Irenebrination: Notes on Architecture, Art, Fashion, Fashion Law, Science & Technology

Is the Fashion Industry Ready to Stop Assuming? Challenging Preconceptions on World Down Syndrome Day

Most of us have memories of teachers we disliked in school. However, as a teenager, I had a Latin and Greek teacher at my grammar school whom I adored. I did because she brought out the best in all of us; she encouraged us even though most of us struggled to understand the grammar of dead languages (I'd even say we were hopeless...). Ms. F aimed to help us find beauty in classical literature and let that beauty shape our lives. She had a passion for her subjects and wanted everyone to feel the same emotions she did when she raged with Medea or laughed with Petronius.

Her immense trust in us was remarkable: once, she praised a significant improvement in a written test we had taken in overenthusiastic tones, even though we had still failed it. Yet, she never made us feel unworthy or unintelligent. There was something different in the air during her classes, something special – there was dignity.

But that was a long time ago.

I'm not sure how many of you readers have children of your own or are foster parents or caregivers who feel disappointed by the education system (in many countries around the world, although I can mainly speak for what I've experienced in Italy).

Children with dyslexia, dyscalculia or dysgraphia – learning disorders that can improve with the right tools – become burdens in a classroom, as they are considered slow learners, "forcing" the class to lag behind. They are advised to aim low, work just enough to pass, and even avoid extensive reading or writing, as if it might harm their minds.

Then there are disabilities such as autism or Down syndrome, which seem to simply scare many educators, especially those ones with very little experience and with too many prejudices. This often leads to the isolation of students who end up being considered as unable to fit into our (less-than-) perfect society.

The Greek philosopher Plutarch noted in his "Parallel Lives" how the ancient Spartans, known for their prowess in warfare, would let their weak or disabled children die. Some researches claim there is actually no evidence towards this practice, but in contemporary society, while we may not physically abandon children with disabilities in the woods or throw them off steep rocks, we metaphorically leave them behind because we assume they can't be like everyone else.

In Italy students on the autism spectrum or with Down syndrome can't obtain a school diploma like other kids. They attend school like other students but follow a supposedly specially tailored program (which essentially means the same curriculum with some adjustments) that doesn't allow them to take the final exam and obtain the diploma needed to pursue further education and enrol in a university. Instead, they receive only a certificate stating they attended secondary school for five years. The bizarre thing is that Italian law grants people with disabilities a series of facilitations regarding employment and competitions for jobs in public services. Yet, to access them, you must have a university degree. Now how can you obtain a university degree to access facilitations for employment if you can't obtain the diploma needed to pursue a university degree? It's a mystery left for individuals in this situation to solve.

Bizarrely, one of the places that should include these students – school – excludes them, turning into a toxic environment where hypocritical educators talk about thinking laterally, praise divergent thinking, encourage uniqueness and breaking boundaries fearlessly. Yet, if students with disabilities ask to learn more, they don't receive any support. It's as if these educators watched "Good Doctor" rooting for Shaun, but, when faced with a child on the autism spectrum expressing a desire to become a surgeon, they dismiss it as mere silliness.

The issue is, we often make assumptions. We assume that people with certain disabilities can’t do certain things, like living an ordinary life or learning what others are learning.

An advertisement by non-profit association CoorDown released last week captures this concept better than my words: in the advert a young brazen girl with Down syndrome shows how assumptions that people with Down syndrome can't learn Shakespeare, can't hit hard, can't swear or have sex, cage people in these stereotypes. If we only put more trust in other people, if we put them to the test and pushed together boundaries, we would instead break stereotypes and allow people to grow up as stronger and more confident individuals.

Fashion is one of those industries that makes a lot of assumptions: if you work in it, at some point you may have experienced some form of discrimination. No matter what they tell you, in fashion it's hard to fit in: you're often too fat or too thin; too timid or too outspoken; too superficial or too knowledgeable; too experienced or inexperienced. Whatever. We all have our share of bizarrely hilarious misadventures in fashion discrimination, in my case they aren't so serious, but they range from annoying physical comments to jokes about my Southern Italian accent. The most hilarious one was a PR officer at a tradeshow who took the piss out of me for using a laptop to write rather than a MacBook (well, I've always assumed that the human being makes the machine great and not the other way around and I doubt an essay would write by itself on a MacBook...).

That said, the fashion industry has definitely opened up, becoming more inclusive: in the last few years, for example, we have seen models with Down syndrome on the runway or in campaigns.

Ellie Goldstein, from Ilford, East London, appeared in campaigns by brands such as Gucci Beauty and Nike; she actually made history by being the first model with Down Syndrome to feature in such campaigns and to appear on the covers of Glamour Magazine, Elle, Mission Mag, and Euphoria Mag. Last year, Goldstein was also one of five cover stars of British Vogue's disability issue (May2023), a theme strongly championed by fomer editor-in-chief Edward Enninful.

Last year, Mattel collaborated closely with the US National Down Syndrome Society (NDSS) to create a Barbie doll representing a person with Down syndrome (when the doll came out Goldstein helped launching it). The doll features a shorter frame, a longer torso, and a rounder face with smaller ears, a flat nasal bridge, and almond-shaped eyes, characteristics often associated with individuals with the genetic condition. This Barbie doll wears a puff-sleeved dress in yellow and blue, colors associated with Down syndrome awareness. Additionally, it sports a pink pendant necklace with three upward chevrons, symbolizing the three copies of the 21st chromosome, which is responsible for the traits associated with Down syndrome.

In 2022, Puerto Rican-born Sofia Jirau became the first model with Down syndrome to front a Victoria's Secret campaign for its Love Cloud Collection; while this year a Japanese model with Down syndrome, Nao Saito, made a guest appearance on Samina Mughal's runway during Paris Fashion Week. 

Despite the progress made, there are still numerous barriers to break down. Yes, there are a few models with Down syndrome now, but is it possible to push things further? (think about CoorDown's 2021 global awareness campaign "The Hiring Chain" with that message to employers all over the world that hiring a person with Down syndrome not only changes the life of the person concerned, but can trigger a virtuous circle of new opportunities for everyone).

Will we ever see a model with Down syndrome on the Haute Couture runways? Will we witness an artisan with Down syndrome working in a revered atelier? What about a print designer or a textile designer? Or perhaps someone with Down syndrome holding roles such as writer, researcher, stylist, or assistant at a prominent fashion publication?  

Will we see collaborations between educational institutions or brands and charities working with people with disabilities (nonprofit GiGi's Playhouse NYC has often organised fun fashion shows for people with Down syndrome to foster a sense of community, but such a concept could be expanded in collaboration with fashion houses and brands); will brands develop dedicated collections (there have been steps towards this direction by some brands, but often the enthusiasm waned), designed in collaboration with people with disabilities? It definitely looks like there are many challenges ahead.

