Latest news with #retrospective
CNN
3 days ago
- Entertainment
- CNN
Versace's legacy is more than just daring dresses
From bondage styles to safety pinned dresses, daring party frocks are widely considered to be the key protagonists of Gianni Versace's sartorial legacy. But the late Italian fashion designer was also responsible for some of the most majestic silk shirts of the 1990s, and his close friend Elton John owned one in every print. 'They're just works of art,' shared the acclaimed singer-songwriter in a promotional video for auction house Christie's last year, characterizing his deep affection for Versace's patterns. 'I never wore half of them, I just wanted to hang them. It was like an art installation with shirts, and it looked so beautiful.' Now, they're getting their moment in the spotlight. Versace's impressive line-up of shirts will be among the 450 original garments, accessories, sketches, interviews and photographs exhibited in the largest retrospective of the designer in the UK. Held at Arches London Bridge in the British capital, and running through March 2026, the show will feature looks worn by Princess Diana, Sir Elton John, Kate Moss, George Michael and Naomi Campbell, among others. Versace, who founded his eponymous label in 1978, made his name shaping the fashion landscape in the 1980s and early '90s with glamorous and often provocative designs. And his influence continues to be pervasive in fashion and culture today. In an email to CNN, Dutch-Swedish model Marcus Schenkenberg recalled that the first piece of Versace clothing he ever owned was also a colorful green and yellow silk shirt. 'It was one of my favorite shirts,' explained Schenkenberg, who gained prominence in the late '80s and is widely considered as one of the first male supermodels. Introduced to Gianni Versace at a casting in 1990, three years later he would front a couture campaign for the house with Stephanie Seymour, shot by Richard Avedon. Versace was one of the first designers to merge fashion with pop culture. In doing so, he made fashion feel glamorous, accessible, and alive in a way few others had done before. Dutch-Swedish model Marcus Schenkenberg Though perhaps less visibly transformative than some of its feminine counterparts, the silk shirt is nonetheless emblematic of Versace's fondness for ostentatious design (many were adorned with the house's signature Barocco print). One of the standout features of the retrospective is a black wall decorated with the busy silk shirts. 'It's an homage to both of them (Versace and Elton John), their friendship and to London,' said curator Saskia Lubnow, speaking on a video call alongside her colleague and co-curator Karl von der Ahe, and Liz Koravos, managing director of Arches London Bridge. Since 2017, Lubnow and von der Ahe have poured over the designer's work, building an impressive archive of pieces borrowed from long time collectors, and subsequently showcasing the retrospective at museums across Europe, first in Berlin, Germany in 2018 and most recently in Málaga, Spain. The latest London iteration however, feels particularly special, not least because of the expanded offering (it boasts 50 more pieces than its Spanish counterpart), but also the relationship Versace had with the city, staging an exhibition at the V&A museum in 1985 (when the house was still in its relative infancy), and surrounding himself with people based in the capital, from Elton John and George Michael to fashion editors Anna Wintour and Suzy Menkes, as well as Naomi Campbell and Kate Moss, and of course Princess Diana. 'It had a very strong impact on him, and London was also a kind of bridge towards the USA,' noted von der Ahe. The exhibition's timing is also significant, arriving just four months after his sister Donatella announced she was stepping down as chief creative officer of the house, having helmed Versace since Gianni's murder in 1997. The news that her successor would be someone outside the family for the first time — former Miu Miu design director Dario Vitale took over in April — marks an important new era for the house. The retrospective feels particularly apt as a result. 'It was always nice to work for Gianni,' Schenkenberg continued, reflecting on his experiences with the designer in the 1990s. 'He was always very kind and he was really one of the hottest designers at the time — everybody wanted to work with him, it could really make your career.' Indeed, while a copy of Versace's 'Men Without Ties', a book about menswear fronted by Schenkenberg and authored by the designer in 1994, is amongst the featured ephemera; so too is the January 1990 issue of British Vogue. Cementing the age of the supermodel — a concept largely engineered by Versace — it featured Campbell, Linda Evangelista, Tatjana Patitz, Christy Turlington, and Cindy Crawford on the cover (the following year, four of the five would lip-sync to George Michael's' 'Freedom' at Versace's fall-winter 1991 show). Versace was instrumental in marrying fashion and celebrity, a practice typical by today's standards but groundbreaking amongst his peers at the time. 'Elton John was basically his billboard, he wore (Versace) on the street, on the stage — he was always advertising,' said Lubnow. 'He revolutionized the relationship between fashion and celebrity,' agreed Schenkenberg. 'Versace was one of the first designers to merge fashion with pop culture. In doing so, he made fashion feel glamorous, accessible, and alive in a way few others had done before, especially with celebs like Madonna, Prince, Tupac Shakur, Demi Moore, and of course all the supermodels.' You might think everything is superficial, the bold fashion, but when you work with it, you really understand a lot about Italian culture, Italian history, about the time. Karl von der Ahe, co-curator of the Gianni Versace retrospective in London This affinity for fame and dressing influential artists can easily be read as a precursor to today's influencer culture, and von der Ahe observed that Versace was privy to a unique position during his tenure. 