Through photography, most appropriate means for the reconstruction and interpretation of reality thanks to potential extension ad infinitum of contemplation and image reading time, we have the possibility to analyze historical and social conditions of our time and its concatenations. Exibition Candida Höfer at Galleria Borghese from June 20th to September 15th within the famous Galleria of Lanfranco, exhibits a work within a work, meaning seven large-format photographs (180 cm x 200 cm) taken by the artist and which reconstruct the original Borghese collection, made possible on the occasion of the exhibition I Borghese e l’ Antico (2012) when it was possible to bring back to the Gallery the most important masterpieces of ancient art that belonged to the collection, now owned by the Louvre, following the sale imposed by Napoleone Bonaparte to his brother in-law Camillo Borghese, in 1807.
CANDIDA HÖFER Villa Borghese Roma I, 2012
The exhibition commemorates preparations of seventeenth and eighteenth century, when works of archaeological sculptures were still on display in the Museum. Candida Höfer’s work who since 1979, produces images of interiors of public spaces, museums, libraries, archives, theaters, offices, banks, waiting areas, subway stations, using only natural light, enhances the place as living and vibrant space; in an exclusive relationship with the environment, provides to photography moments of reflection and re-appropriation of memory, unrepeatable poetry, aesthetic emotion and legendary character. Iconic, eternal and intangible.
CANDIDA HÖFER Villa Borghese Roma XVIII, 2012
In partnership with Elle.it
Cold fragrances. Conceptual. Abstract, unisex with metal scents and aseptic and intriguing packaging. Some olfactory harmonies replicate cosmo’s scents, other blood’s flow. The avant-garde trend of virtual perfumes, born thank to head-space, a technique that allows to clone, analyze and decompose all molecules that make up a smell, state itself. Bouquets of inorganic odors and abstract ideas give products great energy, transparency and intangibility. Dozer of the trend, Rei Kawakubo of Comme des Garçons, in 2000 destabilized the rules of perfumer creating Odeur 53, so named for the number of chemical formulas used in its composition. An “abstract anti-perfume”, without references and organic components. Nose “IFF” Anne-Sophie Chapuis, asserts that the initial concept of Rei Kawakubo was to invent an unprecedented perfume, that we could not connect to a perfume heard before, the olfactory equivalent of a fashion that reinvents itself every collection, starting from zero. This scent is describable only for oxymorons and metaphors made of visions, instead of notes. In its own press release is told in poetic fragments and material impressions just like a programmatic futuristic manifesto: mist of nylon, steel against tongue, absence of any memory of smell, desperation of shapes to come, baby breath, silence of cellular movements.
From left: Eau de Parfum Hydrogen NU_BE created by Nose Antoine Lie. Eau de Parfum Odeur 53 by COMME DES GARÇONS. Eau de Parfum AB by BLOOD CONCEPT.
NU_BE line of fragrances created by Fluidounce. The name has a double meaning: “cloud”, such as those clouds rich in primordial elements that gave rise to the universe and life on Earth, but also “new being”. This collection consists of five fragrances: Lithium, Helium, Hydrogen, Carbon and Oxygen. They were all created by a team of master innovative perfumers like Antoine Lie, François Caron, Sylvie Fischer and Nicolas Bonneville. They bring smell inside the periodic table of elements, in a game of balancing between organic and not-organic. They explore the microscopic, interpretating those elements that lit stars. Blood Concept created by Antonio Zuddas and Giovanni Castelli, celebrate blood as a river of life; fragrances are called with same letters as real four blood groups: O, A, B, AB. Intense and visceral scents, are a symposium without sex and without flowers. These particular conceptual perfumes, ethereal and not organic, also have the power to create a side micro-climate and to affect the air quality of who wears them. Anyway… go and sniff them!
The dandyism was a cultural movement that began in the nineteenth century. More than a movement could be identified as an ideology or an attitude to identify ourselves to everything to which we can aspire. Martyr of luxury, sociable hermit, ironic saint or eccentric individualist, the Dandy feels a certain adversity to anything that requires obviousness and conventions. He does not like to be aligned to others. To understand better the character, you should make a trip to the Museum of Rhode Island School of Design of Providence, in order to visit one of the most reviewed exhibitions on dandyism of this period. Artist / Rebel / Dandy: Men of Fashion, is an exibition that recreates the style of a dandy. From the first dandy in history, Beau Brummell, to the current ones such as Rick Owens and Patti Smith, through Oscar Wilde, Mark Twain to Andy Warhol and Tom Wolf. Garments displayed rearrange charms, prints, embroideries, shapes, cuts, volumes, silhouettes and triumphal behaviors of legendary narrative characters from the world of literature, art and music. The image of dandy that emerges from this exhibition is not the one of a rebel defeated by mass society or an opponent without hope, but a hero, a defender of authentic values , awareness and authenticity. For many a cultural movement, for others a strict monastic rule. The exhibition is open until August 18th.
