SS18 Liam Hodges Catwalk


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SS18 Liam Hodges Catwalk


 

 

LIAM HODGES - spring/summer 2018
"UNVEILED TOMORROWS"

 

june 2017

Make some noise. We live in the city and online in search of noise. If silence is death, life must be noise. Consuming all the audio, media, political and visual noise maketh the 21st-centry human. Fuck that noise. The noise in my head won't stop. I need a filter. I need to do me, not you, you and you. Who am I, what's my name?

Much of LIam's SS18 collection carries the legend NOISE or a screaming bear motif through-out. The bear is Munch's Scream for a generation that just wants to be cute but the shit they have to deal with while moving onwards and upwards is breaking them down. The struggle is learning from this noise - from everything on our feed, how to originate not imitate? Don't, how-ever, confuse the cuddly nature with weakness because these teddy bears have teeth!
Liam's taking in of numerous references from grime, two step, pirate radio, ultimate car modding, through to spoken word artists, zine culture, anarchist scouting and folklore - Liam's collections have always taken the same hyper-hybrid approach that incorporates sportswear and workwear silhouettes, with DIY culture, standing out amongst the spectrum of visual noise. 
Lima's love of taking on disparate influences to create something new is evident in Gaika's soundtrack 'God Save The Roadmen' alongside finale track 'Unveiled Tomorrow' by hardcore punk heroes Integrity. 

SS18 sees Liam move in a new direction, designing for "the guy that needs a work flex, not just a tracksuit". While working with the proviso that "I'm trying to make the clothes that I wanna wear when I'm older rather than what the people who are older wear now". 

Liam refines his patch work track suiting while also unveiling the brand's first foray into denim, with a selection of washes and styles. Ultimately acting as a new focus for the designer. This season also sees him build new celebrations, with his customised carry accessories being made by Côte&Ciel. Other parts of the collection feature legendary Italian sports brand - FILA. Liam utilises FILA's distinctive colour blocking aesthetic, including a take on his very own trademark jerseys. Also featured in the collection are FILA's 'Original Fitness' sneaker, a style that has been with the brand since 1987 that has been reimagined with a "mad texture" and Liam Hodges and FILA dual branding. 
Liam has also taken inspiration directly from FILA's first creative director Pierluigi Rolano, and his interest in American iconography. Liam also plays to his stitching techniques with a feature pinstripe detail synonymous with the FILA brand. Other traces of FILA's legacy can be found in Liam's flat lock stitching detail which references the classic FILA Settanta Mark 3 jacket which was worn by the tennis legend Bjorn Borg in the 70's. 
Liam's SS18 collection keeps the integrity and important of being open to new ways of "mashing it up!". Refining the designer as a staple in the LFWM schedule. 

 
 

CREDIT INFORMATION
Styling: Harry Lambert @ Bryant Artists
Casting: TM Casting
Hair: Tina Outen @ Streeters using Bumble and bumble.
Makeup: Jenny Coombs @ LQD skin care.
Bags: Cote&Ciel
Watches: G-Shock
Music: Gaika

 

Acne Studios Resort 2018


Acne Studios Resort 2018


 

 

 ACNE STUDIOS
Resort 2018
 


june 2017
 

“This is a collection of Acne Studios archetypes, iconic and real, so I wanted to work with an icon for the shoot. We asked Veruschka to choose her favourites from the collection, and it was amazing to have this supersonic woman work with such spontaneity.”