Today marks World Down Syndrome Day (WDSD), a global awareness day officially observed by the United Nations since 2012. The significance of this date lies in the symbolism of WDSD being the 21st day of the 3rd month, chosen to represent the triplication (trisomy) of the 21st chromosome, which causes Down syndrome. This year's WDSD theme is "End The Stereotypes" and it's a beautiful theme - it inspires us to stop assuming and celebrate diversity, inclusion, visibility, and understanding, not just for one day, but for every single day of the year. Because, as human beings, we grow through love, not hate; we thrive when we feel understood and respected and not when we are stuck in an environment that resents and rejects our existence.

From Colonial Legacy to Pan-African Identity: "Tropical Modernism - Architecture and Independence" @ The Victoria & Albert Museum, London

Last year the Victoria & Albert Museum showcased a project during the 18th International Architecture Exhibition in Venice entitled "Tropical Modernism: Architecture and Power in West Africa". The display presented an analysis of the work of the Department of Tropical Studies, and explored how the architectural style it developed was employed as a tool to support colonial rule before being adapted by new African nations to promote new visions for a Pan-African future.

The insights from this showcase have now been expanded upon for a more comprehensive event at the Victoria & Albert Museum in London, titled "Tropical Modernism: Architecture and Independence" (running until September 22nd). This exhibition offers a deeper exploration, featuring models, drawings, letters, photographs, and sculptures that chronicle the journey of the Tropical Modernist movement.

Characterized by clean lines and minimalist facades, Modernism gained prominence through advocates like Le Corbusier and Walter Gropius. Architect couple Jane Drew and Maxwell Fry became notable figures in Britain for embracing this style, emphasizing materials such as concrete, glass, and steel, as well as employing rigorous forms.

However, their minimalist approach, exemplified by Maxwell Fry's Sun House in Hampstead (1935), failed to resonate with British tastes. Consequently, Fry and Drew found more opportunities in West Africa and India.

During the Second World War, Fry was stationed in the Gold Coast (now Ghana), where Drew later joined him in 1944 to advise British colonial governments in West Africa on town planning.

Drew and Fry designed schools, colleges, community centres, libraries, and other institutions funded by the Colonial Office's substantial post-war budget - equivalent to £6 billion in today's currency. The facilities were seen as ways to modernize Britain's colonies and counter demands for independence.

Drew and Fry attracted international attention for their books, "Village Housing in the Tropics" (1947), a pocket guide to self‑building in hot climates, and "Tropical Architecture in the Humid Zone" (1956), offering practical insights into self-building in hot climates and architectural designs informed by climate science.

The architects developed indeed a localized adaptation of Modernism, analyzing solar paths and meteorological data to design buildings that facilitated passive cooling and maximized shade and ventilation.

They strategically oriented buildings so that solid walls on the East and West blocked the sun's strongest rays, while the longer North and South facades remained open, incorporating features such as brise soleils (the semi-permeable screens that allow a breeze to enter a building and cool the interior, while deflecting sunlight), adjustable louvres (they offer protection from sun and rain while allowing natural ventilation) and wide eaves (the edges of a roof that overhang a building's walls and shield the interiors from intense sunlight and rain) to enhance cross-ventilation and provide shade.

However, despite their contributions to architectural innovation, Drew and Fry's vision remained entrenched in colonialist ideals (the curriculum at the Department of Tropical Architecture founded at the Architectural Association (AA) London, by Fry, Drew and their colleague James Cubbit, also had a western bias maintaining that Tropical Modernism was superior to the solutions provided by traditional buildings).

They largely ignored local building traditions and predominantly featured British architects in their works, occasionally incorporating superficial nods to local culture, such as African patterns on brise soleils.

For instance, at Opoku Ware school, the repetitive perforations in the brise soleil were inspired by the crescent shape of an Ashanti ceremonial stool (note for architecture and fashion fans: make a comparison here with the African brand highlighted in yesterday's post, Maxhosa. Drew and Fry tended to incorporate African patterns in a superficial way into their modern architectures, while the African brand we examined yesterday seamlessly integrates African motifs into its modern designs, resulting in a more authentic and culturally resonant aesthetic. Note for fashion design students: ponder on these two approaches, as they represent different perspectives – Drew and Fry refused to acknowledge local traditions yet they superficially incorporated them in their designs; Maxhosa takes pride in incorporating traditional motifs in contemporary design).

Besides, Drew and Fry's definition of "the Tropics" encompassed a vast geographical region within the British Empire, overlooking regional climate variations and local cultures and traditions.

Their architectural endeavors were therefore aimed primarily at providing colonial administrators with comfort in tropical climates, while also striving to cultivate a more compliant colonial populace and, as stated above, mitigate calls for independence.

The exhibition then explores Drew and Fry's work in India, where they were enlisted by Prime Minister Jawaharlal Nehru in 1950 to design a new city at Chandigarh, in the foothills of the Himalayas.

The city would become independent India's first large-scale modernist project and to design it they invited French architect Le Corbusier to join them and design a capitol of government buildings, for the assembly, the law courts and the secretariat.

Indian architects also joined the Chandigarh team, including Aditya Prakash, and Sikh model maker Giani Rattan Singh, who worked with Le Corbusier to translate his drawings into three dimensions.

This section of the exhibition presents a dichotomy between a stringent interpretation of Modernism, embracing an international avant-garde approach, and a more traditional perspective advocating for the incorporation of local styles and motifs.

This contrast is vividly illustrated through the juxtaposition of Le Corbusier's modernist buildings with the whimsical sculptures from The Rock Garden.

The Rock Garden, a remarkable example of outsider architecture, was created by the self-taught road inspector Nek Chand in secrecy.

Using discarded materials such as stones, broken glass, ceramics, iron-foundry slag, and porcelain electrical switches, Chand crafted a landscape populated with statues depicting human beings, gods, and animals (expect J.W. Anderson at Loewe to borrow from the garden sculptures ideas and inspirations for future collections...).

This juxtaposition highlights the tension between established architectural paradigms and the creativity of ordinary individuals with a very unique vision and imagination. While Le Corbusier's structures represent the epitome of Modernist principles, The Rock Garden embodies a more intuitive and locally rooted expression of art and architecture.

The next section explores the architecture in Ghana under Prime Minister Kwame Nkrumah. Ghana became independent in 1957 and Nkrumah encouraged the Black diaspora to return and contribute to its liberation and reconstruction – activist Malcolm X, boxer Muhammad Ali and poet Maya Angelou visited Ghana, while W.E.B. Du Bois and George Padmore emigrated there.

Symbolic structures like the Independence Arch, contrasting with the "door of no return" from the era of slavery, represented a "door of return", exemplifying Nkrumah's desire to inspire unity and empowerment among Africans worldwide.

