
In with the new at the ancient Giza pyramids
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The Grand Egyptian Museum.
Anthony Flint
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Touted as the largest archeological museum in the world, the project started way back in 2005, when the decision was made to decant some 100,000 artifacts from the cluttered, colonial-era Egyptian Museum in downtown Cairo to a roomy, state-of-the-art exhibition space on 120 acres next door to one of world's most visited ancient sites. The new curation, at nearly 900,000 square feet, twice the size of the Louvre, organizes the sarcophagi, statues, furnishings, and other treasures by chronology and theme — beginning thousands of years before the birth of Christ, and categorized under headings such as society, kinship, and belief. The new museum is also set to include items from King Tutankhamun's tomb, though the legendary golden funerary mask and gilded coffin is still back in the old museum at Tahir Square.
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The newness of it all — contemporary architecture rising from the desert, far from the centuries-old chaos of Old Cairo — is immediately apparent upon alighting from a $5 Uber from downtown. It's a bit of a hike from the curb across an expansive plaza to a long row of dozens of turnstiles, installed in anticipation of the hoped-for 5 million annual visitors – though at the time of my visit, during the soft opening of 12 galleries in November of last year, I had them all to myself.
The main entrance is marked by a tilted façade protrusion of stylized hieroglyphics and illuminated panels that mimic the shape of the ancient structures in the distance — and indeed, as readily becomes apparent, the triangle form is repeated throughout the complex. It's a theatrical start, as visitors pass by a 'hanging' elevated obelisk, and tuck under a little copycat pyramid that appears to be lifted up at the base.
The Grand Egyptian Museum.
Anthony Flint
Once inside the cavernous atrium, after the all-important information desk, visitors confront the 36-foot-tall, 3,000-year-old statue of Ramses the Great, the infamous ruler of Egypt's Nineteenth Dynasty, which has been transferred from an outdoor location in Cairo. This is where the phones start to get whipped out in earnest.
Extensive options for eating and drinking and shopping are available just after Ramses, including a spiffy
Advertisement
Then it's on to the four floors of the galleries, accessed either by a grand staircase or a slow-moving escalator. I chose to take the people-mover all the way to the top, for a stirring view of the Giza pyramids framed like a movie screen by giant windows, with soon-to-be-opened gardens in the foreground. I toggled between snaps of the mighty, mystical testaments of ancient civilization and news updates of what was going on back home, as I happened to visit the day after the US elections.
Trying to stay focused, I descended to take in the exhibits, which does require significant museum stamina. Wisely, the curators have sprinkled in tasteful multimedia displays showing how the Giza complex was built over some 500 years, a contemporary diorama of what village life was like thousands of years ago, and a recreation of the chapel of Khnumhotep II, a chief associated with the Middle Kingdom pharaohs honored with elaborately decorated tombs south of the site down the Nile. Painted figures on the walls come to life in a virtual animation reminiscent of scenes from 'Night at the Museum.'
Tourism is a huge part of Egypt's economy, with an estimated 15 million visitors last year. The modernization of the visitor experience at Giza is part of an ambition to double that number.
The Grand Egyptian Museum.
Anthony Flint
Egypt is all about the future in other ways, too, right now. There's an incredible urban expansion underway, with skyscrapers, housing, new commercial areas, government offices, a convention center, and a monorail, all conjured out of the vast empty desert east of downtown Cairo. The new frontier, funded by China, the International Monetary Fund, and other sources, is designed for a growing population that can't be accommodated within the confines of the old metropolis. The new construction is mostly unoccupied at the moment, giving everything a ghost-city vibe, but the urban planners are convinced that will be temporary.
Advertisement
The Grand Egyptian Museum is very much a part of that in-with-the-new mindset. A Boston antecedent might be the Museum of Fine Arts, which was relocated from Back Bay to Huntington Avenue — at the time viewed as a desolate outpost. Skeptics may have questioned whether the museum could possibly make use of all that space way out west of the city, but just look at it now.
A few weeks after my visit, a new tomb was discovered near Luxor and the Valley of the Kings – that of King Thutmose II, from the dynasty that reigned through two centuries between about 1550 BC and 1292 BC. It was the first royal Egyptian tomb to be discovered since King Tutankhamun's burial chamber was found in 1922. Just recently, another team revealed evidence of a hidden city and extensive infrastructure underground, beneath the pyramids. So who knows — if these teams of Indiana Jones-caliber archaeologists keep it up, there might even be a need for a new wing. Happily, there's plenty of space.
