How it Works

You do things.You try it, this way, that way. You stray, you flop and then you flip again, and something, some things come out of it.

You do them and please, please, you think, do not ask me what I'm doing, what my political take on this, for the moment now I just have a political in-take, the out is not political to my best knowledge. Fortunately, your knowledge is not best. You see, you do things.

And although most of them, you can honestly say, you know little about, the matter speaks for you. (Which, of course, does not mean you do not try to talk with it, for it, explain it, relate it and convey it, extrapolate it, and prove where it, the matter, stands).
Some of the works you work, frankly, are worthy of the highest criticism. They are, yes it has been said before, the flops. Or worse, they have the wrong ideas, wrong media, wrong impressions and plenty-wrong outcomes.

Yet within these plenty-wrong outcomes, things are born. And these things might just make connections, little roots holding on to little pieces of earth. Not that roots hold on to any particular piece, but this metaphor just decided to go its own way, and we at New Art listen to metaphors, so yes, there might be no palpable piece of anything that the roots hold to, yet the work (by now it is work) is starting to appear as if it were actually something, about something, into something, for something. It gains weight.

And then, at some ungiven points, not necessarily at the end or at any sort of finale, the Holy-Flip happens. It could be a form, it could be filled with air or helium, it could be pretty far away from you, but still yours, still stemming from this surprizing head. You might say "things came into place", but you have no clue what you are saying, you don't have the perspective, you just enjoy it, the fact that now it seems clear, there is a connection, things are being said which you knew you wanted to say or wanted someone to say, some other head maybe.

And you know what? When it works, it's so simple.

On the Fall Campaign Trail

Fall campaigns—that put a spring in our step, let us sleep in, fix us a daiquiri, and other summer-related metaphors...

 

Louis Vuitton's Sweet Spot

Louis Vuitton will be seeing spots this summer, thanks to a collaboration with Japanese artist Yayoi Kusama. The famously dotty 83-year-old is known for her lifelong obsession with polka dots (which paved the way for Pop Art) and for checking herself into a mental institution in the 1970s. (Kusama is also the subject of a career survey that has made its way from Paris to the Tate in London. The retrospective will stop at New York’s Whitney Museum from July 12 to September 30—sponsored by Louis Vuitton, of course.)
Launching July 10, the capsule features polka-dotted tops, dresses, skirts and accessories, plus a cheeky see-through spotted rain coat. Inspired by a trip Marc Jacobs made to the artist’s Tokyo studio in 2006, the collection calls to mind another collaboration between Vuitton and a Japanese mega-artist, Takashi Murakami. And judging from these leaked images, it's just what the summer calls for.

(c) Hint

Burberry Resort 2013

While Resort 2013 has many designers looking ahead in the calendar, with spring-like palettes of mint, orange, and pink, Christopher Bailey took a more subdued mood for Burberry Prorsum. The designer stuck mostly to label staples like worn-in leather bombers, khaki trenches and a few fresh-looking flight jackets, all with his highly polished sex appeal.
Underneath the outerwear, meanwhile, were precision-pleated trousers for him and her, plus some pencil skirts in colors that were positively autumnal: goldenrod, olive-drab and aubergine. Perhaps instead of looking forward to spring, Bailey was yearning for that cold and gray time of year London does so well.

LAKME FASHION WEEK WINTER/FESTIVE 2012 Knowledge Sharing Workshops

The Knowledge Series Workshops were started during Lakmé Fashion Week Summer/Resort 2012 to celebrate the Indian Textile Day. The workshops featuring eminent experts in the field of crafts textiles and fashion who shared their views with the audience proved so popular that the second round took place during Lakmé Fashion Week Winter/Festive 2012

The first in the Knowledge Series Workshops at Lakmé Fashion Week Winter/Festive 2012 was held on August 5 2012 at Sajala the Source in the Usha Talent Box. It was an enlightening and very informative session with the venue packed with very eager and interested students, designers and media.

The keynote speaker was Jaya Jaitly, President of Dastkari Haat Samiti and the prime mover of India’s crafts people. On the panel were Krishna Mehta, Designer and Creative Director Krishna Mehta and promoter of arts and crafts in India. With her was Wendell Rodricks who has been instrumental in reviving the Kunbi sari of Goa. Completing the panel was Ritu Sethi, Chairperson of the Craft Revival Trust and Editor of the largest online encyclopedia on arts, crafts and textiles.

