logo
‘Don't feel like you have to stop at one': the shiny, thrifty brooch revival

‘Don't feel like you have to stop at one': the shiny, thrifty brooch revival

The Guardian4 days ago
The white gold and diamond brooch set like a moving snake was not the first time Zendaya wore the jewellery category most associated with grandmothers. But due to its placement, it might have been the most talked about. In attendance at the Met gala, the Dune actor pinned the Bulgari brooch to the back of her white Louis Vuitton suit.
'The Met Gala really was prime time for brooches,' Melbourne stylist Stuart Walford says.
While fashion critics have heralded the brooch's return to menswear for several seasons, lately it has found its way to women's lapels too. Also at the Met Gala, Sarah Snook pinned a cluster of silver brooches from Rahaminov Diamonds and Saidian Vintage Jewels to her blazer, Aimee Lou Wood and Doja Cat both wore brooches in the shape of flowers covered in tiny diamonds (by Cartier and David Webb respectively), while the event's host, Anna Wintour, complimented her pale blue suit with an antique brooch by Lydia Courteille.
At the SNL 50th reunion Tina Fey wore an art deco T-shaped brooch, Cynthia Erivo wore several to the 56th NAACP Image Awards and, more than once, the fashion writer Leandra Medine Cohen has featured a 1930s Jean Cocteau fish pin on her Substack, The Cereal Aisle.
The brooch also remained the accessory of choice for men at the Oscars with Kieran Culkin, Adrien Brody and Colman Domingo prettifying their suits with ones shaped like tear drops, feathers and ribbons – in that order.
Perhaps unsurprisingly given their prominence on the red carpet, it's hard to find a major fashion house that doesn't have a brooch in its recent collections, from Gucci to Loewe and Schiaparelli. In Australia, designers Carla Zampatti, Edward Cuming and Mimco are also selling brooches.
Sign up for the fun stuff with our rundown of must-reads, pop culture and tips for the weekend, every Saturday morning
For Sydney jeweller Lucas Blacker, a brooch is 'almost like a tattoo'.
'It is a sign from the wearer to show their personality,' Blacker says. At his studio, Black Cicada, he is seeing more clients wanting to repurpose inherited jewellery or pieces they aren't wearing by turning them into brooches.
Olivia Cummings, the jewellery designer behind Cleopatra's Bling, says: 'Brooches require care in their placement and a sense of ceremony in their wearing. I think people are craving that now.'
The personal statement brooch has deep roots, evolving from simple pins used to hold garments closed in the bronze age to intricate adornments that communicated class, religion and marital status in ancient Rome. In the 18th and 19th centuries, brooches became the original Instagram-holiday-post, featuring micro mosaics of the European tourist towns they were bought in. More recently, the brooches of Madeleine Albright and Queen Elizabeth II were rumoured to carry coded messages.
'Brooches are conversation starters, that's what makes them so special,' Walford says.
Sign up to Saved for Later
Catch up on the fun stuff with Guardian Australia's culture and lifestyle rundown of pop culture, trends and tips
after newsletter promotion
In some ways the brooch's rising popularity is consistent with the lipstick indicator, which suggests when economic times are tough people cut back on big purchases and turn to small, affordable luxuries – such as lipstick or, according to Walford, brooches. The financial appeal is twofold: they are a great item to thrift and they help the wearer freshen up their existing wardrobe without buying an entirely new outfit, he says.
When styling brooches, Walford recommends balancing the proportions with the size of your lapel. 'If it's narrow, keep things small and delicate. For a large and oversized 80s-style lapel, you could go big.'
'Don't feel like you have to stop at one – if we learned anything from this year's Met Gala, it's that a brooch can be layered and stacked.'
Alternatively, take a leaf out of Zendaya's book and fasten one to the back of a coat or dress – just watch out for your handbag strap if you do it. 'There are no rules,' Cummings says. 'I also love to wear them over the top button of a shirt or pinned to a straw hat in summer.' A brooch is a great way to break up an all-black outfit, to fasten a scarf thrown over the shoulders or to add some sparkle to a basket or handbag.
If you're looking to start, or add to, a brooch collection, try searching for vintage brooches on secondhand sites such as Vestiaire Collective or online marketplaces such as Etsy, eBay and 1stDibs – the results page feels like rifling through a wealthy, bohemian grandmother's jewellery box. Antique stores and vintage markets also often have extensive brooch collections, if you prefer to peruse in real life. From gold nose-and-mouth sculptures by Salvador Dalí to 1980s Lanvin flowers and enamel and rhinestone sea shells – each pin contains the possibility of another, fancier world.
At their best, brooches should feel like small sculptures – striking from afar but still full of detail when you come closer, Cummings says. 'Weight and balance are important but above all it should carry a sense of story.'
Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Yoann Bourgeois on his mindblowing viral stair climbing act: ‘I want to return to the spirit of childhood'
Yoann Bourgeois on his mindblowing viral stair climbing act: ‘I want to return to the spirit of childhood'

