first and foremost, requires a real message. To treat social and political causes as little more than a marketing stunt undermines the meaning of a protest. The next time a fashion brand picks up a placard, it should first make sure it has something to say."

Worth to read is also the article published by Not Just A Label, 'Fashion and Protest; Where is the Call to Arms? 

Monday, 13 November 2017

HOW & WOW - Crafts Council Nederland

Jules ten Velde
Crafts Council Nederland presented HOW & WOW exhibition during Dutch Design Week, highlighting the importance of crafts in the context of design.
At Veem building, an exhibition was set showing the processes of making and inspiring examples of crafts in design. In addition, masterclasses where organized.

'We’re at the beginning of a new creative era. The value of crafts and the urgency to preserve this immaterial heritage is finally being recognised. Designers explore how things are made and give more attention to craft processes, new industrial techniques and unique handicraft. The making process serves as the overarching theme for the crafts center.'

The curated exhibition contained designs by Koos Breen, Walter Van Beirendonck & Gerard van Oosten, Isaac Monté, Bibi Smit, Esmé Hofman, The Anti Efficients collective and many more.

Sunday, 12 November 2017

Digital Realists - Modebelofte 2017

Sander Bos

Digital technologies have impacted our world to such an extent that we can hardly remember or even imagine a pre-digital reality, other than the vaguely romantic notion of it being ‘real’ at least. The speed with which digital technologies have developed has been quite bewitching; propelling us into unknown territory, be it in terms of behavioral psychology or mere aesthetics, and leaving others behind in their dysfunctional analogue age.

Modebelofte’s theme for 2017 - ”Digital Realists” - proposes a refreshing stance towards this modern day chasm: a down to earth and hands on embrace of the digital age as the new normal. Instead of allowing our minds to be sucked into the information cloud, why not bring the cloud down to street level and travel through time and space together? Instead of allowing virtual reality to disengage us from the tangible world, why not just hold each other’s hand and share in its joys? And instead of indulging in total control over each and every pixel of a carefully edited wet dream, why not just allow this pixelated perfection to mingle freely with the transient grittiness that comes with the real thing?
Maddie Williams
Participats 'Digital Realists'
- Fabio Bigondi (Polimoda, Italy)
- Sander Bos (Royal Academy of Fine Arts Antwerp, Belgium)
- Alexa Chia Wan Yu (Parsons The New School for Design)
- Aimee Determan (University of Westminster, United Kingdom)
- Kira Goodey (Royal College of Art, United Kingdom)
- Iuliia Gulina (Royal Academy of Fine Arts Antwerp, Belgium)
- Han Kim (Royal College of Art, United Kingdom)
- ChungIn No (Central Saint Martins College of Art and Design, United Kingdom)
- Creepy Outfit Lab (Secret)
- Chorong Lim (London College of Fashion, United Kingdom)
- Laishu Lin (Polimoda, Italy) Lauren Rowlinson (University of Salford, United Kingdom)
- Christian Stone (Central Saint Martins College of Art and Design, United Kingdom)
- Marta Twarowska (Royal Academy of Fine Arts Antwerp, Belgium)
- Nathaly Vlaun (Rietveld Academy, The Netherlands)
- Maddie Williams (Edinburgh College of Art, United Kingdom)
- Emily Witham (Middlesex University, United Kingdom)
- Zheng Pei Yuan (Shih Chien University, Taiwan)

pictures: brankopopovicblog
text source:

Thursday, 9 November 2017

Karim Adduchi - Ode to the Berber woman

Karim Adduchi SS18 collection as ode to the Berber woman 

Moroccan designer Karim Adduchi presented his new collection "She Has 99 Names" in the Dove in Amsterdam on Wednesday, November 8th . In addition to Karim himself an immigrant, he works with his collections together with Syrian, Russian and Eritrean laborers and artists, who recently found their home in Amsterdam. He specifically aimed at workers whose work you do not often encounter on the catwalk.

In "She Has 99 Names" Karim has given an oath to the women he had around when he lived in Imzouren as a child; the Berber village where he was born too. Adduchi shows these women in their distinctive complexity: beautiful and confused, sad and sad, furious and fragile.
Adduchi dives in the rich heritage of Morocco prior to each collection. He designs woolen fabrics, hand-woven by local laborers. Adduchi: "I want to revive local crafts, and transform them into contemporary looks." 