Anthony Flint is a writer in Brookline. He can be reached at anthony.flint@gmail.com.
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Business of Fashion
6 hours ago
- Business of Fashion
Jonathan Anderson's Grunge Aristocracy at Dior
PARIS — The enormous tent constructed in the Place Vauban for Jonathan Anderson's debut at Dior was printed with a silvery evocation of the past, a monochrome image of Christian Dior's decorous couture salon. Fast forward to the present, 75 years later. That tent had been exhaustively climate-controlled to allow for the hanging of two paintings by Jean Siméon Chardin, the 18th century artist who is regarded as the master of the still life. He was a favourite of Dior's, Anderson's too. The Chardins were his idea. So was the inspiration for the showspace, clad in velvet like the Gemäldegalerie in Berlin, home to one of the finest collections of European art from the 13th to the 19th century. One Chardin came from the Louvre, the other from the National Gallery of Scotland. Reflect for a moment on the logistics involved in transporting monstrously valuable works of art to a tent packed with an unruly, heatstruck audience for one hour on a Friday afternoon in Paris and you'll maybe garner some notion of the political and financial power that a fashion conglomerate like LVMH, which owns Dior, now wields. Ah yes, the present. Dior Menswear Spring/Summer 2026. (Spotlight/ And the future? Well, for that single stretch of showtime, it rested in Anderson's hands. He's been cast as Dior's saviour in a challenging market — and is the first to oversee women's, men's and haute couture collections since Monsieur Dior himself first experimented with menswear. Unsurprisingly, Anderson has been soft-pedalling expectations. 'You have to, because no one gives anyone any time anymore,' he conceded at a preview earlier this week. In another exchange, he said, 'My idea is to be slightly optimistic, it's not going to happen overnight. We have to be realistic today.' But his attempt at lowering the temperature was clearly unsuccessful. His audience was littered with pop stars, movie stars and a full platoon of fashion peers, many of whom were on their feet at show's end. Dior Menswear Spring/Summer 2026. (Spotlight/ Anderson was insistent that Dior was something alien to him. 'It's not a character that I know.' But that's what seduced him. 'It's like buying a chateau in the South of France that you saw on a website, a very British thing to do. It's beautiful, but it needs so much renovation. You have to start somewhere, and as you go, you realise, 'Wow! It's amazing what they did in the 18th century with door handles,' and then you find the next thing and the next thing.' And those 'next things' were the years of input from all the designers who have worked for Dior over the decades. To isolate the most striking carryover from the past in Anderson's debut collection: Maria Grazia Chiuri's wildly successful book tote reappears rendered as the covers of specific titles, In Cold Blood, Bonjour Tristesse, and, luridly best of all, Dracula. ('Because it's Irish,' he said archly.) He compared the learning process to doing a PhD in Dior. What did he come away with? 'I feel the name is bigger than the individual designer. It was always like that. So that was the whole idea for me.' Dior Menswear Spring/Summer 2026. (Spotlight/ There will undoubtedly be plenty of people who look at what Anderson showed on Friday and question his concept of permanence. 'My idea was to decode it to recode it,' he explained, sort of. 'That's how the collection was built.' Take the first look, practically a manifesto in one outfit. 'How I feel I'm going to tackle men,' Anderson declared. 'Formality, history, the material, Irishness.' The cargo shorts were panniered with the extravagant folds of the Delft dress from 1948, originally carved from 15 metres of duchesse satin, duplicated for today in undyed denim. The jacket featured the classic Bar silhouette, cut here from Donegal tweed. The model sported a formal stock tie. 'An English stock,' Anderson explained, 'the French is looser. I like the idea of something that makes you lift your head up. There's an etherealness to the formality.' The shoes were based on the sandals he wore to school in the summer. In other words, a weird but winning fusion which spanned the decades between the Frenchman and the Irishman. Dior Menswear Spring/Summer 2026. (Spotlight/ 'For me, it's about a quiet radicalism,' Anderson said. 'For the customer, this is already going to be something that is pretty wild, but in my head, it's normal.' Why is it easy for me to imagine Christian Dior saying something similar 75 years ago? And if my proposed compatibility still seems like a bridge too far, there's their shared obsession with the 18th century. 