Nkrumah persuaded, for example, Victor Adegbite back from America to become the government's Chief Architect. Adegbite was commissioned to design Black Star Square, a parade ground built in Accra on former colonial playing fields.

Nkrumah's commitment to Africanization policies extended to art, music, fashion and architecture and Ghanaian architects were mandated to participate in all construction projects. Additionally, he established an architecture school at Kwame Nkrumah University of Science and Technology (KNUST) in Kumasi to cultivate a new generation of homegrown architects, reducing the reliance on foreign expertise and encouraging national identity and pride (John Owusu-Addo and Max Bond taught there as well).

Instead of viewing traditional African architecture as obsolete or inferior, as Fry and Drew did, KNUST embraced the study of local styles. Tropical Modernism was thus re-appropriated to define a new African identity that transcended national borders.

In 1963, the Department of Tropical Studies formed a partnership with KNUST, with involvement from Fry, Drew, architects from Eastern Europe, and China. Buckminster Fuller also contributed to this movement, leading a workshop at KNUST in 1964 (the geodesic dome in the exhibition is a reference to Buckminster Fuller, who thought that his mud-covered aluminium domes could address Ghana's housing crisis. However, there was a significant design flaw: when it rained, the mud covering the aluminium-framed domes would slip off...).

In the '60s Nkrumah's government turned increasingly authoritarian and, in 1966, a military coup toppled him, signaling the decline of Tropical Modernism and the end of an era.

The exhibition culminates with a three-screen film shot in Ghana, showcasing archive footage, contemporary views of key buildings like the Community Centre in Accra by Fry and Drew, and Unity Hall at KNUST in Kumasi by John Owusu-Addo. Interviews with figures like Samia Nkrumah, politician and Nkrumah's daughter, as well as Ghanaian architects who worked alongside Drew, Fry and the AA's John Lloyd provide further insight.

"Tropical Modernism" at the V&A does not draw definitive conclusions, but serves as a valuable learning resource. It also prompts exploration into how African art and motifs influenced European artists, contributing to the development of a Modernist aesthetic.

Artists like Eduardo Paolozzi (who taught alongside Fry and Drew at the Department of Tropical Studies), for example, incorporated African elements into their work, often stripping them of cultural context.

From an architectural perspective, there are lessons to be learnt, including the adaptation of Fry and Drew and Le Corbusier's principles by architects like John Owusu Addo in Ghana and Balkrishna Doshi and Prakash in India. Besides, the potential of open facades for natural cross-ventilation, especially in the context of climate change, is worth reconsidering. And fashion-wise, features like elaborate brise-soleils could inspire innovations in garments and accessories.

The dismissal of African architecture by Fry and Drew also offers a reminder of the broader issues of colonialism and appropriation in other fields as well: parallels can be observed within the fashion industry where local crafts are often disregarded until appropriated by luxury houses.

This reflection prompts us to consider how colonial legacies continue to shape contemporary practices and attitudes, particularly in the creative industries. So, engage with this exhibition and try to extract valuable insights from "Tropical Modernism" to understand more deeply the themes of colonialism, appropriation, cultural exchange and identity.

Image credits for this post

1, 11, 12, 13, 15 and 16. Installation shots of "Tropical Modernism - Architecture and Independence" at the V&A South Kensington  ©  Victoria and Albert Museum, London.

2. Jane Drew and Maxwell Fry with a model of one of their many buildings for the Gold Coast, 1945. Image courtesy RIBA.

3. Community Centre, Accra, 1953. Image courtesy RIBA.

4. Diagram of a brise soleil at Aburi Girl's School, Ghana, from Tropical Architecture in the Humid Zone, 1956, publisher B.T Batsford, Courtesy of RIBA.

5. University College, Ibadan: Library veranda. Courtesy of RIBA.

6. Illustration from The Architectural Review, 1953. Courtesy RIBA Collections © Gordon Cullen Estate.

7. "The Tropics" as identified by Maxwell Fry and Jane Drew, 1947, Reproduction of illustration from Village Housing in the Tropic, Publisher Lund Humphries, Courtesy of the estate of Maxwell Fry and Jane Drew.

8. Le Corbusier in Chandigarh with the plan of the city and a model of the Modular Man, his universal system of proportion, 1951 © FDL, ADAGP 2014.

9. Aditya Prakash, photo album of architectural projects, people, landscapes, circa 1960s-2000s © Aditya Prakash fonds, Canadian Centre for Architecture. Gift of Vikramaditya Prakash.

10. Pierre Jeanneret, portrait of model makers, Rattan Singh and Dhani Ram, at work on the model for Capitol Complex, Sector 1, Chandigarh, India, circa 1960. Pierre Jeanneret fonds, Canadian Centre for Architecture. Gift of Jacqueline Jeanneret. © CCA.

14. Black Star Square, Accra © Victoria and Albert Museum, London.

17. Eduardo Paolozzi, Klokvormig Masker, 1946-47. Courtesy Flowers Gallery, London  © Trustees of the Paolozzi Foundation, licensed by DACS.

18. Film still of Mfantsipim School, Cape Coast by Fry, Drew and Partners - for "Tropical Modernism - Architecture and Independence" © Victoria and Albert Museum, London.

19. Film still of Scott House, Accra by Kenneth Scott - for "Tropical Modernism - Architecture and Independence", © Victoria and Albert Museum, London.

20. Sick Hagemeyer shop assistant as a seventies icon posing in front of the United Trading Company headquarters, Accra, 1971 © James Barnor. Courtesy of Galerie Clémentine de la Féronnière.

Vivid Colors as an Antidote to the Bleakness of Modern Life: Maxhosa A/W 24

We certainly live through complex times, something that often reflects on runways, at times in designs characterized by bleak shades presented in somber moods.

Yet Laduma Ngxokolo always strives to inject a healthy dose of happiness into the collections for his brand, Maxhosa Africa, aiming to energize the wearer and evoke smiles, something that has become increasingly difficult to do in our lives.

Ngxokolo has quite a few reasons to smile, instead: Maxhosa Africa, the brand he founded in 2012, has been thriving for 14 years, boasting over 300 employees and its own production facility in South Africa. It has showcased collections during fashion weeks in New York and Tokyo, it has been displayed at the Smithsonian Museum and New York's MOMA (Museum of Modern Art), and featured in Paris during the local fashion week in March.

Ngxokolo's initial vision for his brand was to create a modern Xhosa-inspired knitwear collection celebrating traditional Xhosa aesthetics (a Bantu ethnic group, the Xhosa are the second largest cultural group in South Africa, after the Zulu-speaking nation).

Through exploring traditional Xhosa beadwork patterns, symbolism, and colors, he found the best inspiration for the knitwear, which he reinterpreted into modern designs resonating with global fashion markets.

