JUAN CARLOS
HERNÁNDEZ ALEGRÍA
moda / diseño / fotografía
MODA
DISEﾃ前
THE
BRITISH
MUSEUM
Autum / Winter 08-09
Myth and Reality
The Sámi Magic Drum
Statuephilia
Discover the greatest city of ancient Iraq through archaeology, history & art
This display focuses on a drum made in Scandinavia in the 1600s by the Sámi people. In the hands of a skilled shaman it was a magical weapon that could help to protect the community. Its skin is covered in painted designs including reindeer, the sun and moon, and a man in a boat travelling across the underworld sea. These represent guides and
The British Museum has one of the world’s most celebrated and diverse collections of sculpture, dating from prehistory to the present day. Since its foundation in 1753, the Museum has consistently engaged with the contemporary world, both in its collecting and its displays. These two themes are brought together in Statuephilia, for which five of
accounts of journeys to other realms to the worlds of spirits and gods. The Sámi live in arctic and sub-arctic Europe. Their homeland, named Sápmi, covers parts of northern Norway, Sweden, Finland, as well as the Kola Peninsula in Russia.
Britain’s leading artists have contributed a sculpture responding to these world-famous collections. Renowned British sculptor Henry Moore spoke of ‘the delight, the excitement, the inspiration’ he received from his visits to the British Museum, and this remains true for the sculptors of today.
For two thousand years the myth of Babylon has haunted the European imagination. The Tower of Babel and the Hanging Gardens, Belshazzar’s Feast and the Fall of Babylon have inspired artists, writers, poets, philosophers and film makers.
Over the past two hundred years, archaeologists have slowly pieced together the ‘real’ Babylon – an imperial capital, a great centre of science, art and commerce. Since 2003, our attention has been drawn to new threats to the archaeology of Mesopotamia, modern day Iraq. Drawing on the combined holdings of the British Museum London, the musée du Louvre and the Réunion des musées nationaux, Paris, and the Vorderasiatisches Museum Berlin, the exhibition explores the continuing dialogue between the Babylon of our imagination and the historic evidence for one of the great cities of antiquity at the moment of its climax and eclipse.
13 November 2008 – 15 March 2009
The drum is one the Museum’s most important objects. It belonged to the Museum’s founder, Sir Hans Sloane, and it goes on special display to celebrate the 250th anniversary of the Museum opening to the public.
Antony Gormley and Ron Mueck are represented here by monumental sculptures, Marc Quinn premieres a dazzling gold statue of Kate Moss, while Damien Hirst and Noble and Webster have created provocative new works inspired by the Museum’s collections. These five installations show how our understanding of modern art can be deepened by placing it in an historic, global context and reveal just how relevant the art of the past is to today.
Until 18 January 2009 / Room 3 / Admission free
4 October 2008 – 24 January 2009
THE HISTORY OF FENDI In 1925, the house of FENDI is born with the establishment of the first handbag shop and fur workshop in Via del Plebiscito, Rome. The new FENDI business, led by the young couple Edoardo and Adele Fendi, immediately wins great acclaim for the quality of its products. For the Roman bourgeoisie, a trip to “Fendi at the Plebiscito” becomes a date with a certain prestige. As the business grows, the fur workshops expand and between the 1930s and 40s, the FENDI name, already well known in Rome, becomes famous outside of the capital city. In 1946, the five daughters of Edoardo and Adele begin working for the family business, each bringing new energy and ideas. The five sisters develop and propose new products for the leather goods and fur lines. A few years later, the Fendi sisters meet a young rising star making waves in the Paris design circuit: Karl Lagerfeld. In the hands of Lagerfeld, a fashion revolution takes place: the fur is changed, moulded, redesigned and reinterpreted, becoming a fashionable, soft, light item of clothing. The materials also change, and skins that had been forgotten or neglected are used in production once again. At this time the “double F” is designed and becomes an all–important feature. IN 1969, FENDI adds an industrial prêt-a-porter collection to the entirely hand-crafted production of its furs. This collection offers the ideas and quality of a limited production, benefiting from the research experience of the haute couture FENDI workshops. In this way, high quality, “designer” furs are obtained at limited costs. The FENDI bag is also transformed, offering new rules governing elegance and practicality, innovation and style. The answer to rigid handbags is the innovative creation of soft, unstructured bags. The leather is printed, woven, dyed and tanned to make it more soft and attractive and so begins the journey of a new generation of FENDI bags. The success of furs and bags leads to the need to offer a complete image of the FENDI style. In 1977 the ready-to-wear is launched, a clothing line with the same criteria of careful design and elegance. With the brand’s growing success, the house’s collections are expanded in 1984. Designed and followed through with extreme care, a range of foulards, ties, gloves, sunglasses, jeans and home furnishings are created. The following year, marks an important stage: for the first time, a museum, the National Gallery of Modern Art in Rome, opens its doors to celebrate FENDI’s sixtieth anniversary and the twenty years of its collaboration with Karl Lagerfeld. The exhibition “FENDI – Karl Lagerfeld, a working
history” illustrates the entire creative and technical process involved in producing a new collection. The anniversary and the event are the occasion for the arrival of the first FENDI perfume. A few years later the Selleria, a line made entirely by hand, is rediscovered. Originally created by Adele Fendi, it is re-offered with the same culture and the same techniques. Handbags, travel bags and small leather goods are made from cuoio fiore, hand-finished by master saddlers, in a limited edition series. Creativity of Silvia VenturiFENDI, the creative director of the house, leads to the FENDI Baguette in 1997. The success of the little bag to be carried under the arm, like the bread of the same name, is an immediate success. More than 600 versions, with different, unusual materials, quickly make it an essential accessory and a collector’s item. This becomes a real phenomenon that, in only a few seasons, transforms this bag into a cult object. In the wake of the Baguette, Silvia Fendi follows with the creation of the Spy bag phenomenon in 2005 and the B Fendi bag in 2006. DURING A HIGHLY SUCCESSFUL PRERIOD,
“D
STEPHENIE
on’t be afraid,” I murmured.
MEYER
“We belong together.”
I was abruptly overwhelmed by the truth of my
This moment was so perfect, so right, there was no way to doubt it. His arms wrapped around me, holding me against him... It felt like every never ending in my body was a live wire
“Forever,” he agreed..
Breaking Dawn
own words.
Breaking Dawn
The twilight saga : Twilight · New Moon ·Eclipse · Breaking Dawn
STEPHENIE MEYER
FOTOGRAFÍA
copyright© juan carlos hernández alegría