The Guardian

time6 hours ago

  • The Guardian

Yoann Bourgeois on his mindblowing viral stair climbing act: ‘I want to return to the spirit of childhood'

You may have seen a certain video online of a man climbing some stairs. Actually, he's repeatedly falling from them but then magically bounces back up, weightless as a moon-walker. Out of sight is a trampoline, which gently catapults his looping, twisting body up the staircase each time he falls, turning a would-be simple journey into an epic, poetic odyssey that has caught the internet's imagination. Pop star Pink saw it and immediately got on the phone to its creator; Martin Short even made his own version on Only Murders in the Building. The act is the work of French choreographer-director Yoann Bourgeois, 43, whose live performances have been touring festivals for years. But the popularity of his videos online has propelled him into new realms, working with Harry Styles, Coldplay, Selena Gomez and Louis Vuitton. He continues to create new, live work and brings his latest outdoor piece, Passage, to Greenwich and Docklands festival this summer. Some people run away to the circus; others have it arrive on their doorstep. Bourgeois' parents separated when he was growing up in Jura, eastern France, and their house was sold to a circus group, Cirque Plume. Bourgeois was already interested in theatre (and later studied dance) and he began to train with the group. 'In a way I was looking for a way to get back home,' he says, via a translator. It wasn't just about returning to the physical building, but the spirit of childhood. 'I really wanted to continue to be a child. I've searched for a life where I can continue to play; it drives my career even now.' What Bourgeois plays with are the invisible physical forces that surround us – gravity, tension, suspension – and the interaction between those forces, the performers' bodies and symbolic ideas. For example in Ellipse, the dancers are in costumes like lifesize Weebles with semi-circular bases, rocking and spinning, but never falling. A man and woman 'dance' together, swaying past each other but never quite managing to connect. (Missy Elliott wore a version of the same costume in her video Cool Off.) In Celui Qui Tombe (He Who Falls), the performers stand on a wooden platform that rotates, at some speed, then tilts, forcing their bodies to lean at precarious angles to keep their balance, and the group have to navigate this peril together. The short piece Bourgeois is bringing to London is called Passage, and features a revolving mirrored door and pole dancer Yvonne Smink hanging, swinging, balancing and turning the simple act of crossing a threshold into something of infinite possibilities. Much like the way sculptor Antony Gormley hit upon a universal idea in his use of the body, Bourgeois works with the same kind of directness: a seemingly simple setup or visual idea that represents something huge – life, death, time, mortality, struggle, hope – in a way that's easily readable but can feel profound. Here he is talking about suspension: 'In physics, suspension means the absence of weight. But if we speak about time, suspension means absolute presence. And I think this cross between absence of weight and absolute presence is like a small window on eternity. That's what I search for: to catch the present, to intensify the present.' Even though Bourgeois seeks to be live in the ephemeral moment, you can see why the recorded versions have gone viral. He admits his work looks good on screen. 'I feel very lucky because, by chance, my work can be eloquent in this kind of frame, on Instagram for example,' he says. He's interested in clarity not overcomplication and embraces his wide fanbase. 'I didn't grow up in a family interested in art,' says Bourgeois, and that's who he imagines making his work for. He's reaching even more eyeballs now with his pop star collaborations. For the Harry Styles video As It Was, Bourgeois designed another revolving platform that saw Styles and his lover being pulled together and apart. 'Behind the superficial pop veneer of the song, there's a great sense of despair,' he says. Bourgeois designs his own stage machines, but the revolving floor is, he points out, a very old theatrical device. The question of what's truly new in art came to the fore when he was accused of plagiarism in a video posted online comparing scenes from his work with scenes from other artists. There are some striking similarities but Bourgeois is robust in his defence, saying that the works referenced motifs from the history of art, which he considers to be in the public domain. Many circus performers will use the same props. 'If you use just a frame of a video, it's easy to make a comparison,' he says. 'What is original is the treatment and the creative process.' We need to look at the whole work rather than an isolated image, he insists. What's certain is that Bourgeois can turn universal ideas into something eye-catching that connects deeply with audiences – imbued with the wonder of circus and the grace of dance. Greenwich and Docklands international festival runs from 22 August to 6 September. Passage is part of Dancing City at the festival on 6 September

Yoann Bourgeois on his mindblowing viral stair climbing act: ‘I want to return to the spirit of childhood'
Yoann Bourgeois on his mindblowing viral stair climbing act: ‘I want to return to the spirit of childhood'