 – Jonny Johansson, Creative Director

 

 
Acne Studios Resort 2018
 

 

Trousers; blazer; shirt; denim; leather: a wardrobe of heightened normality, emphasising the inclusivity of fashion. A single-breasted slate blue flannel coat is like an oversized zoot suit, its sleeves sculpted to emphasise the effect.
Cuban embroideries embellish a shirt dress with flat-pressed collar, while a white Cuban shirt has wide sleeves that stop just above the elbow.
Plaid tailoring has been playfully cut, with an asymmetric front buttoning on the blazer, and a cropped leg on the trouser.
Denim has raw edges and different stonewash treatments. A denim jacket is boxy and cropped with exaggerated sleeves. Trousers are utilitarian, like a high waisted chino. The trousers are in suede or aged leather.
Bodies and leggings come in a wood print. Oversized hoodies add to the silhouette, with inside out stitching and raw edges.
Cuban heels have decorative stitching. Slippers have a pointed toe, and the denim slippers echo the stonewash treatments in the collection. Elbow length gloves in suede have a workwear feel. Belt buckles are in lacquered wood. Seashell jewellery is like a holiday memory.

 

William Eggleston - Los Alamos


William Eggleston - Los Alamos


WILLIAM EGGLESTON
Los Alamos

 

The American photographer William Eggleston (1939, Memphis Tennessee, US) is widely considered one of the leading photographers of the past decades. He has been a pioneer of colour photography from the mid-1960s onwards, and transformed everyday America into a photogenic subject. In William Eggleston – Los Alamos, Foam displays his portfolio of photographs that were taken on various road trips through the southern states of America between 1966 and 1974. The exhibition includes a number of iconic images, amongst which Eggleston’s first colour photograph.

Los Alamos starts in Eggleston’s home town of Memphis and the Mississippi Delta and continues to follow his wanderings through New Orleans, Las Vegas and south California, ending at Santa Monica Pier. During a road trip with writer and curator Walter Hopps, Eggleston also passed through Los Alamos, the place in New Mexico where the nuclear bomb was developed in secret and to which the series owes its name.

The over 2200 images made for Los Alamos were originally intended to be published in parts, but were forgotten over the years. The photographs were rediscovered almost 40 years after the project started. They were published and exhibited for the first time in 2003. The vibrant photographs of traffic signs, run-down buildings and diner interiors distinctly betray the hand of the wayward autodidact. His early work evidences his penchant for the seemingly trivial: before the lens of Eggleston’s ‘democratic camera’, everything becomes equally important.

Eggleston began Los Alamos ten years before his contested solo exhibition at MoMA in 1976, which placed colour photography on the map as a serious art form. At the time, colour photography in the fine arts was regarded as frivolous, or even vulgar. It earned Eggleston the scorn of many. However, this did not stop him from experimenting with the no longer used dye-transfer process, a labour-intensive and expensive technique that was mainly used in advertising photography. The process allowed the photographer to control the colour saturation and achieve an unparalleled nuance in tonality; a quality that also characterizes the 75 dye-transfer prints exhibited at Foam.

Modigliani Ragazza


Modigliani Ragazza


 

 

MODIGLIANI RAGAZZA
Woman in a Sailor Shirt


june 2017

Venice, June 2017- The Solomon R. Guggenheim Foundation’s collections have been enhanced by the acquisition of a rare oil on canvas by Amedeo Modigliani: Woman in a Sailor Shirt (La femme en blouse marine), of 1916. This was a testamentary bequest of the Venetian collector Luisa Toso. 

The canvas will first be exhibited at the Peggy Guggenheim Collection on June after examination and conservation by the conservator at the Peggy Guggenheim Collection, Luciano Pensabene Buemi, who in recent years has also carried out the cleaning of paintings at the Peggy Guggenheim Collection by Jackson Pollock and Pablo Picasso. EFG enthusiastically adopted and funded the project, given the painting’s historic and artistic importance to Italian culture. A thick layer of non-original varnish, both oxidized and yellowed, was removed. It had been applied during a prior restoration intervention which however altered the color tones, obscuring the cold, blue and gray tones as well as the peach-colored face which had deteriorated to beige. The colors have returned to the original, subtle diversity, the oxidation and whitening visible on several parts of the canvas have been removed.