Even though Adduchi is not a political artist, he tries to map social problems with his art. Immigrants and refugees invite him to work with him in his collections. At first, these people were all unknowns, but their shared passion for craftsmanship and design brought them together. Adduchi does not like the title refugee :"It's very limiting. I work with two Syrian tailors, a woodworker from Aleppo, an Eritrean embroiderer. They bring all the skills. " 

" It was a crazy mix of people. We had a Syrian tailor who cut patterns at a table, five Moroccan women embroidering and chatting at another table and a half naked model dressed in the middle. Total culture shock. Yet the people all returned. A Moroccan elderly lady prepared cooked chicken tajine for all who we ate together between the substances together. " 

About Karim Adduchi 
Illustrator, painter and fashion designer Karim Adduchi was born in Imzouren, Morocco, in 1988. He grew up in a family of tailors. He moved with his family to Barcelona at age five. For the first time, Karim enrolled into primary school. After seeing his drawings, his school mentor advised him to attend art school. He did, and during the next ten years Karim developed his technique in Italian painting and drawing. Karim continued his studies for two years at the Pompeu Fabra Academy where he developed his personal style, which he later refined at the Fine Arts University of Barcelona. In 2010 he moved to Amsterdam to continue his training at the fashion department of the Gerrit Rietveld Academie. His graduation collection She Knows Why the Caged Bird Sings received international press coverage. The collection combined traditional Berber craftsmanship with sharp tailoring. In 2016 Adduchi presented She Lives Behind the Courtyard Door in which he once more confirmed his talent as a designer. As in his previous collection, he used the rich cultural heritage of Morocco as a foundation on which to build. He draws the fabrics away from connotations such as exotic and oriental and presents them in a present-day style, on equal footing: design, couture.

photography: Team Peter Stigter

Tuesday, 7 November 2017

First FASHIONCLASH Fashion Film Festival

The first edition of FASHIONCLASH FASHION FILM FESTIVAL took place from 3 – 5 November in Maastricht.

FFFF is the first international film festival in the Netherlands dedicated to fashion film.
The 3-day program contained screenings with a selection of more than 60 short fashion films from all over the world. The program kicked off with several avant premieres at de Bijenkorf, followed by the screening of the ‘We Margiela’ documentary. On Saturday, there were inspiring workshops by Canon and Pascal Baillien, various screenings and award ceremony at Lumière Cinema. In addition, an exhibition was presented in cooperation with AKATAK Studio.

FFFF showcased both emerging and established international filmmakers and designers who experiment with the genre. The program contained several premiere screenings such as ‘Kill Your Darlings’ by Maarten van Mulken and Pascal Baillien, Dance a Measure by Studio Selvedge & Project Sally Maastricht and MARTAN by Daan Groot and Martan. Being the first fashion film festival in the Netherlands, there was a special focus on Dutch fashion films.

One of the highlights was the State of Fashion Film Talk moderated by Niccolo Montanari. An inspiring discussion on the state of the fashion film, experiences and future speculations. The speakers of the panel where Kathryn Ferguson (film maker, director), Marie Schuller (film maker, photographer), Raquel Couceiro (head of fashion film Showstudio), Ditte Marie Lund (director Copenhagen Fashion Film Festival).

Niccolo Montanari also modertated the Act! Cut! Play! Screening and talk.
Act! Cut! Play! is an interdisciplinary talent development project with the ambition to lift the quality of fashion films to a higher level. Four teams existing of a designer, theatre maker, and filmmaker were challenged to work together to investigate the possibilities and boundaries of their disciplines and the provided ‘format’ of the fashion film.

Award Ceremony
On Saturday evening the award ceremony concluded the festival with the announcement of nominees and winners. The winners were decided by the jury panel members; Diane Pernet (ASVOFF), Leendert Sonnevelt (editor-in-chief, Glamcult), Marcel Schlutt (editor-in-chief KALTBLUT Magazine), Michael Daks (photographer, director), Richard Dols (director DocFest).

And the winners are:
- Best Fashion Film: A Hommage to David Bowie in Sound and Vision, CANADA
- Best Dutch Fashion Film: iii, Femke Huurdeman, Suze Milius, Marie-Sophie Beinke
- Best Emerging Talent: Parallel Pyramid Platform, Daniel van Hauten, Studio Dennis Vanderbroeck, Emmanuel A. Ryngaert
- FASHIONCLASH One-to-watch: Burning Oceans into Deserts, Emma Westenberg for Hardeman
More about nominees, winners, film links:

FFFF is an initiative by the Maastricht based foundation FASHIONCLASH that is known for organizing high-profile projects and supporting emerging talents from all over the globe. One of the projects is the annual FASHIONCLASH Festival.

Wednesday, 1 November 2017


In THE BOLD, THE BOUND & THE BRITTLE a portrait of our current time is made, live on the theater floor. A new piercing performance by choreographer Jelena Kostić, with unrestrained dance and sudden music.

Two powerful women play their personal, destructive, comfortable and erotic moments until they are redundant. They leave behind the conflict between the brittle and the obscene.

Hinging on a past both distant and nearby, THE BOLD, THE BOUND & THE BRITTLE opens the door to a space where we all step out of our uniform. What remains is our own delicate humanity.

The performance will start with two personal speeches on power and vulnerability by two leading ladies in Maastricht: Mieke Damsma (alderman in the City of Maastricht) and Jacqueline de Groot (quartermaster Public Affairs at Maastricht University).