Presenting an interesting AV, Jaya Jaitly explained the different ways that Indian crafts and textiles can be promoted. “India’s crafts and textiles are well known but this is an area which shows beauty and ugliness of the lives of the crafts people. Our aim is to bring them to a new level. Artisans in Banaras at times do not know where their next day’s meal will come from.”

Ms Jaitly requested students to work in these sectors to uplift it. “We must have a sense of confidence in our heritage and not be standardized. Our culture reveals our identity.  It is necessary to understand the cultures of the people.”

Ms Jaitly then related a story of how Thai and Indian craft experts have different techniques of dyeing and how the latter from Kutch had a more natural system. The Akshara Project in Delhi created by Ms Jaitly encouraged artisans and craftsmen to use calligraphy for embroidery, prints and weaves which can send a message in different Indian languages as well as create an unconventional form of craft.

The panelists then joined in with Ritu Sethi emphasizing that in craft there is no boss or master. While Krishna Mehta felt that one has not yet touched the tip of the craft mountain. Wendell Rodricks related his experience with Kerala weavers who need to be promoted and encouraged. “Our country is the only one in the world besides Peru where we wear our clothes still. Our weavers need to be encouraged and promoted and given a more contemporary path to follow,” revealed Wendell.

The second workshop of the day was a discussion with Ritu Sethi Chairperson of the Craft Revival Trust and Editor of the largest online encyclopedia on arts, crafts and textiles who gave an interesting insight into her work.

Ritu Sethi, the famous handloom and Indian handicraft connoisseur presented an informative and in depth workshop about traditional Indian fabrics and textiles – from the art of making them to keeping the relationship between karigars strong so as to promote this beautiful process and to help Indian cultural art grow. The workshop was aimed at influencing design students to use handloom fabrics for they are the young generation, the ones who will bring back this art.

Ritu Sethi spoke of the importance of helping talented karigars out by involving them in design processes; “Why be lesser than you are?” she queried. She went on to say that there needs to be a harmonious balance between design and one’s roots.

She made a note of fashion being a ‘visual tool’, its importance being a giveaway to one’s class, value, ideals or simply where they see themselves. Making note of the fact that India has a handicraft culture dating back 5000 years she pointed out that whether for high end or mass consumption it’s important to stick to the root of why one is using this diverse art. “Original is always better, we are all original (people), aren’t we?” she asked when a student questioned if it’s alright to look for a cheaper alternative.

Speaking on the controversial plagiarism issue, she said if one were to go to a village in Kutch or any other place known for its textile work, one would be surprised or even shocked at the affordability which unfortunately sadly affects the quality of life of the karigars.

Before ending the seminar she then shared information about her website which can be found as the first option on Google when one looks for information on Indian textiles. Her website aims to be the new Wikipedia of Indian handlooms and handicrafts, offering information on karigars, Indian traditional work along with their geographic origin, etc.

Passionate and sincere, Ritu Sethi’s seminar imparted her wisdom with the younger crowd in a fun and knowledgeable way.

The first workshop of the day was an Interactive session with Rta Kapur Chisti author of "Saris: Traditions & Beyond" Rta Kapur Chisti is the founder of Ananda Delhi Textile, an organization devoted to the marriage of organic cotton farming and hand spinning in the production of khadi, the Indian textile championed by Gandhi. Rta Chisti, known for her extensive research into Indian traditional handloom pieces - especially saris, presented a humorous but informative workshop on Sari draping.

She started the workshop off saying, “If fashion is about reinvention then the sari is the ideal garment”, and also introduced her protégé and assistant, Pallavi Varma a textile collaborator who specializes in the art of weaving.

Keeping her talk fresh, Rta Chisti explained that it is the weaves of a sari that stand out before the embellishments followed by prints. “We don’t like to sit on the embellishments,” she said winking, making the audience laugh. The aim of the workshop was to share the magic of this unstitched garment; “Show your assets not your shortcomings,” she said before continuing on to explain the technicality of saris.