Woman in a Sailor Shirt will augment the artistic patrimony of Venice with a small masterpiece, in line with the wishes of the donor. It joins three other, later paintings (1917-18) by Modigliani, nicknamed “Modì” (a pun on the French maudit or “cursed”), in the Solomon R. Guggenheim Foundation collection.

 
 

The young woman who is the sitter, with bobbed black hair accentuating her oval face, is unknown. Both the background and her clothing are in dark tones, projecting her warm pink face forwards. The same sitter appears in another portrait by Modigliani of the same year, La servetta seduta (The seated servant girl). The shade of the dress suggests winter, especially since the ‘marinière,’ or “French Riviera Style,” which was adopted by the children of upper-class Parisians and Londoners who visited the Côte d’Azur, was characterized by its light colors. The mild androgyny and abstraction of the figure exemplify Modigliani’s constant need to transfer the unconscious, and the mystery of human instinct onto canvas. The anatomical elongation which, beginning in the second half of the 1910s, characterizes his work, is indicative of his previous experience as a sculptor, and of the influence then of African and Oriental art. The canvas, with the title La femme en blouse marine, was exhibited in the artist’s solo show, organized in December 1917 by his dealer Léopold Zborowski at the Parisian gallery of Berthe Weill. Paintings of female nudes in the window caused a scandal, and the show closed prematurely. In 1917, the painting was bought by Paul Guillaume and shown only rarely after this, at the Palais des Beaux-Arts in Bruxelles in 1933 and at Kunsthalle Basel in 1934, before entering the Toso collection in Venice in 1952. Since that time, it has been exhibited in Milan, Rome, Padua, Verona, Venice, Ancona, Caserta, and Turin, and the Italian State has listed the Toso Modigliani in recognition of its high artistic and historic value.

In 2016 EFG supported the conservation of Pablo Picasso’s masterpiece The Studio (L’Atelier) in the Peggy Guggenheim Collection, and continues its support with this important conservation intervention.

With this project EFG reaffirms its support of the Peggy Guggenheim Collection of Venice. The collaboration began in 2001 with the bank BSI, now acquired by and incorporated into EFG, the international banking group specialized in private banking and asset management. With this conservation project, EFG consolidates the collaboration, signaling that its support of art is not only through its collection of contemporary art but also through its participation in specific projects that cultivate and advance the growth of a community’s cultural patrimony.

 

1916 painting by Amedeo Modigliani, Woman in a Sailor Shirt
© Solomon R. Guggenheim Foundation
www.guggenheim-venice.it

 

The Student Hotel Amsterdam City


The Student Hotel Amsterdam City


 

 

THE STUDENT HOTEL
Amsterdam City heralds a new concept in travel,
co-living and co-working


june 2017

 
The Student Hotel Amsterdam City x LE MILE Studios
 

The Student Hotel business model provides an unique hybrid destination for a fast-growing international community that plans beside Amsterdam 40 other properties in European cities by 2021.
They continue to look for opportunities across the continent, seeking and developing dormant and unloved buildings to bring positive economic and social benefits to their neighbourhoods.Situated in the heart of one of Europe’s most iconic cities, The Student Hotel Amsterdam City building offers state-of-the-art hotel accommodation, collaborative work areas, stylish communal lounges and a restaurant and bar branded ‘The Pool’. In 2017 it launches TSH Collab - dedicated co-working space for local businesses, start ups and entrepreneurs.

Amsterdam City is the flagship in The Student Hotel group, pioneers of the hybrid model of high-quality co-living, co-working hospitality, marking a new chapter for hotels, where travellers, entrepreneurs and students share spaces, connect and inspire each other by sharing the same complex. The 574-room property is five minutes from the city centre in the former office and printing
facilities of Trouw and Parool newspapers. The building was gutted and renovated to combine contemporary style and high-end facilities with quality student, short and long-stay accommodation. The hotel bedrooms are modern, stylish and very spacious, with great touches including big and comfy beds and stylist and well designed banners and unique light installations; everything you would expect from an upmarket boutique hotel.
The rooms feature postcards, posters, flyers and notices about upcoming events organized by The Student Hotel, specifically designed to bring guests, students, workers and local community together and makes possible to share and inspire each and everyones experiences, thoughts, life goals, and commitments.