The Guardian

time19 hours ago

  • The Guardian

Yoann Bourgeois on his mindblowing viral stair climbing act: ‘I want to return to the spirit of childhood'

You may have seen a certain video online of a man climbing some stairs. Actually, he's repeatedly falling from them but then magically bounces back up, weightless as a moon-walker. Out of sight is a trampoline, which gently catapults his looping, twisting body up the staircase each time he falls, turning a would-be simple journey into an epic, poetic odyssey that has caught the internet's imagination. Pop star Pink saw it and immediately got on the phone to its creator; Martin Short even made his own version on Only Murders in the Building. The act is the work of French choreographer-director Yoann Bourgeois, 43, whose live performances have been touring festivals for years. But the popularity of his videos online has propelled him into new realms, working with Harry Styles, Coldplay, Selena Gomez and Louis Vuitton. He continues to create new, live work and brings his latest outdoor piece, Passage, to Greenwich and Docklands festival this summer. Some people run away to the circus; others have it arrive on their doorstep. Bourgeois' parents separated when he was growing up in Jura, eastern France, and their house was sold to a circus group, Cirque Plume. Bourgeois was already interested in theatre (and later studied dance) and he began to train with the group. 'In a way I was looking for a way to get back home,' he says, via a translator. It wasn't just about returning to the physical building, but the spirit of childhood. 'I really wanted to continue to be a child. I've searched for a life where I can continue to play; it drives my career even now.' What Bourgeois plays with are the invisible physical forces that surround us – gravity, tension, suspension – and the interaction between those forces, the performers' bodies and symbolic ideas. For example in Ellipse, the dancers are in costumes like lifesize Weebles with semi-circular bases, rocking and spinning, but never falling. A man and woman 'dance' together, swaying past each other but never quite managing to connect. (Missy Elliott wore a version of the same costume in her video Cool Off.) In Celui Qui Tombe (He Who Falls), the performers stand on a wooden platform that rotates, at some speed, then tilts, forcing their bodies to lean at precarious angles to keep their balance, and the group have to navigate this peril together. The short piece Bourgeois is bringing to London is called Passage, and features a revolving mirrored door and pole dancer Yvonne Smink hanging, swinging, balancing and turning the simple act of crossing a threshold into something of infinite possibilities. Much like the way sculptor Antony Gormley hit upon a universal idea in his use of the body, Bourgeois works with the same kind of directness: a seemingly simple setup or visual idea that represents something huge – life, death, time, mortality, struggle, hope – in a way that's easily readable but can feel profound. Here he is talking about suspension: 'In physics, suspension means the absence of weight. But if we speak about time, suspension means absolute presence. And I think this cross between absence of weight and absolute presence is like a small window on eternity. That's what I search for: to catch the present, to intensify the present.' Even though Bourgeois seeks to be live in the ephemeral moment, you can see why the recorded versions have gone viral. He admits his work looks good on screen. 'I feel very lucky because, by chance, my work can be eloquent in this kind of frame, on Instagram for example,' he says. He's interested in clarity not overcomplication and embraces his wide fanbase. 'I didn't grow up in a family interested in art,' says Bourgeois, and that's who he imagines making his work for. He's reaching even more eyeballs now with his pop star collaborations. For the Harry Styles video As It Was, Bourgeois designed another revolving platform that saw Styles and his lover being pulled together and apart. 'Behind the superficial pop veneer of the song, there's a great sense of despair,' he says. Bourgeois designs his own stage machines, but the revolving floor is, he points out, a very old theatrical device. The question of what's truly new in art came to the fore when he was accused of plagiarism in a video posted online comparing scenes from his work with scenes from other artists. There are some striking similarities but Bourgeois is robust in his defence, saying that the works referenced motifs from the history of art, which he considers to be in the public domain. Many circus performers will use the same props. 'If you use just a frame of a video, it's easy to make a comparison,' he says. 'What is original is the treatment and the creative process.' We need to look at the whole work rather than an isolated image, he insists. What's certain is that Bourgeois can turn universal ideas into something eye-catching that connects deeply with audiences – imbued with the wonder of circus and the grace of dance. Greenwich and Docklands international festival runs from 22 August to 6 September. Passage is part of Dancing City at the festival on 6 September

'Nolan may be the only person who could do this': How The Odyssey is already gunning to be 2026's biggest film
'Nolan may be the only person who could do this': How The Odyssey is already gunning to be 2026's biggest film

BBC News

time3 days ago

  • BBC News

'Nolan may be the only person who could do this': How The Odyssey is already gunning to be 2026's biggest film