She explained that saris have three parts- body, borders and a pallav (end part). Another interesting fact shared by her was that the length of the sari determines the wearer- be it a young girl or an older woman. Going in depth into the size of the borders she explained that the sizes are: 1 inch- the size of one’s eyes, two inches- the size of one’s lips, three inches- the size of a forehead, four inches- crossed fingers, five- the size of closed hands in prayer. She also pointed out that the largest can be nine inches for the maximum inner border.

“We’re going backwards instead of forward. Let’s not compete with China, we’re a democracy,” she said. She also made a note of her own group which produces 40 varieties of tussar silk and 2 of mugha.

“You’d be surprised. It’s of the future not of the past, there’s so much you can do,” she said enthusiastically as she took the audience all over the Indian subcontinent, making note of each city and state, pointing out their traditional specialty and her adaptation of their sari wearing styles to something that is modern yet in touch with Indian roots.

Hats Elsa Schiaparelli Would've Worn If She Dabbled in Bondage

Based in the south of Brazil, Face Couture is a quasi-millinery project by self-taught designer Felipe Caprestano, who "mixes art and fashion by appropriating tailoring techniques to create masks." Not just masks though. More like surreal headpieces Elsa Schiaparelli would have worn—if she dabbled in bondage.
For two years Caprestano has documented the making of each piece in an online journal. Viewers can follow the works in progress, but never the final result. Until now. Or rather, next week, when Caprestano will launch a new website featuring exquisite portraits of the masks, a few of which we've posted here...

The Cappuccino Collection>Pria Kataaria Puri

The Cappuccino Collection unveils Pria Kataaria Puri as their Brand Ambassador


The Cappuccino jewellery collection announces Fashion diva Pria Kataaria Puri as their brand ambassador. Known to be a fashionista globally and in India, internationally acclaimed designer Pria Kataaria Puri’s journey as a fashion designer has been one filled with awards, accolades and appreciation....not only for her creativity but as a philanthropist & humanitarian!
Besides her sincere dedication to bringing out the best fashion & promoting Indian fashion globally, Pria is a grounded entrepreneur along with being the ideal wife and a nurturing mother.

Cappuccino Collection has announced Pria Kataaria Puri as their Brand Ambassador for their jewellery brand as Pria best represents the multicultural and multifaceted women of today who believe in living life to the fullest within the realms of family values, culture, and traditions.

The Cappuccino Collection of Champagne Diamond Jewellery believes Pria has a persona synonymous to their brand’s concept. She is glamorous, elegant and innovative which fits well with the standards of Cappuccino. Pria Kataaria Puri speaks delightfully on this association, “I am elated about Cappuccino Collection's decision to bring me on as their Brand Ambassador. I personally love diamonds, I feel diamonds add that special sparkle & glamour that women need in order to complete their look! This gives me further inspiration to continue creating unique designs and explore new categories. I will try my level best to uphold the respect bestowed upon me.”Pria gratifies this success as a learning experience and promises to work harder on her already established high-standards in the area of multifaceted design business!

ABOUT THE CAPPUCCINO COLLECTION:

The Cappuccino Collection is a brand of Dinal diamonds (established in 1971), which is into import and export of rough and polished diamonds and also manufactures jewellery. The products are unique with impeccable designing and finishing. They manufacture both white diamonds and champagne diamonds. White diamonds normally 99.9% pure and champagne diamonds in all colors from C1 to C7, in all different sizes and clarity lend their charm to three jewellery collections, Espresso collection, Latte collection and The Irish Collection. Creativity and reliability have been their hallmark with a tradition of excellence.
The Espresso Collection is more of a fusion collection. We have exquisite and unique pieces which are well crafted with diamonds and precious stones with various finishing.

The Latte Collection is a very exotic and classic bridal collection. It is a different range of fine hand crafted jewellery exclusively made with a combination of natural colored Champagne Diamonds, blending the creativity with precious stones and pearls in various finishing. We also use white color diamonds. (D-H) on client request.

The Irish Collection features a cluster of cut diamonds to create the look of a solitaire and also can be found in various shapes or designs. A cluster of cut diamonds is more affordable than a solitaire. The jewellery collection interweaves to create elegant symbols of beauty. Bold yet feminine, we bring to life the diamond dream of eternally feminine jewellery.
 