Maxhosa's first presentation in the Paris calendar took place at the beginning of March at the residence of the South African ambassador to France.

Rather than a typical runway show, it was conceived as a "cultural event" (culture is central to Ngxokolo's work, the word is also woven into his beadwork chokers).

For this occasion, Ngxokolo unveiled a collection of knitwear featuring modern, graphic motifs that blend African culture and textiles, incorporating Xhosa beadwork and patterns from the Ndebele and Maasai cultures, with hints of Optical Art and colors reminiscent of Pop Art.

In some instances, the designer coordinated a top and a skirt in the same shade and patterns; in others, he introduced multi-layered contrasts by adding a tabard-like vest design (a clever idea for expanding your wardrobe and rejuvenating old pieces) to a jumper. Asymmetrical skirts and tops provided a playful twist; knit tube skirts and sarong skirts offered a sexy option; sporty pieces like men's polos and shorts paired with colorful socks added dynamism and versatility, while knitted suits in pastel shades offered a more subdued look for knitwear enthusiasts who prefer to stay away from bold colors.

Geometric patterns allowed Ngxokolo to create standout pieces, such as pleated skirts that opened like fans revealing colorful inserts, and an openwork blue dress made of wide zigzagging bands of rhomboid shapes that fractured on the body, a silhouette that can be flattering for different shapes and sizes. As for accessories, bags ranged from totes to beaded clutches (beadwork remains one of the trademark techniques of the brand).

Ngxokolo demonstrates a knack for daring color combinations and he's also had two clever intuitions. First, he understood that intricate patterns from tradition can find new life in perfectly wearable and functional modern designs that shouldn't be relegated to museums but used also on an everyday basis. Second, the inclusion of sizes ranging from XS to 4XL for the entire collection - from cropped tops with fractured rhomboid elements and shorts to pencil skirts - offers consumers a wide range of options.

Many designs from this collection are already available for purchase online from the brand's store. While most pieces come with luxury price tags, there are also smaller items like pins and socks that (at €17 and €19, respectively) are affordable and make for unique presents. The more expensive garments represent an investment, though, as, rather than focusing on trends, the brand produces timeless pieces that challenge Western perceptions of African designs.

A six-month pop-up in New York opening later on in March with plans for one in Paris later this year await Maxhosa (in the meantime, the brand's collaboration with Fieldbar has already sold out).

Yet Ngxokolo may be set for more important business: some have dubbed him the "Missoni of Africa" due to his love of colors and patterns (like Missoni he also designs a lifestyle range), but, who knows, maybe his vibrant aesthetic will win him not just a comparison but a proper collaboration with the prestigious Italian house. Another intriguing idea would be to see him collaborating with an African futurists like Olalekan Jeyifous on an installation or a fashion presentation. Time will tell if such collaborations will materialise, but, you can bet that Ngxokolo's future, like his knitwear, is definitely bright.

Iridescent Splendor: From Ammonites to Ammolites

Think fossils are boring because you're into bright and bold colors and fossils come in what you think is a dull palette? Well, think twice. You’ve probably never seen iridescent ammonites, or rather, ammolites.

Ammonites are an extinct group of marine mollusk animals in the subclass Ammonoidea of the class Cephalopoda. They lived in the seas between 240 to 65 million years ago, during the Mesozoic Era. Renowned for their spiral-shaped shells resembling tightly coiled ram's horns (the term "ammonite" derives from the Greek ram-horned god Ammon), ammonites possessed the remarkable ability to swim, owing to the multi-chambered construction of their shells, providing them with variable buoyancy. Their fascinating form and intricate patterns have captured the interest not only of collectors and paleontologists but also of those unacquainted with fossils, drawn in by the allure of their shape.

All fossils are essentially comprised of minerals, and ammonite fossils are no exception, consisting primarily of aragonite, a crystalline form of calcium carbonate.

Over millions of years, subjected to intense heat and pressure, the inner layer of nacre in ammonites, composed of aragonite and organic proteins (known for the iridescence of pearls and shells), underwent transformation into ammolite (the only other biogenic gemstones in the world aside from amber and pearl).

Named in the 1960s (the conventional naming criteria for minerals, which require a substance to be a naturally occurring, uniform solid with a distinct chemical composition and an organized crystalline microstructure, do not extend to gems. Consequently, the gem discovered on ammonite fossils was dubbed "ammolite"), ammolite, essentially a form of aragonite, shares the same composition and structure, albeit at times with additional minerals like calcite and pyrite.

However, ammolite is not just a common gemstone; it's an extraordinary rarity. Found exclusively within ammonite shells that have undergone permineralization - a fossilization process - ammolite emerges as one of the world’s most sought-after gemstones. 

The chromatic spectacle of ammolites is nothing short of mesmerizing. Light dances off layers within the fossilized shell, creating a stunning array of colors. While vibrant reds and greens, formed by thicker platelet layers, are relatively common, shimmering blues and purples, a result of thinner platelet layers, are far more elusive. Indeed, the beauty of ammolites transcends the realm of mere fossils, resembling unearthly specimens from distant worlds.

The intensity of an ammolite's iridescence significantly influences its quality and worth, with the finest examples boasting expansive, uninterrupted swathes of lustrous, rainbow-like hues. Found only in specific locales such as the Rocky Mountains in the US and the Bearpaw Formation in Alberta, Canada, ammolites occasionally make appearances at auctions, like they did last year at a Sotheby’s History of Science & Technology auction.

But here's where it gets truly intriguing: both ammonites and ammolites are believed to hold therapeutic properties, purportedly beneficial for physical and mental well-being. Legend has it that ammolite stabilizes the pulse and combats degenerative disorders.

This sounds like the perfect inspiration for a fashion collection (including some knitwear in a vibrant palette) characterized by transformative shades and hues in transition that also points at more important themes. 

It is worth remembering that in the history of fashion there have been already designers who were inspired by spirals and ammonites in their collections and in their accessories as well. Iris ven Herpen, for example, often moved from the shape of ammonites for her collections.

Some of her designs inspired by fossils are currently on display at the exhibition "Iris van Herpen: Sculpting the Senses" currently on at the Musée des Arts Décoratifs, Paris (until 28th April), among the others there's her "Ammonite dress" (A/W 2016/17 Haute Couture "Seijaku" collection) that also referenced iridescences since it was made with iridescent pearl-coated laser-cut strips stitched in 3D-layered shell shapes onto black tulle and cotton.

Artificial Intelligence Legislation: EU AI Act Recap

The global conversation about regulating Artificial Intelligence (AI) has been ongoing. The European Union (EU) has been working on a law regulating AI for some time now.

Last June, the EU approved a draft law about AI regulation, and, in December 2023, negotiators from the European Parliament and Council reached a tentative agreement on the Artificial Intelligence (AI) Act.