“I stay in a lot of hotels, but one of my favourite and most refreshing experiences was actually in a hostel in Florence”, recalls Charlie MacGregor, founder and CEO of The Student Hotel. “The beauty of a hostel is that everything is much less formal. People talk to each other, everyone talks to everyone and it’s very refreshing. You don’t have the opportunity to make great friends and great connections in five star hotels.”

The Student Hotel stands for open-minded and forward thinking individuals who not only follow their goals in life and career but also commit themselves in helping to make the world a little bit better. The concept of the Hotel supports people of different environments, cultures and traditions to understand and appreciate peace and respect heterodox and differently thinking and loving people. Charlie MacGregor, The Student Hotel’s founder and CEO, explains: “We have redefined accommodation for travellers and students. Amsterdam City, like all of our properties, is a beautiful environment that feels relaxed and unlike any other hotel. [...] People want an alternative to the traditional hotel, guests who want to feel enlivened by their environment, inspired by who they see and meet. Amsterdam City is our concept for travelling, living, working, studying and connecting socially.
In addition to the extensive co-working spaces there are common areas with TED Talk booths, games rooms, library, and an underground bicycle park housing 600 Van Moof designer bikes available to guests.

Charlie and his team have created an innovative proposition designed to offer high quality accommodation, vibrant co-living and co-working spaces in the heart of European cities, with rooms available to students, entrepreneurs and travellers who can check in for a night, a week, a month or a year.

We’re glad we were there and... The Student Hotel, thanks for sleeping with us too. 

 

all photographs: ©The Student Hotel (slide:1,2,3) +
© LE MILE Studios (slide: 4,5,6)
www.thestudenthotel.com

 

 

Mary Ellen Mark - Retrospective


Mary Ellen Mark - Retrospective


Mary Ellen Mark
Eternal iconic photography that speaks the voice of truth in frame

 

written Mikal Shkreli
photographed Alban E. Smajli

April 21, 2014: On a sunny day in SoHo, I met up with Alban E. Smajli outside the studio of well-known photographer, Mary Ellen Mark. Waiting for the buzzer to let us upstairs, I had reviewed my notes on some background research on the artist. Mary Ellen was born in Philadelphia and after receiving her Masters Degree in photojournalism, she traveled to Europe under a Fulbright Scholarship. Making her way to New York a few years later, Mary Ellen has created a notable name for herself in photography, art, and the world of social culture, her work featured in exhibits worldwide. The door buzzed and we entered the elevator. The door slided open directly to the studio, and we stepped out, looking around the high ceilings and at the endless items across bookshelves, desks, countertops. We walked past copy and printing machines of various kinds and found one of Mary Ellen’s assistants behind a computer, informing us that Mary Ellen would be with us in just a few moments. Escorted to a few chairs around a humble table, Alban E. and I prepared our questions and Mary Ellen emerged from a region unknown, deeper within the studio. 

With two braids parted down the center of her head and extending down her back, Mary Ellen has approached us with a smile and wide eyes that peered through her small framed glasses. Her dress, resembling ethnic-wear from Central America, had worked cohesively with her hair and the cactuses that adorned the space. And between the cacti and other desert friendly plants, skeletal figures stood with poise, watching our meeting.
Mary Ellen’s work has been revered and known for their subject matter, displaying aspects of society not commonly represented in the spotlight of mainstream culture. She hasphotographed Vietnam War demonstrations, celebrities, transvestites, women’s liberation movements, and everyday people in the New York City streets, with and without their awareness of being photographed. When asking about her choices in subject matter for her work, I asked Mary Ellen, “how do you decide?” To which she responded, 

Marry Ellen Mark (USA, 1940-2015) Atelier, New York City Photograph © Alban E. Smajli Courtesy by LE MILE Studios

Marry Ellen Mark (USA, 1940-2015)
Atelier, New York City
Photograph © Alban E. Smajli
Courtesy by LE MILE Studios

" Sometimes you photograph someone you don´t even know, on an assignment, and there are some people that are just interesting to watch. So you choose them because of that. "

Mary Ellen MarkJust on the frame (...) basically, you decide how you want to make a frame (...) so it looks right. When you’re in a studio, it’s one thing, but when you’re on location, you want to change the background and make sure it works perfectly as a frame.