Jetsetera

With polka dots, tentacles, and a few nutjobs, the gang was all there at the opening of Yayoi Kusama's major exhibit at the Whitney Museum last night. The evening also served to celebrate the 83-year-old artist's collaboration with Louis Vuitton, again laden with polka dots. With an appearance by the Kusama herself, complete with neon-red hair, the night's festivities came full circle.

HYPARHEDRA>Giuliana Mancinelli Bonafaccia

HYPARHEDRA
Presentation capsules Collection
Juliana Mancinelli Bonafaccia
Presqu * ile Design Store
19 Via del Corallo,
RomeJuly 10,
18:30 h

At the Fashion Week of July, the young designer of jewelry Juliana Mancinelli Bonafaccia presents Hyparhedra Collection.The studies carried out on paper in the laboratory "Vorkurs" taught by Josef Albers at the Bauhaus it 1927, in the first half of the Bauhaus and the preliminary observation of the studies carried out on paper by artists such as Ronald Resch, in the 60s and 70s are the point of source and inspiration of the collection, a reflection on empirical studies of structural and construction issues through which it was tested the nature, quality and texture of materials.Just as students were asked to design complex structures without using nothing more than the starting material for the joints (a raw, simple, unusual, such as paper, cardboard and balsa wood), so the designers, borrowing the concept of joint and structures complex, creating unique pieces, sculpture, jewelry, precious and iconic works.The designs thus produced will be the starting point for the creation of jewelry (rings, bracelets, necklaces structure) with a strong connotation, Architectural concepts borrowed from studies of the same designer who was born as an architect before specializing in the production of jewelry from experimental forms strong conceptual appeal.Leather, Silver and Carbon are the distinctive features of the collection. The carbon, innovative and experimental in the jewelry, the use of which up to recently, was restricted to aviation, motorcycle, automobile or structural.The choice of the carbon is not random, in fact. While the material "mimics" the extreme lightness of paper, on the other stands for the extreme mechanical strength, hardness, good resistance to temperature variations, the effects of chemical agents, enjoying, in addition, drug-retardant properties.The boutique presqu * ile, isle of design, fashion and experimentation in the heart of Rome, will be the background for a presentation of its kind. Contamination, avant-garde sound and a giant paper installation will greet the public in a course of study and reflection on the forms.

Jewellery Designer Giuliana Mancinelli Bonafaccia discovered her interest in jewellery while she was working and studying in the field of architecture and interior-design and increasingly dedicated himself to this passion. A passion, which is the result of a strong commitment and knowledge, that soon leads her to attend some gemology classes at the IGI institute of Antwerp, specializing in "Colored Stones Identification," "Colored Stones Grading and Evaluation" and "Pearls Grading and Evaluation."

This path eventually took her toward the creation of her jewelry line in 2007.
She currently lives and works in Rome, her native city where she opened the concept store, Presqu*ile, in March 2010, an eclectic multifunctional space, it displays singular creations, unique or limited edition pieces that exemplify the ideals of meticulous research balanced between tradition and innovation, a place where art, design, fashion and jewellery coexist in the spirit of exclusivity.

The designer’s inspirational and intuitive approach to her creative production is far away from any classification or stereotype. Her work becomes unique thanks to her continous exploring and experimenting with different materials.

Each particular piece is characterized by an unconventional and unique choice which is revealed with the use of fine materials such as galuchat, stingray leather, typical of the Louis XV era.

Her style is often changing, it can be ironical, profane and even provocative. Her themes always combine different elements inspired by architecture, marine biology books, macro and texture photos, sculptorial and even anatomical elements.

Her modern and original jewelry is designed with the unusual combination of materials like silver, black ruthenium and polychrome enamels. The willingness to experiment enhances her skills focusing on the minerals while using diamonds, sapphires and other precious stones as a “frame” thus changing their classical role. This surreal mood creates an imaginary dimension where the details make a difference.

The functional and aestetical pursuit of every piece is supported also by a “Made in Italy” craft and the meticulous attention to detail. This is why the designer personally follows every phase, from the choice of stone to the prototypical creation as well as the production’s final steps.

This style between perception and experimenting takes form in the production of unique and limited edition pieces, where she mixes exclusive materials and their different contrasting colors to achieve a special combination between trend and elegance.