Latest news with #InternationalExhibitionofModernDecorativeandIndustrialArts
Mint
22-05-2025
- Entertainment
- Mint
Want to add some Art Deco into your wardrobe? Here's some inspiration
In fashion, the imagery that Art Deco conjures up is of straight lines, geometrical patterns such as the chevron print or scallops, impeccable symmetry and of rich, mysterious colours like gold and black. There's a sense of grandeur – very Great Gatsby-esque, if you will – that the Art Deco movement evokes, be it in architecture, furniture design or fashion. A movement that was launched at the 1925 International Exhibition of Modern Decorative and Industrial Arts in Paris, Art Deco celebrates its 100th anniversary this year. A design movement that drew inspiration from the industrialization and technical advancements of the years stacked between the two world wars, Art Deco was futuristic but at the same time it's practitioners also imbued it with motifs and icons from the 'ancient cultures of Egypt, Mesopotamia to Asia, Mesoamerica and Africa", according to online art magazine Artsper. While the 1920s and 30s were heady times for the movement, Art Deco's versatility has meant that it has constantly inspired architects, artists, and fashion and jewellery designers. As this round up of 'Deco' inspired fashion will show you, with its combination of sharp angles, pretty symmetry, luxurious fabrics and classic colours, it's a look that spells 'timeless'. CHAIN RULE Art Deco's straight lines lend themselves perfectly to handbags. And Kate Spade has an entire collection of special occasion bags themed around it. This Parisian navy-hued handbag from the label is done in pebbled leather and features signature K hardware on the magnetic purse closure along with an adjustable chain strap. Available on ₹34,070. Also read: Your guide to pinstriped dandy fashion inspired by Met Gala 2025 MIXED PRINTS Angular prints can offset a busy print. Bennch's Black Chanderi printed 'Zoey' Deco kurta set is a great example as it pairs the forest-printed kurta with deco-detailed pants. This one is a harmonious clash of patterns. Available on ₹18,900. DIAL BACK Teleport yourself to the Roaring Twenties, when Art Deco was at its peak, with this Vacheron Constantin watch. A recreation of a 1921 model, the watch's unique dial design allows a diagonal reading of the time without you needing to turn the wrist. How quirky is that. Available on ₹43.5 lakh. ZIGGY WITH IT Nothing says 'Art Deco' louder than the bold and irreverent chevron print. Add some of that zig-zag energy to your wardrobe with this velvet jacket from Jorah that features the chevron in brown, cream and olive green shades. Its a suave nod to the Deco revival of the 70s. Available on ₹12,000. Also read: Designer Anamika Khanna is hitting refresh GOLD EDGE Deco's love for symmetry lends itself perfectly to jewellery- inspiring designs that are edgy and minimalist. Give your traditional outfit a twist by pairing deco-inspired jewellery like this Rumeli recycled brass bangle from JJ Valaya. Plated with 22 karat gold, it features the house' signature chevron pattern juxtaposed with art deco motifs – all of them bedecked with over 11 karats of handpicked semi-precious stones. Available on ₹20,500. LACY SUZY FRAME's 'The Deco' shirt dress is a lovely throwback to the 1920s Flapper era. Made from guipure lace with scallops at the shirt collar and hem, the dress comes with a tonal slip that blends under the prettily corded motifs. Available on ₹51,190. DISCO DANCE Shoes so pointy they remind you of the Art Deco-themed Chrysler Building in New York… well, that's one way to describe these eye-catching flat slingbacks from the house of Alaïa. These silver-toned shoes are made from mirror effect laminated leather and come with a buckle strap on the back. Available on ₹1.37 lakh. PATCH MATCH Talk about geometric precision. Inspired by an unfinished quilt from the 1930s, this cotton-poplin shirt by BODE is patchworked in a geometric pattern called the 'Electric Fan' and is a smooth amalgam of two different prints. Available on ₹94,976. Also read: How to make knitwear cool for summer
Yahoo
24-04-2025
- Entertainment
- Yahoo
Art Deco: 100 years since the Paris exhibition that revolutionised modern design
On 28 April 1925, the International Exhibition of Modern Decorative and Industrial Arts opened in Paris. It was a landmark event in the evolution of art, architecture and design, and aroused great interest both for the works on display and for their impact. In interwar Spain, it was the most widely publicised event in architecture magazines, coinciding with a shift in the focus of these publications towards interior design and furniture. The exhibition has been a source of interest and inspiration ever since the Second World War, and the abundance of published works on it is a testament to its continued significance. It marked a turning point in the aesthetic conception of the period, one that deliberately sought to distance itself from historicism and emphasise originality and novelty in both artistic and industrial creations. The Paris Exhibition's lengthy gestation process generated great expectation. In 1911, René Guilleré, president of the Société des Artistes Décorateurs, proposed an international event that would reaffirm French supremacy in design, especially