Photo Nikola Kostić

The Bold, The Bound & The Brittle + speeches 
Friday November 3
AINSI, Maastricht
8.30 pm (introduction at 7.30 pm)
Tickets: here

Friday, 27 October 2017

Łódź Young Fashion Award

Łódź Young Fashion Award

Thanks to a contribution by Pasarella Photography

What a great news, city of Łódź strikes back!
After unfortunate end of the FashionPhilosophy Fashion Week Poland, it was rather silent in the Polish fashion scene.
 Łódź Young Fashion is a brand new event in the city of Łódź in Poland initiated by the Academy of Fine Arts of Łódz with focus on young designers.
The event featured Łódź Young Fashion Award, a show with 15 talented designers from all over the world. Among them FASHIONCLASH Festival 2017 Talent Award winner Federico Cina and participant Sandra Stachura. Chen Zhi from China is the winner of the Łódź Young Fashion Award 2017 (30.000 euro money prize).

Łódź Young Fashion Award Finalists:
Aleksandra Seweryniak, Anja Medle, Chen Zhi, Frederico Cina, Jan Chodorowicz, Karolina Mikołajczyk, Katarzyna Kryst, Kinga Kasinska, Manuel Noriega Torres, Renāte Vītola, Sandra Stachura, Szymon Mrózek, Uta Sienkiewicz, Stefan Kartchev, Laima Jurca

Read more about Łódź Young Fashion on Pasarella Stories

All images by Pasarella Photography

Thursday, 26 October 2017

KOLOVRAT - ModaLisboa Luz SS2018



The primordial: a time when the ancestors channeled messages from the Gods ...

Ritual ... Presenting something that came embedded from an old primordial society talking to a new one. ..., while jumping and influencing the future, in terms of forming new ideas about losing patterns that are part of our social system.

In primitive societies, language and rituals would express their relationship with God and life, modern society became very casual, smart and practical. Facing this, maybe we need a new identity to theatricalize our lives and bring meaning into the picture.
Kolovrat continues to rely on deconstruction, mixing different styles and materials, creating a code that classifies who you are, what culture you love, which tribe you belong to. Asymmetrical and oversized outerwear has been constructed from two garments joined together and looped over one another. Coats opening in the back, with various proportions, also present in the hairstyles. The way the show will be presented will be a different kind of reality show, embracing all types of people, absurd and surrealistic spirit.

Kolovrat’s SS18 collection invokes ancient ritual practices to disrupt the modern and the rational, embracing vulnerability, enchantment and shape-shifting ...

Aleksandar Protic - ModaLisboa LUZ


The “Pelagos” sculptures of Barbara Hepworth were the starting point for the spring/summer 2018 collection.
The holes and specially the connecting wires that are always present in her work are seen in the collection in a form of pleating and belts, which give support and change the piece’s shape. In some cases making free and organic forms and in other more strict, geometrical forms.

Nair Xavier x Diniz & Cruz - Moda Lisboa Luz

Nair Xavier x Diniz & Cruz
Spring Summer 2018 Moda Lisboa Luz

This collection is a reflection on the ancestry, heritage and cultural survival of Afro-descendant people. Its background is the struggle for equality and the legacy of the revolutionary group, Black Panthers, in the 1970s.
Analyzing the adaptation, evolution and globalization, arises the question: How much of ourselves have we lost from generation to generation? The Maasai tribe comes as an answer. Africa is the cradle of the world and of ancestry. Despite evolution and globalization, the Maasai maintained their essence, customs and traditions through adaptation, being today one of the most persistent tribes in the African continent.
Through the affirmation of the Maasai identity and the struggle for equality of the Black Panther, as ancestral and cultural heritage of Afro-descendant individuals, NgaKUYAA is born.

David Ferreira - ModaLisboa SS 2018

David Ferreira presented the   Spring-Summer 2018 collection KARYUKAI FATUM at ModaLisboa LUZ.

This theatrical collection is a clash and marriage between Geisha and Fado, creating a parallel world of perfection, beauty and feelings. Geishas and Fado are two of the most mysterious and captivating art forms, hidden within the prostitution ring and created as entertainment for the status elite. Expression and perfection balance the “Karyūkai Fatum” collection, to create unique, structural, and seductive silhouettes that range from fitted to oversized pieces.

David Ferreira's aesthetic plays with the shape of the woman’s silhouette, creating a visual poetry that blurs the lines between elegance and grotesque. He worked for designers such as Iris Van Herpen, Meadham Kirchhoff and Giles Deacon which shaped his culture, skills and techniques in order to unfurl brand new silhouettes embodying a modern vision of the Couture concept. Defining uniqueness as the true meaning of luxury, Ferreira portraits the feeling of holding uniqueness in the highest regards.

Valentim Quaresma - ModaLisboa LUZ

Valentim Quaresma - ModaLisboa LUZ
Spring / Summer 2018 – CARNAL

Valentim's SS18 collection CARNAL is inspired by thoughts, feelings, and sensations. The guts of attraction and determination, strength and power. The fusion of lust and romanticism in an oriental environment.


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