Mikal ShkreliIs there something particular about a person or a person’s image that would draw you to bring more of an intimate scope with photography?

MEM: Well, I mean, sometimes you photograph someone you don’t even know, on an assignment, and there are some people that are just interesting to watch. So you choose them because of that. The choices that Mary Ellen maked for her images are very particular, explaining that “each situation is totally different.” She continued, admitting that “you don’t want to kind of repeat yourself (...) but each situation calls for something very different.” I glanced around and noticed numerous frames of her work high up on the walls, noticing her range in work. 

MSDo you have any preference between street photography or portraits?
MEM: Well, basically, my feeling, the hardest photography to do is street photography. Those are the people’s work I’ve really admired from the beginning. That’s why I became a photographer. 

MS: Do you try to create a story when you see somebody?
MEM: I try to make a frame of it that says something.

I took a moment to glance around the studio some more, noticing wooden carved figures of roosters, Micky Mouse, Jesus, and more skeletal images and figures, even color skeleton streamers were hanging from the lights, resembling the Day of the Dead, providing a deeper feel into Mary Ellen’s native essence, her style, her interests, her mysterious appeal that translated into her photography, causing the eyes to linger for an extra amount of time, piecing together the puzzle, figuring out what is being shared. I had asked Mary Ellen about the dynamics in shooting. 

MEM: If you’re doing a portrait, you have to take a certain amount of control - you have to be in control. They have to feel that you know what you’re doing, then they have a respect for you. It’s a balance, there is a very delicate balance. 

MS: Do you feel a certain sense of responsibility to bring people to life in a photograph, by exposing them or sharing them to the world in a particular way? 

MEMYea, to be honest. Pictures can lie very easily, so you have to be honest, have respect, or not have respect, whatever, with what you want to say with your camera - not to lie to people. 

MS: So what are you trying to say with your camera?
MEM: Each situation is totally different. You’re trying to make an image that’s memorable, maybe iconic. If you’re lucky, you know, iconic.
 

Innovative enigmatic, resourceful, and ready to readjust to change and circumstance and situations and work with them in order to produce the most fruitful result of art, Mary Ellen was a true artist; open with her approach and unique in her view on life and how to capture it, in essence. 

MSWhat do you hold as the power in photography, your photography?

MEM: I think the power in photography - it’s very difficult, now everyone is a photographer, so the bar has been lowered. There’s not as much respect and there’s a lot of really bad scenes being shot that aren’t good. And people don’t know the difference, so, what do I respect, I respect people who’s work I think is great, and whose work hasn’t been lowered by the bar. Everyone’s a photographer now, so people think it’s easy and anyone can do it. In a way it is easy, it’s very easy to take an average picture, that’s a piece of cake. To take great pictures is really hard. 

MS: What is the distinguishing level?

MEMYou just look at it. Helen Levitt, Irving Penn, they take great pictures. You just know it when you look at it. It’s talking to you, it’s saying something to you. 

We took a momentary break from the interview while one of Mary Ellen’s assistants asked her a few questions. I observed the large bookshelf behind me, full of books, organized with labels, mostly on photography. Mary Ellen has seventeen published books of photographs, with numerous contributions to publications such as Vanity Fair, Life, The New Yorker, Rolling Stone, and more. Before the rows of books there were cartoon figures of Popeye, George Bush, Queen Elizabeth and a few other fun notable figures. Alban E. asked her if she was still shoot shooting analog or digital.