in the face of German competition. Approved in 1912, its celebration was originally slated for 1915. However, it was delayed by the First World War, and did not actually occur until 1925. Throughout this period, the exhibition was widely advertised in the press and specialist magazines, creating the opportunity to produce a new style. The idea of innovation was reflected in the exhibition's guidelines, which required works to be previously unpublished, and excluded any reproduction of historical styles. Its fourth article expressly stated that only works of 'new inspiration and real originality' would be accepted, prohibiting copies and imitations from the past. While it aimed to encourage a new aesthetic language in line with social and technological change, this guideline sparked debate over the interpretation of 'modern'. The lack of clear criteria led to arbitrary decisions. The exhibition therfore became a scene of tension between designers who embraced the radical avant-garde and those that, without renouncing modernity, maintained certain links with traditional styles. For more conservative architects and designers, the show represented the culmination of a style that had been in the making since the beginning of the 20th century. It was instrumental in the international dissemination of the '1925 style' as it was then known. It was only in 1966, at the retrospective exhibition 'Les Années 25', held at the Musée des Arts Décoratifs in Paris, that this style became known as Art Deco. Most of the French and other European pavilions interpreted modernity as an expression of the style of the time, often fused with local elements. The Spanish pavilion was a prime example: designed by Pascual Bravo, it drew clear inspiration from the traditional styles of Andalusia. Although the exhibition excluded historical styles, folk art – along with a range of other references such as exoticism, cubism, French neoclassicism and machinery – was incorporated into many projects. This demonstrated the diversity of approaches within Art Deco, where low-relief decoration and geometric motifs predominated. However, the avant-gardists considered that the exhibition reinforced a decorative approach far removed from true modernity. The Belgian architect Auguste Perret, for instance, claimed that real art did not require decoration. For his part, Swiss architect Le Corbusier's book L'Art décoratif d'aujourd'hui (The Decorative Art of Today), criticised the notion of a 'modern decorative art', and stated that true modernity should not include ornamentation – an idea that the Austrian Adolf Loos had already put forward years earlier. Indeed, the Le Corbusier-designed L'Esprit Nouveau pavillion clashed with the exhibition's predominant Art Deco style, as did Konstantin Melnikov's Soviet pavilion and Aleksandr Rodchenko's workers' canteen. These works shocked the public and critics by presenting a radically different vision of modernity. One hundred years after its inauguration, the Paris Exhibition remains a milestone in the history of design. Its impact transcended the purely aesthetic, and it consolidated Art Deco as the one of the century's great decorative styles. It also served as a stage for the emergence of the Modern movement, whose rationalist ideas would transform the design of the future. Later examples of Deco's influence included the Chrysler Building, the Empire State Building and chairs designed by Jacques Émile Ruhlmann, while Modern design gave us the clean lines of the Ville Savoye, the Bauhaus building in Dessau and furniture by Le Corbusier, Pierre Jeanneret and Charlotte Perriand. The coexistence of these two visions in the exhibition highlighted a key debate that still resonates today: the balance between tradition and innovation in design. Beyond its role in defining styles, the exhibition raised fundamental questions about the relationship between art and industry, the function of ornament, and the need to connect design with social demands. These tensions are still relevant today, where the challenges of combining creativity and industrial production persist. The 1925 exhibition was therefore not only a showcase for the aesthetic change of its time, but a pivotal moment that continues to inspire contemporary design. Its legacy invites us to reflect on the nature of modernity, and how it evolves over time. Este artículo fue publicado originalmente en The Conversation, un sitio de noticias sin fines de lucro dedicado a compartir ideas de expertos académicos. Lee mas: Bauhaus and The Brutalist: the revolutionary immigrant architects whose stories inspired the film Balenciaga and the influence of abstract art The New Yorker at 100: how bold, illustrated and wordless covers helped define the iconic magazine This article is part of the DISARQ project 'Aportaciones desde la arquitectura a la teoría, la pedagogía y la divulgación del diseño español (1925-1975)' ('Architecture's contributions to the theory, pedagogy and dissemination of Spanish design, 1925-1975') (PID2023-153253NA-I00), financed by MCIN/AEI/10.13039/501100011033 FEDER, EU. María Villanueva Fernández y Héctor García-Diego Villarías are the project's lead researchers. Héctor García-Diego Villarías receives public funding for the DISARQ research project, which were obtained through a competitive open call.