Earlier this week, on Wednesday, Members of the European Parliament (MEPs) endorsed the AI Act. The primary objective of this regulation is to safeguard fundamental rights, democracy, the rule of law, and environmental sustainability from high-risk AI while promoting innovation. So, let's review the key points of the AI Act.

Back in June, Margrethe Vestager, the EU's Competition Commissioner, highlighted that discrimination is a significant concern posed by AI, even more so than the potential threat to humanity.

One of the main rules of the AI Act prohibits therefore certain AI applications that could threaten citizens' rights. This includes biometric categorization systems based on sensitive attributes like political beliefs, religion, sexual orientation, or race. The ban also extends to collecting facial images from the internet or CCTV footage for facial recognition databases. Other prohibited practices include monitoring emotions in workplaces and schools, social scoring based on behavior or personal traits, AI systems manipulating human behavior to bypass free will, and exploiting vulnerabilities in individuals related to age, disability, or socio-economic status.

Police can still use real-time biometric identification (RBI) systems in public spaces for law enforcement, but only with prior judicial authorization and for specific crimes. 

"Post-remote" RBI is strictly limited to targeted searches for individuals convicted or suspected of serious crimes. "Real-time" RBI, subject to stringent conditions, is restricted in time and location for targeted searches of victims (abduction, trafficking, sexual exploitation), preventing specific terrorist threats, or localizing persons suspected of specific crimes (terrorism, trafficking, sexual exploitation, murder, kidnapping, rape, armed robbery, participation in a criminal organization, environmental crime).

Members of the European Parliament (MEPs) have introduced a mandatory assessment of fundamental rights, applicable to high-risk AI systems in the insurance and banking sectors. This assessment considers potential harm to health, safety, fundamental rights, environment, democracy, and the rule of law. High-risk classification also applies to certain systems in law enforcement, education, employment, migration and border management, as well as to justice and democratic processes, including the risk of AI systems influencing elections and voter behavior. Citizens have the right to file complaints regarding AI systems and receive explanations for decisions impacted by high-risk AI systems affecting their rights. 

So it is confirmed that AI systems used in migration, asylum and border control management remain under the high-risk category, and the legislation adds that AI systems in these fields should never be used by Member States or Union institutions, bodies and offices as a means to avoid their international obligations under the UN Convention relating to the Status of Refugees. Besides, they should not violate the principle of non-refoulement or obstruct safe and effective legal entry into the Union, including access to international protection.

Generative AI, which includes systems producing text, images, videos, and audio from simple prompts, is covered under provisions for general-purpose AI (GPAI) systems. GPAI systems and the models they are based on must meet transparency requirements proposed by Parliament. This involves creating technical documentation, complying with EU copyright law, and publishing detailed summaries of the content used for training (the act is not clear though regarding already-trained models). Open-source models available to the public (so versions below ChatGPT's GPT-4) are exempt from the copyright requirement.

For high-impact GPAI models posing systemic risks, Parliament negotiators have secured more stringent obligations. These models must undergo evaluations, assess and mitigate systemic risks, conduct adversarial testing, report serious incidents to the Commission, and report on energy efficiency.

Additionally, artificial or manipulated images, audio, or video content ("deepfakes") need to be clearly labeled as such, even when generated for artistic, creative, or satirical work. This point is interesting and makes us ponder on those publications currently using AI images to illustrate their articles, without explicitly telling their readers they are AI-generated, but also poses questions regarding deepfakes. The Act regulates deepfakes focusing on transparency and saying in Article 50 (4) that creators must disclose the artificial origin of deepfakes and techniques used. Now, in previous posts we looked at the creative use of deepfake in a music video. Yet, when used in other contexts such as politics (think about elections), or when employed to generate pornographic content involving minors or nonconsensual pornography, the AI Act should maybe add a clause about the harmful impact they may have and criminalise deepfakes to deter malicious use.

To ensure businesses, particularly Small and medium-sized enterprises (SMEs), can develop AI solutions without undue influence from industry giants, the agreement advocates for regulatory sandboxes and real-world testing established by national authorities to innovate and train AI before market placement.

Some companies may have concerns about the regulations: as seen in a previous post last year, OpenAI's Sam Altman displayed an ambiguous approach previously, expressing both a desire for regulation, but also concerns about AI companies being overregulated.

Some also complain about the EU setting computing power limits for training AI models set at a lower level compared to similar proposals in the US. According to the AI Act, when the cumulative amount of computing power used for the training, which is measured in FLOPs (floating point operations), is greater than 10^25, an AI system will face strict requirements to prove it doesn't pose system risks (this requirement may push some European companies to relocate to the US to avoid these restrictions).

Fines for non-compliance range from €7.5 million or 1% of a company’s worldwide turnover (whichever is higher) for providing incorrect information to regulators, to €15 million or 3% of worldwide turnover for breaching certain provisions of the act, to €35 million or 7% of turnover for deploying or developing banned AI tools. Smaller companies and startups will face more proportionate fines. 

During the plenary debate, Internal Market Committee co-rapporteur Brando Benifei stated that the AI Act, the world's first binding law on artificial intelligence, aims "to reduce risks, create opportunities, combat discrimination, and bring transparency." Benifei also emphasized the importance of protecting the rights of workers and citizens.

Civil Liberties Committee co-rapporteur Dragos Tudorache (Renew, Romania) warned that the AI Act is just the beginning. He highlighted the need to address broader societal implications of AI, such as its impact on democracy, education, labor markets, and warfare.

The regulation is undergoing final lawyer-linguist checks and is expected to be adopted before the end of the legislative session. It will enter into force twenty days after publication in the official Journal and become fully applicable 24 months later. However, bans on prohibited practices will apply six months after entry into force, codes of practice nine months after, general-purpose AI rules including governance twelve months after, and obligations for providers and deployers of high-risk systems thirty-six months after.

In the meantime, the newly launched European AI Office will also play a crucial role in implementing the AI Act, especially for general-purpose AI. Working with the European Artificial Intelligence Board formed by Member State representatives and the European Centre for Algorithmic Transparency (ECAT) It will ensure consistency among EU Member States, set up advisory bodies, facilitate information exchange, evaluate AI models, develop codes of practice, investigate violations, and provide guidance and tools for compliance.

But just like for fast fashion laws, regulations should be complemented by education initiatives: while we wait for regulations to be perfectioned and become law, we should learn more about AI systems and develop critical thinking skills, questioning things more before automatically accepting an image, a video or the content of an article as real and genuine, while also acknowledging the potential harms AI can cause. Opening debates, especially in workplaces and educational institutions, can help prevent the misuse of AI, ensuring it isn't used in ways that harass or harm others.

Can France Really Slow Down Fast (& Ultra-Fast) Fashion?