MEM: Yes. I have a digital camera, (...) I mean, I think it’s a different medium, (...), and I love film, my whole life I’ve always done film. I have a really great digital camera, but I haven’t used it yet. But I think it’s different from film and it is different. I guess I’m always afraid that I’m going to see something amazing and miss it in film. As long as I can still shoot film and get film - but there’s a transition. I’m not the only one, there are other people shooting film. Continuing on the subject of analog versus digital photography, Mary Ellen explained that “it’s a different mindset, it looks different, especially for black and white. I shoot mainly in black and white. I think for color, digital can be very beautiful sometimes, but for black and white, I like silver prints. But people put a lot of pressure on you to shoot digital.” Mary Ellen then refered to the annual Easter Parade that took place a day prior our meeting in May 2014, “everybody was taking pictures. Everybody! I mean, I’m talking from five years up to like, old men with their cameras. And people are being shoved and pushed, and it’s just really - there’s no more borders.

In the evolution of photography, experienced by our social culture, from analog to digital, to handheld "phone-tography", the bar has been ‘lowered’ to a playing field without borders, where anyone can snap a photo. But what distinguishes a great photo is something that speaks, something eternal. Mary Ellen captured the honesty of what is, the actuality of a subject from a perspective lens. Not through manipulation of image and representation, but through a focused aspect of perception through lens, Mary Ellen Mark gripped at the core of photography, allowing art to be formed in a still image within a frame, iconic. Mary Ellen Mark died on age 75 one year after our interview.
 

We will keep you always in best thoughts. 

 

HYÉRES 2017


HYÉRES 2017


 

 

HYÉRES 2017
The Winners


may 2017
 

Swarovski is happy to announce the winner of this year`s International Festival of Fashion and Photography at Hyères.

Accessories Swarovski: Marina Chedel
Accessories Prix de public: Wendy Andreu

Having partnered with the International Festival of Fashion and Photography at Hyères, since 2009, Swarovski has reaffirmed its commitment to emerging talent by creating the first Swarovski Fashion Accessories Grand Prix of the Jury with Pierre Hardy as jury president. 

Swarovski welcomed the 10 accessories finalists at its showroom and at Première Vision last February where they discovered the new crystal collections and a large variety of application techniques. Depending on their projects, they were able to select crystals to incorporate into their designs and were accompanied by Swarovski during the making of their collections. 

For over 120 years, Swarovski has worked with designers to explore crystal as a versatile and inspiring creative component in fashion, and has a longstanding commitment to supporting innovation and young talents. 

Over the Peak : 
Marina Chedel created a collection both savage and urban by borrowing the vocabulary of mountain equipment and Swiss materials such as ash, suede, rabbit fur and goat hair applied on leather and synthetic foam. The strong and bold impact of her shoes collection and the use of asymmetrical platforms, heavy outer soles and crampons convinced the jury. 
The Public and City of Hyères Award was awarded to Wendy Andreu from France for her creative collection of bags and hats.

Model: Zack Lion
Photographer: Ellius Grace

 

Rei Kawakubo/Comme des Garçons: Art of the In-Between


Rei Kawakubo/Comme des Garçons: Art of the In-Between


COMME DES GARCONS: 
Costume Institute’s Spring Exhibition

 

Costume Institute Benefit on May 1 with Co-Chairs Tom Brady, Gisele Bündchen, Katy Perry, Pharrell Williams, and Anna Wintour, and Honorary Chairs Rei Kawakubo and Ambassador Caroline Kennedy.