'I got the guy who's been sourcing things for me for years to find me the best 18th century menswear, and then we meticulously recreated it. There was no point in changing the fit. When I saw it, I thought, 'That's Dior. Let's just put it up there as a thing.'' Like his own version of Martin Margiela's 'Replications' which he loved so much when he was starting out in fashion. Rebecca Mead's profile in the New Yorker earlier this year quoted Anderson saying this: 'Authenticity is invaluable. Originality is nonexistent. Steal, adapt, borrow. It doesn't matter where one takes things from. It's where one takes them to.' So Anderson showed his delicately toned, edibly alluring duplication of the jacket and waistcoat from an aristocrat's summer day look for the court of Louis XV with a dress shirt, black jeans and unlaced Dior trainers. Dior Menswear Spring/Summer 2026. (Spotlight/ Like that first look, it was a provocative encapsulation of the idea of personal style, or how you put things together to express yourself. A midnight blue velvet tail coat over chambray jeans, for instance. Or a delicately frogged white shirt over white jeans. Artistry and calculated artlessness, all of it set to a sensational Frederic Sanchez soundtrack that swung from Springsteen to Little Simz. Velvet, denim, sandals and a stock tie – 'I would love to be able to wear that,' Anderson said. 'Every time I've done a menswear show, I've always wanted to be able to do something I would love to be able to pull off. For me this is a fantasy, because it has to be. I find each person in the show equally attractive because I think they embody the 'thing.' I believe it, and if I believe it, then I want to dress like it.' Fashion as an act of faith: Anderson mastered that challenge at Loewe, and, if early reactions are any indication, he'll be able to translate that mastery to Dior. Dior Menswear Spring/Summer 2026. (Spotlight/ Finding the future in the past is not a particularly novel concept, but if I think for a moment that everything Anderson has done is almost like a movie, it clarifies how he was able to draw such an extraordinary cast of characters to Loewe and his own brand. One of them, director and frequent collaborator Luca Guadagnino, has been tracking him all week with a film crew. The designer talked about the looks in the show that were pure youthful street as his acknowledgement of Jean-Luc Godard and the nouvelle vague that transformed French cinema and French style, from New Look to New Wave. Anderson said it's also about him getting used to living in Paris, trying to work out what he loves about the city. 'I'm on Île Saint-Louis and there's something about this idea of tight grey corridors that have light at the end. No matter when you see people, they're always backlit. And everything looks great backlit. I find it fascinating because it feels like cinema somehow, and really that is how we approached the challenge.' Dior Menswear Spring/Summer 2026. (Spotlight/ The city is currently plastered with posters of artist Jean-Michel Basquiat and footballer Kylian Mbappé, the faces of the new Dior man (or, as Anderson says of Mbappé, 'a new vision of France'). 'I have to find a new language,' Anderson said. 'It's going to take time, and I don't want to be rushed. Anything is possible. At the end of the day, it's a job. And you always have to remind yourself that you love the work and you're gonna get the job done.' Consider this debut a great appetiser for the much more complicated meal to come. Dior Menswear Spring/Summer 2026 Dior Menswear Spring/Summer 2026 look 1. 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New York Times
20 hours ago
- New York Times
France Opens Competition to Expand Overcrowded Louvre
France on Friday started an architectural competition for the daunting task of expanding the Louvre in Paris, in a bid to ease overcrowding at the world's biggest and most visited museum. The project, which will create a new entrance and give the Mona Lisa a new exhibition space, was first announced in January by President Emmanuel Macron. He set the ambitious target of welcoming 12 million visitors per year — three million more than today — while also solving crowd-management headaches at the museum. The architectural competition will be decided by a 21-person international jury, which will choose five finalists in October. A winner will be announced in early 2026, according to the Louvre. Part of the brief is to design a new gallery for the Mona Lisa, the 16th-century masterpiece by Leonardo da Vinci that attracts droves of visitors. The museum's management said on Friday that the new exhibition space would be about 33,000 square feet and should also include room to explain the painting's history, its famous 1911 theft, and its modern-day iconic status. 'Our aim is to offer a high-quality encounter with this masterpiece,' Laurence des Cars, the Louvre's president, said in an interview with Le Monde published on Friday, arguing that the space needed to offer 'a genuine time for contemplation.' Want all of The Times? Subscribe.