BEAU BRUMMELL – Man’s greatcoat in dark blue facecloth, 1803. Tailored by John Weston of Old Bond Street. Coutts & Co. Museum of London.
Shirt worn by OSCAR WILDE, 1899. Naudin Chemisier, Paris. Cotton piqué
weave. Courtesy of Merlin Holland. RISD Museum, Providence.
Four-piece suit worn by MICHAEL STRANGE (pseudonym of Blanche Oelrichs), ca. 1928. Brooks Uniform Co., tailor, New York, est. last quarter of 19th century. Wool crepe coat with silk velvet collar, wool crepe trousers, cotton velvet waistcoat, silk plain weave dickie. Gift of Joana Avillez. RISD Museum, Providence.
Shirt (detail), late-18th century. Linen plain weave with cotton ruffle. Gift of Mrs. GUY LOWELL. RISD Museum, Providence.
Replica of ANDY WARHO’S shoes, Ferragamo’s Creations collection, 2010. FERRAGAMO, design house, Florence, est. 1928. Calf leather with paint. Gift of Museo Salvatore Ferragamo. RISD Museum, Providence.
Detail of dressing gown worn by WILLIAM TROST RICHARDS, ca. 1850. American. Printed cotton plain weave. Gift of Edith Ballinger Price in memory of her grandmother, Anna Matlack Richards and her mother, Eleanor Richards Price. RISD Museum, Providence.
Photography SIMONE PARRI Realization ALESSIO NESI
Despite the fact that the indicator of Consumption from Confcommerico (ICC) recorded in April 2013 a decrease of 3.9% (on an annual basis) in employment and income conditions of families in the first part of 2013, cosmetic industry does not fear this crisis. This is a data that emerges from the Beauty Report 2013 by Unipro, the Italian Association of Cosmetic Companies, as a result of an investigation that involved more than 2000 participants, all over 18. The long crisis of which we dont seem to ever see the end, has prompted consumers to be more discerning and to shop wisely, to seek cheap products but still of good quality.
From left: Parsely Seed Anti-Oxidant Hydrator AESOP. Body Lotion Potion DSQUARED2. Gel Douche Vitalité Corps-Cheveux BIOTHERM HOMME. Fluide Anti-Âge Intégral Premium LIERAC HOMME.
In other words, even in times when they have to “tighten their belts” Italian do not give up taking care of their body, but are maybe looking for a way to save some money. And for this reason door to door sales are particularly succesfull, as well as sales by correspondence, which have now exceeded sales of herbalists’s shops. A significant portion of respondents, between 34.0% and 40.0%, affirmed that “crisis has not substantially changed their spending habits for cosmetic products” ; this proportion of consumers contains a subcomponent of approximately 19% of those who said that “despite this crisis, they have consumed even more, because they have to find a way to keep up, especially when problems are more serious“. Working class is able to consult the science of appearance and is aware that image today is worth more than a thousand words are not at all interested in giving up their well-being and aesthetic needs.
In partneship with Elle.it
Yves Saint Laurent, celebrates the 30th anniversary of Eau de Parfum Paris with a new variation of the soft and bubbly fragrance. Eau de Toilette Légère Paris Premieres Roses, winks to the floral arrangements of the original launched in 1983 and reinvents itself in the effervescence of a floral bouquet musky and green. While perfumes of the eighties were used by women to transmit symptoms of power and wealth, Paris by Yves Saint Laurent, distanced itself from tendencies of maximalism only to tell passion and love for female universe and for its city. Comparing the first version of Eau de Parfum to Eau de Toilette, in limited edition, created by nose Sofia Grojsman, we have the feeling of going from a boudoir to an idyllic stroll in a rose garden.
Eau de Toilette Légère Paris Premieres Roses par YVES SAINT LAURENT
The most interesting part of new olfactory scale resides in a fragment of base notes, when centifolia rose, main element around which the whole fragrance swings, stands on a soft bed of sandalwood and white musk; harmony heats up and takes an elegant and discreet shape which translates into a moving trail of scent, caressing skin.