The Metropolitan Museum of Art’s Costume Institute spring 2017 exhibition, Rei Kawakubo/Comme des Garçons: Art of the In-Between, on view from May 4 through September 4, examines Kawakubo’s fascination with interstitiality, or the space between boundaries. In Kawakubo’s work, this in-between space is revealed as an aesthetic sensibility, establishing an unsettling zone of oscillating visual ambiguity that challenges conventional notions of beauty, good taste, and fashionability. A thematic exhibition, rather than a traditional retrospective, this is The Costume Institute’s first monographic show on a living designer since the Yves Saint Laurent exhibition in 1983. 
“In blurring the art/fashion divide, Kawakubo asks us to think differently about clothing,” said Thomas P. Campbell, Director of The Met. “Curator Andrew Bolton explores work that often looks like sculpture in an exhibition that challenges our ideas about fashion’s role in contemporary culture.”

LE MILE Magazine by Alban E. Smajli presenting MET Comme des Garcons Akiko Kondoh

In celebration of the opening, The Met's Costume Institute Benefit, also known as The Met Gala, will take place on Monday, May 1, 2017. The evening’s co-chairs are Tom Brady, Gisele Bündchen, Katy Perry, Pharrell Williams, and Anna Wintour. Rei Kawakubo and Ambassador Caroline Kennedy will serve as Honorary Chairs. The event is The Costume Institute’s main source of annual funding for exhibitions, publications, acquisitions, and capital improvements.

“Rei Kawakubo is one of the most important and influential designers of the past 40 years,” said Andrew Bolton, Curator in Charge of The Costume Institute. “By inviting us to rethink fashion as a site of constant creation, recreation, and hybridity, she has defined the aesthetics of our time.”

Rei Kawakubo said, “I have always pursued a new way of thinking about design...by denying established values, conventions, and what is generally accepted as the norm. And the modes of expression that have always been most important to me are fusion...imbalance... unfinished... elimination...and absence of intent.” 

Exhibition Overview
The exhibition features approximately 140 examples of Kawakubo’s womenswear designs for Comme des Garçons, dating from the early 1980s to her most recent collection. Objects are organized into nine dominant and recurring aesthetic expressions of interstitiality in Kawakubo’s work: Absence/Presence, Design/Not Design, Fashion/Anti- Fashion, Model/Multiple, High/Low, Then/Now, Self/Other, Object/Subject, and Clothes/ Not Clothes. Kawakubo breaks down the imaginary walls between these dualisms, exposing their artificiality and arbitrariness. Her fashions demonstrate that interstices are places of meaningful connection and coexistence as well as revolutionary innovation and transformation, providing Kawakubo with endless possibilities to rethink the female body and feminine identity.

The Iris and B. Gerald Cantor Exhibition Hall, on The Met Fifth Avenue’s second floor, has been transformed into an open, brightly lit white box with geometric structures. Intended to be a holistic, immersive experience, the space facilitates engagement with the fashions on display. A suggested pathway begins with four ensembles enclosed in a cylinder, reflecting Kawakubo’s enduring interest in blurring the boundaries between body and dress. Visitors, however, are encouraged to forge their own paths and experience the exhibition as a voyage of discovery. 

 

Credits:
photographs_ © Akiko Kondoh for LE MILE Studios

 

Marsden Hartley


Marsden Hartley


MARSDEN HARTLEY´S
Maine

 


My own education [began] in my native hills, going with me—these hills wherever I went, looking never more wonderful than they did to me in Paris, Berlin, or Provence.—Marsden Hartley, “On the Subject of Nativeness—A Tribute to Maine,” 1937  

American painter and poet Marsden Hartley (1877–1943) was born and died in Maine, and his personal and aesthetic engagement with the state shaped his art. Hartley embarked on his artistic career in the early 1900s by painting the western Maine mountains, eventually becoming a member of the circle of artists promoted by the gallerist and photographer Alfred Stieglitz. 

" Hartley produced abstract paintings that placed him at the forefront of the international artistic avant-garde. "

Beginning in 1912, he adopted a peripatetic life, traveling throughout Europe and North America and returning to his native state on short, infrequent trips. While living in Berlin from 1913 to 1915, Hartley produced abstract paintings that placed him at the forefront of the international artistic avant-garde. Eventually his itinerant lifestyle took an emotional toll. At midlife he confided to Stieglitz, “I want so earnestly a ‘place’ to be.” Hartley repatriated to his native state in his later years and, in 1937, began transforming his identity from urbane sophisticate to “the painter from Maine.” 