Boston Globe
2 days ago
- Boston Globe
In with the new at the ancient Giza pyramids
Get Starting Point A guide through the most important stories of the morning, delivered Monday through Friday. Enter Email Sign Up The Grand Egyptian Museum. Anthony Flint Advertisement Touted as the largest archeological museum in the world, the project started way back in 2005, when the decision was made to decant some 100,000 artifacts from the cluttered, colonial-era Egyptian Museum in downtown Cairo to a roomy, state-of-the-art exhibition space on 120 acres next door to one of world's most visited ancient sites. The new curation, at nearly 900,000 square feet, twice the size of the Louvre, organizes the sarcophagi, statues, furnishings, and other treasures by chronology and theme — beginning thousands of years before the birth of Christ, and categorized under headings such as society, kinship, and belief. The new museum is also set to include items from King Tutankhamun's tomb, though the legendary golden funerary mask and gilded coffin is still back in the old museum at Tahir Square. Advertisement The newness of it all — contemporary architecture rising from the desert, far from the centuries-old chaos of Old Cairo — is immediately apparent upon alighting from a $5 Uber from downtown. It's a bit of a hike from the curb across an expansive plaza to a long row of dozens of turnstiles, installed in anticipation of the hoped-for 5 million annual visitors – though at the time of my visit, during the soft opening of 12 galleries in November of last year, I had them all to myself. The main entrance is marked by a tilted façade protrusion of stylized hieroglyphics and illuminated panels that mimic the shape of the ancient structures in the distance — and indeed, as readily becomes apparent, the triangle form is repeated throughout the complex. It's a theatrical start, as visitors pass by a 'hanging' elevated obelisk, and tuck under a little copycat pyramid that appears to be lifted up at the base. The Grand Egyptian Museum. Anthony Flint Once inside the cavernous atrium, after the all-important information desk, visitors confront the 36-foot-tall, 3,000-year-old statue of Ramses the Great, the infamous ruler of Egypt's Nineteenth Dynasty, which has been transferred from an outdoor location in Cairo. This is where the phones start to get whipped out in earnest. Extensive options for eating and drinking and shopping are available just after Ramses, including a spiffy Advertisement Then it's on to the four floors of the galleries, accessed either by a grand staircase or a slow-moving escalator. I chose to take the people-mover all the way to the top, for a stirring view of the Giza pyramids framed like a movie screen by giant windows, with soon-to-be-opened gardens in the foreground. I toggled between snaps of the mighty, mystical testaments of ancient civilization and news updates of what was going on back home, as I happened to visit the day after the US elections. Trying to stay focused, I descended to take in the exhibits, which does require significant museum stamina. Wisely, the curators have sprinkled in tasteful multimedia displays showing how the Giza complex was built over some 500 years, a contemporary diorama of what village life was like thousands of years ago, and a recreation of the chapel of Khnumhotep II, a chief associated with the Middle Kingdom pharaohs honored with elaborately decorated tombs south of the site down the Nile. Painted figures on the walls come to life in a virtual animation reminiscent of scenes from 'Night at the Museum.' Tourism is a huge part of Egypt's economy, with an estimated 15 million visitors last year. The modernization of the visitor experience at Giza is part of an ambition to double that number. The Grand Egyptian Museum. Anthony Flint Egypt is all about the future in other ways, too, right now. There's an incredible urban expansion underway, with skyscrapers, housing, new commercial areas, government offices, a convention center, and a monorail, all conjured out of the vast empty desert east of downtown Cairo. The new frontier, funded by China, the International Monetary Fund, and other sources, is designed for a growing population that can't be accommodated within the confines of the old metropolis. The new construction is mostly unoccupied at the moment, giving everything a ghost-city vibe, but the urban planners are convinced that will be temporary. Advertisement The Grand Egyptian Museum is very much a part of that in-with-the-new mindset. A Boston antecedent might be the Museum of Fine Arts, which was relocated from Back Bay to Huntington Avenue — at the time viewed as a desolate outpost. Skeptics may have questioned whether the museum could possibly make use of all that space way out west of the city, but just look at it now. A few weeks after my visit, a new tomb was discovered near Luxor and the Valley of the Kings – that of King Thutmose II, from the dynasty that reigned through two centuries between about 1550 BC and 1292 BC. It was the first royal Egyptian tomb to be discovered since King Tutankhamun's burial chamber was found in 1922. Just recently, another team revealed evidence of a hidden city and extensive infrastructure underground, beneath the pyramids. So who knows — if these teams of Indiana Jones-caliber archaeologists keep it up, there might even be a need for a new wing. Happily, there's plenty of space. Anthony Flint is a writer in Brookline. He can be reached at