Earlier this week, on Thursday, France's National Assembly approved a series of measures aimed at curbing the environmental impact of fast fashion (Réduire l’impact environnemental de l’industrie textiled), with a particular focus on cheap clothing imported from mass producers, especially those based in China.

If the bill, which passed unanimously in France's lower house of parliament, becomes law (which requires a vote by the Senate), fast (and ultra-fast) fashion brands will be required to display an environmental score to demonstrate the impact of their output.

Besides, they will be subject to a surcharge linked to fast fashion's ecological footprint, starting at €5 per item next year and increasing to €10 by 2030. However, this charge cannot exceed 50% of an item's price tag. The proceeds from this surcharge will be used to subsidize producers of sustainable clothing.

The law will define what intends as "fast fashion" based on factors such as production volumes and the speed of turnover in collections (so it wouldn't target all online commerce companies). In the proposal bill, Chinese company Shein's rapid production is highlighted, stating that it offers 7,200 new items per day on its site. The penalties would be imposed for the association of these companies with environmental harm to make cheap clothes imported from China less attractive to buyers.

Furthermore, fast-fashion labels would be forbidden from advertising, including through influencer partnerships, as highlighted also in a previous text submitted on January 30th.

If passed, the bill would make France the first country in the world to legislate to limit the excesses of ultra-fast fashion. The idea for the bill was originally brought up by a member of the LR (The Republicans) party, Antoine Vermorel-Marques, who supports the idea that this bonus-malus system will make "Made in France" products cheaper and "Made in China" items more expensive, and who often highlighted in interviews the importance of buying an environmentally friendly garment that meets social and environmental standards. Parties involved in this proposal also highlighted the textile industry's significant contribution to pollution, accounting for 10% of greenhouse gas emissions and water pollution.

The bill was indeed designed to protect people's health, as garments by fast fashion companies often contain toxic substances such as phthalates and PFAS (forever chemicals), but also to support the French industry, as several homegrown brands went out of business due to competition from fast fashion retailers.

France's high-end fashion sector remains a vital component of the economy, but the influx of cheap imported clothes has adversely affected the French market. While H&M and Zara dominated the fast-fashion scene until a few years ago, consumers now seem to prefer ultra-fast fashion retailers such as Shein and Temu.

If you care about the environment and are not a great fan of (ultra-fast and) fast fashion, this may come as great news. However, it's only natural to wonder if this decision will have any tangible positive impact on French manufacturers and retailers.

Some consumers are attracted by the extremely low prices of fast fashion retailers and continue to buy items that they only wear once and then throw immediately out; others turn to fast fashion as it's all they can afford. So, it remains uncertain whether this decision will deter the former from continuing to buy items (after all, even with a surcharge the items will still be pretty cheap...) and if it will adversely affect the latter.

There are other considerations to make: the bill primarily targets companies producing large quantities of clothes, but doesn't address other parallel issues like the sourcing of fashion components from other countries bought at affordable prices. French ministers may be interested in promoting the "Made in France" label, yet (as it happens with the "Made in Italy" moniker), this definition may be incorrect in a global world where it's practically impossible to determine the origin of everything (shoes made in Italy for Chanel are assembled from materials made in various countries, so even Chanel that represents the quintessential French maison, may not be technically 100% "Made in France"...).  

Additionally, while it is true that low cost fashion garments and accessories contain toxic products, there's uncertainty about whether also genuine "Made in France" may contain toxic substances or PFAS.

Furthermore, the surcharge imposed by the law cannot exceed 50% of an item's price tag. Some items sold by Shein are extremely cheap and this may lead ultra-fast fashion retailers to lower prices further or stop selling to French consumers altogether (who may anyway shop at Shein when they visit another country). Moreover, tracking the number of items introduced daily by each brand, especially online platforms without physical retail presence in France, poses challenges (how can we be sure of how many items Shein produces when the company seems to have a very shady modus operandi? At the beginning of March, for example, Shein's UK business neglected to reveal its true ownership, violating company law, which might impact the company's purported intentions to explore listing in the UK).

We will learn more about the legislation when precise criteria regarding production volumes and turnover speed will be published in a decree once the law comes into force. For the time being, France remains the first and, so far, the only country to enact such legislation that represents some progresses in combating fast fashion. That said, maybe to bring real change countries should start developing their own internal regulations, even though the European Union has also been developing the Ecodesign for Sustainable Products Regulation (ESPR; coming into full effect by 2025) that sets minimum design standards (requirements around recyclability, durability, reusability, repairability and use of hazardous substances) for all individual products sold within the EU. 

Governments interested in developing provisions and regulations against fast fashion retailers may need the help of professional figures from the fashion industry who may be able to address other complex aspects of the industry that they may not be considering. But there is another way to try and oppose to fast fashion as legislation will never be enough to regulate it - education. Many of us consumers are already practicing simple rules like shopping more responsibly, recycling and repairing or readapting garments rather than throwing them out, and governments should invest in supporting educational projects that could contribute to the end of the fast fashion culture.

We have all seen images of textile landfills in Ghana or in the Atacama desert in Chile (also known as the "world's dumpster"), maybe it's about time we started imagining our landmark monuments  covered in discarded cheap garments. Artificial Intelligence can help us visualising such scenes that, rather than evoking a fun arty installation, forewarn of a forthcoming disaster. 

Dynamic Architecture with a Railway Heritage Twist: Maxon Studio by Olson Kundig

In the last few posts, we looked at antiquities and at how they can be inspiring in fashion, or attempted juxtapositions between works of art inspired by antiquities and contemporary collections. Let's continue this exercise of juxtapositions and comparisons, but apply it to architecture and explore something more unusual and bizarre than antiquities.

It's always intriguing to examine illustrations from the past that attempted to predict the future. Often, we encounter bizarre inventions, although occasionally, clever minds correctly foresaw innovations that would revolutionize our lives - consider, for instance, video calls, a concept frequently depicted in early science fiction films.

In the early 20th century, the German Hildebrands chocolate company produced postcards showcasing futuristic visions, ranging from personal flying machines (View this photo) and weather control devices (View this photo) to roofs that protected cities from the rain (View this photo). Among the fantastical ideas depicted, some seemed utterly improbable, but one of them was in fact realized to some extent.

One such postcard featured buildings that could be moved along rails using steam engines. While the notion of relocating a building via railroad tracks is undoubtedly bizarre and impossible, a while back, Olson Kundig Studio, in collaboration with Maxon Studio, designed an extension to a house located in Washington that can be transported along a 15-foot-gauge railroad track.

The two-story steel tower office, intended to accommodate Lou Maxon's branding agency in Carnation, Washington, is indeed mounted on rails and can be detached and relocated within the Pacific Northwestern woods, outside Seattle.