Euronews
05-04-2025
- Entertainment
- Euronews
Art Paris returns in full glory: Sunshine, sculpture, and a century of design in the Grand Palais
ADVERTISEMENT "This place is magnificent!" states Ghislaine Escande, a painter and visual artist who has been coming to Art Paris since the very beginning. And she's not the only one to say so. For its 27th edition, the modern and contemporary art fair is celebrating its return to the Grand Palais , to the delight of visitors. Beneath the newly renovated nave, home to the largest glass roof in Europe, the spring sunlight floods the space, illuminating thousands of artworks: from sculptures and paintings to photographs, comic strips - and for the first time, even design pieces . From comics to sculptures, Art Paris offers a wide variety of works. Credit: Jade Levin Highlights of 2025 Designers, guests of honour To mark the centenary of the International Exhibition of Modern Decorative and Industrial Arts in Paris, the fair has invited around twenty interior architects and designers. "There's one thing that designers and visual artists have in common, and that's a passion, a desire for freedom, to express something personal and to be part of history. That's what I call lyrical design," says Jean-Paul Bath, exhibition curator and head of the Le French Design association. Two strong themes This year's edition remains true to the values of the fair, highlighting the French art scene, with a particular focus on figurative painting from the 1970s to the present day. In this year's edition, particular attention is paid to French figurative painting. Credit: Jade Levin Taking a more political turn, the second theme of the fair, "Off-limits", presents 18 international artists, often from conflict zones, who explore questions of identity and culture. Among them is Ukrainian artist Zhanna Kadyrova, who also won the international prize for her work in reaction to the Russian invasion. Michael Turner, the Cultural Counsellor at the US Embassy in France, praised the diversity of the selections. ''Discovering the artist's intention, his background, his history, humanises us. And that, precisely, is the true value of art''. He added: "Paris is the capital of art and culture. Only in France can you find such an attraction to the new and the different." 18 artists are part of the 'Hors Limites' selection. Credit: Art Paris A regional and cosmopolitan DNA Guillaume Piens is delighted. The general curator of Art Paris makes a point of exhibiting what (and who) we won't see elsewhere. "There's a kind of homogenisation and standardisation in art fairs that we want to break away from. This is not the 'entre-soi' of contemporary art''. This year, 60% of the galleries exhibiting are French, while 40% hail from abroad, including countries like South Africa, China, Guatemala and Kuwait. "It's a regional and cosmopolitan fair," insists Piens. 60% of the galleries present are French, 40% from abroad. Credit: Jade Levin Works from 200 euros More varied and less stuffy than its competitors, Art Paris is careful to maintain its image as a fair accessible to all. It is not uncommon to come across school groups and students. "It's very interesting to see the emerging trends in the world and to be able to talk to the gallery owners," says Aliki, a Master's student in the Art Market. It's also accessible for the pocketbook and first-time buyers. From paintings by Klimt and Dubuffet to photos by JR, some works are worth six figures. But Piens promises: "Here you can treat yourself for as little as a few hundred euros''. ADVERTISEMENT Art Paris maintains its image as a fair accessible to all by offering works starting at 200 euros. Credit: Jade Levin Pushing the younger generation under the international radar To achieve this, it is essential to focus on the younger generation and lesser-known artists. As it does every year, Art Paris is making a commitment to emerging artists with its "Promises" space. This year, 17 galleries are making their debut at the Grand Palais. Damien Levy, former collector and founder of Galerie Idéale in Paris, says: "It's a kind of consecration. It's a unique opportunity to promote artists on the international scene, such as the acclaimed Mona Cara and the French sculptor Mengzhi Zeng, who are hoping to gain new opportunities from this visibility." French sculptor Mengzhi Zeng is exhibiting for the first time at Art Paris. Credit: Jade Levin "The impact on a career can be enormous," adds Anne-Laure Buffard. The gallery owner represents Australian painter Gregory Hodge: "For an artist seeking to exist outside his original market, Art Paris has become an unmissable international event". Australian painter Gregory Hodge is exhibiting for the first time at Art Paris. Credit: Jade Levin The art market in slow motion In a market that's in a bit of a slump, like the global economy, exhibiting at Art Paris is also a chance to breathe new life into your work. "It gives us real legitimacy and reinforces the confidence of our collectors and the institutions that have already placed their trust in us. It's all about raising our profile," explains Buffard. ADVERTISEMENT 170 art galleries from 25 countries and nearly 1,000 artists are represented at Art Paris. Credit: Jade Levin While art remains a safe investment for the very wealthy, young creative artists remain vulnerable to the ups and downs of the world: "Buying an artist whose career path you don't know is a gamble, and gambling in times of uncertainty is less popular", says Levy, who worries about the ripple effects on the entire artistic ecosystem. Rest assured, though, that while speculators may be less present at the moment, the enthusiasts are there. Living surrounded by beautiful objects raises us spiritually. Much more so than keeping money in a bank account!" assures a Brussels collector, on the hunt for a hidden gem. 70,000 people are expected to attend Art Paris until 6 April.