'He was in-between the old and the new. He had a profound knowledge about making fashion and the background of Italian manufacturing, but on the other hand, he started to separate the product from the brand,' von der Ahe said. 'He was coming from the old world, but opened the doors to the new world.' Central to the exhibition are the collections from spring-summer 1988 through to fall-winter 1997 which are curated in chronological order. Versace 'changed so much from collection to collection, but there is a red thread,' explained Lubnow. 'He had the ability to mix patterns and colors. You never looked like a clown, but actually quite sophisticated, and that's really an ability he had, and this vision he took from his culture — from his mother and from the tailor shop into street style, putting jeans on the haute couture runway; all these things he meshed together.' Versace himself was keenly attuned to the various influences that informed his work, once commenting, 'There is a Versace who is very conservative, there is a Versace who is very crazy, there is a Versace who is very theatre … I haven't decided yet which I choose to be.' 'The depth of what you can learn from him and his work is amazing,' said von der Ahe, speaking to the impact of Versace. 'You might think everything is superficial, the bold fashion, but when you work with it, you really understand a lot about Italian culture, Italian history, about the time. And with Gianni Versace, you remember pieces that perhaps you only briefly saw in a magazine, a book or on TV. You remember it, even if you don't know why, and that is really the magic with him.' Or, as Lubnow simply described Versace's designs, 'they are showstoppers.'
Arab News
5 days ago
- Entertainment
- Arab News
Christie's London to feature retrospective on Syrian artist Marwan
DUBAI: Christie's is poised to host a non-selling exhibition of work by late Syrian artist Marwan Kassab-Bachi, titled 'Marwan: A Soul in Exile.' For the latest updates, follow us on Instagram @ Taking place from July 16-22, the show was curated by Ridha Moumni, chairman of Christie's Middle East & Africa. This retrospective exhibition will display more than 150 works on loan from museums, institutions and private collections in Europe and the Middle East. The exhibition traces the artist's career, from his artistic beginnings in Syria to his prolific output in Germany, his adopted homeland, where he spent six decades of his life. 'I wanted to highlight the essential threads running through his career: from his iconic 'Face Landscapes' to the celebrated 'Heads,' his journey from Damascus to Germany, and the pivotal moments that shaped his legacy — including his major 1976 retrospective at Charlottenburg Schloss, which established his place in the German art scene,' Moumni told Arab News. 'Equally important is his enduring connection to Syria and the Arab world,' he added. With paintings, works on paper, and editions from 1953 until 2014, this exhibition offers audiences in London the chance to explore the artist's multi-disciplinary approach. 'Over the past two years, our aim has been to introduce artists and artistic scenes to London that people here don't often get to see. One of our deepest commitments is to highlight the richness of artists from the Arab world or of Arab heritage. Marwan embodies this mission beautifully: a towering figure from the Syrian diaspora, who built an extraordinary career in Germany, and had a big impact on modern portraiture,' Moumni said of Christie's decision to spotlight the artist this summer. In 1957, Marwan moved to Berlin and attended the Hochschule fur Bildende Kunste, graduating in 1963. The artist, who is referred to by his first name, joined a group of German expressionist painters that included Georg Baselitz and Eugen Schonebeck, but he retained his Syrian identity and engaged with social and political issues of the Middle East through his work. 'For those who already know his work, I hope they uncover new depths — its poetic power, its meditations on exile, identity, and belonging. Above all, I hope visitors feel a true connection to Marwan's work,' Moumni said.
Khaleej Times
10-07-2025
- Entertainment
- Khaleej Times
Guru Dutt's classics 'Pyaasa' and 'Baaz' returning to theatres
Marking centenary celebrations of legendary filmmaker Guru Dutt, a special retrospective of his iconic films will be held across India in August. On Wednesday, Ultra Media and Entertainment announced that Guru Dutt's classics, including Pyaasa, Chaudhvin Ka Chand, Mr. & Mrs. 55, and Baaz, which have been restored in 4K, will be re-run in theatres from August 8 to August 10. The restoration of Pyaasa and his other films has been undertaken by the National Film Archive of India. "Guru Dutt's films are timeless masterpieces that have influenced generations of filmmakers and audiences alike," Sushilkumar Agrawal, MD and CEO, Ultra Media and Entertainment Pvt. Ltd., who holds the rights to these films, said in a statement. "We're honoured to present his classics in restored versions so that both devoted fans and new audiences can relive the magic on the big screen." Prakash Magdum, managing director of NFDC, said, "Restoring Guru Dutt's films goes far beyond reviving old reels. it's about safeguarding a priceless legacy that defines the soul of Indian cinema." Born on July 9, 1925, Guru Dutt gave the film industry some of its most unforgettable classics. His unique storytelling, groundbreaking filmmaking style, and the deep emotions he brought to the screen continue to inspire filmmakers and movie lovers around the world. Though Guru Dutt passed away many decades ago, his legacy continues to live on through his timeless work. From heartbreak and romance to societal issues and sacrifice, his films explored a wide range of human emotions and continue to resonate with new generations.