This exhibition examines Maine as place and the place of Maine in Hartley’s art. It illuminates the artist’s wide-ranging representations of the state throughout his career, from early lush, Post-Impressionist mountain landscapes to glass paintings done at the Ogunquit art colony to canvases painted from memory while abroad to late, roughly rendered images of the rugged coastline, magisterial Mount Katahdin, and hardy people. It also includes works from The Met collection by other artists who shaped Hartley’s vision. Maine served as a slate on which Hartley manifested his ideas over time. It was an enduring source of inspiration defined by his personal history, cultural milieu, and desire to create a regional expression of American modernism. 

The exhibition is made possible by the Barrie A. and Deedee Wigmore Foundation, the Henry Luce Foundation, the William Randolph Hearst Foundation, and the Jane and Robert Carroll Fund.

Hartley was born in 1877 in Lewiston, Maine, a center of the state’s powerful textile industry. His English immigrant parents, who were drawn to the area by the mills, named their son Edmund. When Hartley was eight his mother died; he later attributed his lifelong loneliness to this early loss. His father remarried, and the family resettled in Ohio, where Hartley studied at the Cleveland School of Art until a local patron offered him a stipend to continue his training in New York. A teacher gave the aspiring artist a book by Ralph Waldo Emerson, igniting the interest in Transcendentalism that would contribute to the expressive tenor of his early landscapes.

In the spring of 1900, Hartley returned to Maine in search of inspiration. The state’s western border with New Hampshire, where the White Mountains preside, became the first place he claimed for his art. Over the next decade he moved between New York, Boston, and the cluster of small towns near the village of Lovell, Maine, establishing the itinerancy that would shape his life. Intimations of Hartley’s homosexuality entered his letters, and literature, especially the poems of Walt Whitman, provided an anchor for his emerging artistic identity. In 1906 Hartley changed his first name to Marsden, his stepmother’s surname. During these exploratory years he focused on Maine’s dramatic western mountains and the locale’s rural culture. His longest stay in the region, from 1908 to 1909, generated an extraordinary group of paintings and drawings. Returning to New York, Hartley secured the exhibition at Alfred Stieglitz’s gallery, 291, that launched his career. 

Villa del Balbianello


Villa del Balbianello


 

 

An invitation to visit…
Villa del Balbianello


april 2017
written Julia Ahtijainen

 
Villa del Balbinello x LE MILE
 

Lake Como may be known as a playboy playground and favorite of George Clooney, but it makes a surprisingly international holiday destination, full of historical treasures.

One of them – Villa del Balbianello in Lenno. The Villa and the Loggia were built in the last years of the 1700s when Cardinal Durini acquired the Punta di Lavedo, a romantic peninsula on the shoreline of lake Como. The place was meant to be a quiet summer residence where Cardinal could indulge in literary pastimes. Years went by, and the villa had become a prestigious summer salon with breath-taking views from each window. 
One of the most remarkable owners of the villa was Guido Monzino, a prominent Milanese businessman who was also a fervent collector and an explorer. He turned the villa into a private museum, where he collected and catalogued his travels around the world, including a trip to the North Pole in 1971, and the conquest of Mount Everest in 1973. After his death, in accordance to his will, the villa with magnificent gardens and collections, was left to FAI – Fondo Ambiente Italiano.

Villa del Balbianello is also a destination for movie lovers, as part of James Bond Casino Royale and scenes of Star Wars were filmed in this location. A remarkable establishment of Italian culture and intelligence worth visiting this season.

all photographs: © Julia Ahtijainen
LE MILE Studios x Plotagraph Pro
www.fondoambiente.it