Christopher Nolan's adaptation of Homer's The Odyssey has taken the unusual step of selling some tickets a year early. Is it a way forward for beleaguered studios – or just a stunt? Marketing campaigns for summer blockbusters have traditionally kicked in around six months before release. But one film not playing by these rules is Christopher Nolan's The Odyssey, his much-discussed take on Homer's epic, starring Matt Damon, Zendaya, Tom Holland, Lupita Nyong'o and many more. Earlier this month, more than a year in advance of its 17 July general release date, a teaser trailer started showing in cinemas. And then on 17 July itself, in an unprecedented move, tickets went on sale for opening weekend screenings in Imax 70mm – Nolan's preferred format for all his films. Less than a day after those tickets were made available, most of them were sold out, and scalpers were reselling them for upwards of $200 (£148). It's a testament to Nolan's remarkable pulling power that he, along with Imax and Universal Pictures, has been able to get audiences flocking to buy tickets for a film this far in advance, when it hasn't even finished shooting yet. And specifically, he's got fans excited about seeing it in 70mm – a traditional large-scale film stock known for providing a matchless visual experience, which was developed in the 1950s and has been making a comeback in recent years thanks to filmmakers including Quentin Tarantino, Paul Thomas Anderson and Ryan Coogler. Earlier this year, Coogler urged people to see his hit vampire thriller Sinners in this same film gauge – but without the dramatically-timed ticket release to boot. Indeed, entertainment journalist Tatyana Arrington thinks that the success of Imax screenings of Sinners may have played into the thinking behind The Odyssey's unique sales strategy. "I feel like there was such a charge for [Imax screenings of Sinners] that Hollywood couldn't help but see the success of that," she tells the BBC. "And with [The Odyssey] being a film that everybody's looking forward to, [the team behind it must have thought] 'how can we maximize on that even further?'" This latest strategy slots into Nolan's ongoing mission to encourage audiences into cinemas by making films into a real event. And The Odyssey has a winning combination – of huge star power and a universally recognised story – that motivates people to make that happen. As Arrington says: "The kids like Zendaya. The older generation likes Matt Damon. This person likes Lupita. There's something for everybody. A lot of people are into Greek mythology." It comes at a time when theatrical revenues have been on the slide; last year's US and Canada box office total was 23% down from 2019. The pandemic and the Hollywood strikes have played their part in that, but there is also the rise of the streaming platforms, and the fact that many films are now made available to stream mere weeks after opening in cinemas. "Studios need to consider creative marketing solutions to hype up film releases because they are competing against not only other media content and formats but changing consumers with shortened attention spans," Sanjay Singh, founder of film studio Nukhu, tells the BBC. It's about the best way to get distracted audiences to, as Singh puts it, "take action and engage". The issues with the strategy But could any other films replicate such a long-tail release strategy or is Nolan, and the excitement around his films, an anomaly? "I feel like Nolan may be the only person who could get this sort of one-year-in-advance ticket sellout type of deal," Nolan fan and Chicago-based moviegoer Jack Cunningham tells the BBC. "I just don't see that happening with any other film-makers." There's also an issue of Nolan and other film-makers championing the high-quality viewing experience in Imax 70mm, when accessibility to that format is still so limited; there are currently only 16 cinemas across the US that have the required equipment. Indeed, certain markets don't even have access to a cinema to see a film whether it's in Imax 70mm or not. That was highlighted earlier this year when audiences in Clarksdale, Mississippi, where Sinners was set, didn't have an opportunity to see the film in their own town, until a viral call led to a special screening with Coogler in attendance. Additionally, ticket prices for Imax and Imax 70mm screenings are significantly higher, which can make the emphasis on them for creating buzz feel exclusionary – and that's before taking into account, in this case, ticket reselling by scalpers at exorbitant prices. According to Singh, that's one of the key issues with this type of ticket rollout right now, should it be used going forward. "If Imax doesn't use this data to expand [its network of screens], by selling tickets this far in advance, there's the potential for a reseller market to be created, which could cause early release ticket prices to skyrocket," he says. More like this:• The Fantastic Four is 'pleasant enough'• The K-pop film that swept the world• Why original kids' films are flopping Even some Nolan fans are not convinced by this buzz-making sales move. Cunningham has been happy to travel three hours to Indianapolis (the nearest Imax theatre to him) in the past to see three of the director's previous movies – Tenet, Interstellar and Oppenheimer – in 70mm. But he wasn't interested in picking up Odyssey tickets now, calling it a "marketing stunt". "The general premise of having to think about where I'm going to be in a whole calendar year to buy tickets to a film is just kind of ridiculous," he says. And while The Odyssey ticket rollout has become a success, Arrington says that it's unlikely that it's a sign of what's to come for the Hollywood blockbuster. "I don't think it's going to happen for every movie," she says, "because every movie is just simply not good." Additional reporting by Candice Frederick. -- For more Culture stories from the BBC, follow us on Facebook and Instagram.

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store