This innovative concept, conceived by principal Tom Kundig and client/contractor Lou Maxon, embodies Olson Kundig Architects ethos and aligns with the studio's vision. Founded by Jim Olson in 1966, the firm has designed throughout the years numerous cabins enabling residents to engage with the natural landscape outside the building.

In the case of the Maxon Project, rather than a static home office, the architectural studio devised a movable space that harmonizes with both its host building and with the external environment. This is a proper office with a conceptual twist about it since the detachable building was conceived as part of the commute experience.

The studio comprises two levels: the lower level serves as the primary workspace, featuring a built-in desk and ample storage and display shelves, while the upper level, accessible via a steel ladder, offers a serene setting for creative exploration, akin to a cupola on a train's caboose, providing panoramic views of the landscape.

Interestingly, the design was not inspired by futuristic sci-fi concepts but rather by the region's railway heritage. Discovering steel cables and railroad spikes during excavation for the main house prompted innovative solutions.

Throughout the studio, subtle references to the local rail industry abound. The control panel, sourced from a Burlington Northern locomotive, now manages the electrical acceleration and braking.

The studio door's yellow hue matches the original DuPont paint used on Great Northern trains, while plywood cladding pays homage to railcar interiors.

Authentic wooden railroad ties, repurposed from a Great Northern Railroad relay line, and a stabilizing bar that prevents the tower from tipping during an earthquake (inspired by Japanese high-speed railways), further emphasize the studio's connection to railway design and safety.

This project, futuristic and imaginative, encapsulates dynamism, creativity, and a reverence for industrial traditions, the environment and mental wellness. After all, while some may find a bustling and noisy environment more inspiring, quite often silence and a full immersion into nature can have a regenerative effect on a burdened mind.

Could this concept inspire fashion? Well, trains have appeared on runways as props before (remember Galliano's Haute Couture A/W 1998-99 collection for Dior and Marc Jacobs's A/W 2012 collection for Louis Vuitton?), but it would be very intriguing to see if a fashion designer creating a collection in such a studio would benefit from its dynamism and contact with nature and come up with very unique designs. Food for thought. But, for today, let's just dream about the perfect house with a detachable cabin that could travel in a picturesque landscape (actually, it could also be a good idea for a Lego set...).

Image credits for this post

Images 2 - 9: Maxon Studio by Olson Kundig, photographs by Aaron Leitz

From Surrogate Antiques to the Runway (& the Red Carpet)

The previous post closed with a comparison between hairstyles from Roman times and the Renaissance and a contemporary collection. That post also mentioned Pier Jacopo Alari Bonacolsi (1460-1528), also known as l'Antico ("The Ancient") for his knowledge of classical sculpture. So, let's move from him and in particular from one of his works, the Venus Felix (ca. 1510), to make another comparison with a contemporary collection.

Trained initially as a goldsmith, Bonacolsi was a talented artist and his expertise extended to crafting medals and plaquettes. Serving as the principal court sculptor to the Gonzaga family, he achieved a significant milestone by reintroducing the indirect method of bronze casting, a technique not employed since antiquity.

The resplendent bronzes he produced, adorned with burnished gold, brilliant silver, and rich black tones, showcased his ingenuity and technical prowess as a goldsmith. These opulent creations, so exquisitely classical in style, were deemed by the Gonzaga family as "surrogate antiques" and placed among their magnificent collection of ancient art.

Inspired by a monumental Roman marble sculpture in the Vatican (Venus Felix with Cupid – her head also resembled Faustina The Younger's View this photo), he created a graceful female figure in bronze about 30 centimeters tall. The sculpture, partially gilded and finished with a black lacquer rested upon a decorated limewood base, adorned with nine coins bearing the names of the emperors Gordian III, Philip the Younger, Valerian, Probus, and Constantine.

L'Antico did not employ genuine gold imperial coins, but simple antoniniani in silver alloy - readily available on the market in his time - giving them a faux gilding that doesn't make them look inappropriately cheap next to the rest of the work (in jewelry and applied arts, numismatic insert coins were often used as decorative elements for their aesthetic beauty or their symbolic value).

Rather than just replicating the classical statue that inspired this work, l'Antico reimagined it, ingeniously reinterpreting it, fusing it with heightened sensuality and erotic appeal, allowing the deity's cloak to slip below the pudendum, and adorning the statuette with gold finishes and sumptuous gilding. Venus Felix is currently part of the collection at the Kunsthistorisches Museum Wien.

In fashion, Viktor & Rolf drew inspiration from classical statues for their A/W 2009 collection, incorporating in their stiff wool designs details reminiscent of classical drapery in a stone grey and marble white palette reminiscent of the muse Melpomene at the Louvre.

Versace's A/W 24 collection also includes a few designs that echo antiquities, particularly the Venus Felix's iconic draped cloak slipping from her body (also the colours of the Venus - that interplay of bronze, gold and black - goes well with Versace's trademark aesthetic…).

You may argue that another inspiration for this style may be the Venus de Milo (View this photo), but in this Greek marble sculpture the drapery (View this photo) is not as structured as in Bonacolsi's statue.

In the latter the fabric seems to fall into structured folds, like in Versace's mini-skirts and evening gowns from the A/W 24 collection, also donned by Anne Hathaway during the fashion house's ready-to-wear show and by Margot Robbie at the 96th Academy Awards. 

The statuesque allure of these garments, though visually arresting, presents a practical challenge: both Hathaway and Robbie found themselves somewhat constrained while seated, as if the bustier, conceived to replicate the rigid bust of a statue, was too tight.

Also in Givenchy's A/W 24 collection there was a nod to the effect of Venus' draped cloak gently slipping from her body. With the departure of creative director Matthew M. Williams, the studio team unveiled designs that showcased sculptural elements, such as draped pencil skirts.

For those seeking a less static and more dynamic and whimsical portrayal of Venus, as the weekend is approaching, opt for a light film and re-watch William A. Seiter's "One Touch of Venus" (1948), featuring Ava Gardner in the role of a statue that comes to life after Eddie, a window dresser in a department store, kisses her.

Fashion bonus in the film: Gardner, evoking a Greek coin beauty, graces the screen in a white jersey draped dress by Orry Kelly.

Faustina's Braids: From Antiquities & the Renaissance to the Runway

In Monday's post we looked at the 96th Academy Awards ceremony and mentioned how "Poor Things" by Yorgos Lanthimos won several Oscars, among the others for Best Costume Design (the talented Holly Waddington) and Best Makeup and Hairstyling. The latter went to Nadia Stacey, Mark Coulier and Josh Weston.

Stacey, the chief hair and make-up artist, used hairstyles symbolically in the film: the story opens with Bella's suicide with the camera lingering on the back of her head. In this scene hair is pinned up in the fashion that was popular for women of polite society. However, Bella's journey takes a transformative turn as she is resurrected by Dr. Baxter, who gives her the mind of an infant.