Globe and Mail
24-06-2025
- Entertainment
- Globe and Mail
M4TR Drop New Album Love Is The Revolution and a 10-Year Retrospective: 'If Love's the Last Thing Left, Let's Use It'
AJ Solaris isn't here to save the world — but he is going to soundtrack its collapse. His shape-shifting, genre-blurring music project M4TR (aka Music 4 The Revolution) is back with Love Is The Revolution, a shimmering, unflinching, synth-drenched third studio album landing June 23. Alongside it comes a 10-year retrospective and digital box set, charting M4TR's journey from protest anthems to emotionally layered, end-times dancefloor epics. And yeah — it absolutely slaps. The new record is M4TR's most ambitious yet. Across 12 tracks, Love Is The Revolution tears into the wild chaos of love — not just the dreamy kind, but the obsessive, communal, grieving, and even destructive kinds. Solaris isn't afraid to get messy with it. Think heartbreak on the dancefloor, tears in the glitter, neon-soaked breakdowns — a multiverse of romance and ruin. 'We're living in a time when everything feels like it could collapse at any moment,' Solaris says. 'But if love is the one thing that can pull us back from the brink, then what choice do we have but to keep reaching for it?' Before the full release drops, M4TR has already given us a taste with three singles: 'Hooks' – a glossy, Ibiza-glow electro groove with hooks to spare (no pun intended). 'Siren Song' – seductive and shadowy, this one slinks into trip-hop territory with a cold heartbeat. 'Life Without Her' – disco for the broken-hearted, and a total standout. Imagine Robyn slow-dancing with Peter Gabriel in a dream where everything is ending, but the beat won't stop. These aren't just tracks — they're emotional gut-punches you can move to. M4TR has long played with the sounds of the past to talk about the future. Solaris' retrofuturist palette pulls from the likes of Duran Duran, Depeche Mode, Beck, Scissor Sisters, Coldplay, Talking Heads, and even flashes of Phil Collins. But the vibe is never purely nostalgic — it's always haunted by what's coming next. And now, with Love Is The Revolution, the message turns inward. Tracks like 'Kill The Self,' which confronts the loss of a childhood friend, signal a shift toward more personal, raw terrain. These songs have evolved into something deeper — more intimate, more dangerous. It's revolution through vulnerability — the kind that doesn't just make a statement, but makes you feel something real. To mark 10 years of M4TR, fans can also grab a massive digital box set on Bandcamp, collecting all three studio albums, EPs, live sets, and rare cuts for $60. It's a decade of rebellion and reinvention in one tight package. Whether you've been here since the early protest days or are just discovering the 'retrofuture,' now's the time to dive in. Over the last decade, M4TR has racked up 2M+ streams, landed on 4K+ playlists, and built a cult-like following across 153 countries. In the heart of D.C.'s live music scene, Solaris has brought their sound to some of the city's most iconic venues — including Jammin Java, DC Pie Shop, and Pearl Street Warehouse — performing with two different live bands and a rotating cast of talented collaborators. 'I've always been lucky to play alongside incredibly gifted musicians,' Solaris says. The second live band, featured on several tracks from the new album, includes Laura Cook, Mark Davenport, Rich Andrews, and Owen Williams — each adding their own distinct energy to Solaris' ever-evolving sound, driven by a relentless passion to create music that matters, even when the world feels like it's burning down. Love Is The Revolution lands June 23 on all major platforms. The 10-Year Box Set is out the same day on Bandcamp. So if you're ready to dance your heart out while the world teeters on the edge — M4TR's got the soundtrack queued up. Website: Spotify Profile: Life Without Her (Single): Video: Media Contact Company Name: M4TR (Music 4 The Revolution) Contact Person: Davin AJ Hutchins Email: Send Email Country: United States Website:
Yahoo
14-06-2025
- Entertainment
- Yahoo
‘Stanley Whitney: How High the Moon' Review: Subtle Surprises, Saturated Colors
The American painter's first major retrospective, now at the Institute of Contemporary Art/Boston, paints a thorough portrait of his artistic progression.