As her mind expands, the sleeves of her gowns become bigger and bigger, and, as her character faces the complexities of life afresh, her hairstyles reflect her evolving persona, with her once-constrained locks now flowing freely, mirroring her newfound sense of autonomy. Symbolically, her decision to wear her hair down serves as a visual testament to her refusal to conform to the societal norms that seek to confine and dictate women's lives.

Hair can be used in a symbolical way in a film context, but also on the runway: during the latest shows we have seen daring experiments with human hair, and pondered a bit about surrealist effects achievable with this versatile material. From garments adorned with sprouting strands to intricately woven tops crafted from hair, designers have embraced the unconventional to push the boundaries of sartorial expression.

But if you want to get more hair inspirations and you happen to be in Italy, try visiting "Faustina's Braids: Hairstyles, Women, and Power in the Renaissance" at Gallerie d'Italia in Vicenza (running through April 7th; Gallerie d’Italia is a private network of museums owned by Italian banking group Intesa Sanpaolo, you may find their galleries scattered in the main Italian cities, from Naples to Turin and Milan).

The title refers to one of the most iconic hairstyles in history - the renowned braids of Empress Faustina the Elder, wife of the Roman emperor Antoninus Pius, and a symbol of marital harmony and love.

Often included in Renaissance antiquarian collections and an influence on fashion in the 15th and 16th centuries, Faustina became a celebrated artistic model. Numerous copies and reinterpretations of her sculptures and busts gave great visibility to her eccentric hairstyle that, consisting of an intricate coiffure with braids gathered on top of her head in a basket-like configuration, was admired and emulated for several generations in the Roman world and inspired many during the Renaissance.

The exhibition explores this connection through 70 sculptures, busts, ancient coins, paintings, drawings and printed volumes. Roman busts are employed to make connections with Renaissance style and with the hairstyles in artworks by Giovanni Bellini, Verrocchio and Michelangelo.

The exhibition unfolds through eight rooms and visitors are invited to discover Faustina's style after a brief introduction provided by Alessandro Varotari (il Padovanino)'s La chioma di Berenice (1649; "Berenice's Hair"), a painting referring to the story of Berenice, wife of Pharaoh Ptolemy III, who cut off her hair and dedicated it to Venus as a sacrifice to bring her husband safely home.

The first room focuses on Faustina the Elder's distinctive hairstyle, a testament to her timeless elegance and influence, while the next room explores the history of female portraiture in Greek and Roman art, showcasing the multifaceted significance of hairstyles in public and private spheres, and their complex social and customary meanings.

Visitors are immersed in the extravagant hairstyles favored by empresses of the 1st and 2nd centuries AD, characterized by tiara-like toupees and intricate knotted braids. These elaborate creations, bordering on eccentricity, left an indelible mark on artistic interpretations spanning centuries, inspiring renowned painters and sculptors alike.

In this first section of the exhibition there is a polychrome terracotta head of a woman dating back from the 4th century BC, exuding a modern aesthetic with its meticulously sculpted locks, while Roman busts perfectly recreate the more extravagant fashions of the time.

Visitors are immersed in the hairstyles favored by the empresses of the 1st and 2nd centuries AD, characterized by tiara-like toupees, corkscrew ringlets typical of the empresses of the Flavian dynasty (we analyzed this style in a previous post, remember?) and the architectural knotted braids characteristic of the empresses of the Antonine dynasty. 

As stated above, the fortunes of their hairstyles lasted a long time: many artists from the 14th century were inspired by them, for example, painter Altichiero decorated the loggia of Cansignorio della Scala's palace with a cycle of profiles of Roman emperors. The hairstyles he painted were borrowed from Roman coins on display in the exhibition. Faustina's hairstyle also influenced the miniature paintings of the time.

As the centuries passed women's hairstyles evolved, reflecting shifting societal norms. Hair was progressively liberated from the constrains that had bound it, a theme analyzed in the third room of the exhibition. The Virgin Annunciate by the late Gothic Tuscan sculptor Francesco di Valdambrino still has her hair demurely restrained by ties and gathered onto her head in a braid, as does the Bust of a Young Woman attributed to the Florentine sculptor Desiderio da Settignano.

Yet, little by little, artists started recreating the same hairstyle with more freedom, as proved by Faustina’s interpretation of Gregorio di Lorenzo, and, while sculptor Pier Jacopo Alari Bonacolsi, known as l'Antico ("the Ancient") offers a more philological interpretation of Faustina, goldsmith and guild master Galeazzo Mondella, the artist known as Il Moderno ("the modern one"), provides us a more fantastic version of her style.

The progressive strategy of eroticizing women's hair emphasized by the ancient images of Medusa with her monstrous mane of snakes, can be seen in the seductive Ancient Heroine by Andrea del Verrocchio, as well as in the Portrait of a Young Woman by Simone Bianco, a Tuscan sculptor active in Venice and in the head of Saint Iphigenia, sculpted in the antique style by a refined artist close to Tullio Lombardo with the intention of completing an ancient headless statue.

More interesting connections are developed in the other rooms that offer comparisons with male hairstyles in paintings such as Tiziano Vecellio's portrait of a Musician (circa 1513), that were products of the revival of classical models combined with more modern sensibilities.

Other rooms offer a focus on Michelangelo's interest in depicting female hair and on the fascination that Faustina's hairstyle had on Neoclassical artists and in particular on Antonio Canova.

Michelangelo's mesmerizing drawings recreate intricate hairstyles adopted by Cleopatra (circa 1534), Zenobia (circa 1560) and the Marchioness of Pescara, Vittoria Colonna (1540-1550). Antonio Canova's masterpieces immortalized the essence of classical beauty and grace (check out the head of Carolina Murat Bonaparte (1813 circa) and the head of Elisa Baciocchi as the muse Polimnia, 1812-1815).

The rooms that close the exhibition ponder on hairstyles as evidence of the new visibility of women in society and their ability to express dress codes suitable for very different contexts, from courts to brothels, and attempt modern comparisons with a final reflection on the attention shown by cinema to both ancient and modern women's hairstyles.

This section may have been enriched by referenced to fashion, considering also the portraits of Isabella d’Este and Eleonora da Toledo that offer great fashion connections. Isabella d'Este also used to wear a balzo, headdress worn by noblewomen of Italy in the 1530s. It was donut-shaped but appeared turban-like from the front, though it was generally worn further back from the forehead exposing the hair, unlike a period turban. It is assumed as a fashion invention by Isabella d'Este, first documented in letters in 1509 and 1512. Somehow the balzo also seems to evoke the voluminous piled up hairstyles of Roman ladies (check out the "Testa Fonseca", early 2nd century AD, included in the event.

Among the paintings and sculptures there is also a curio, a glass object case with a lock of Lucrezia Borgia's hair, but the illustrations from some of the volumes on display remain among the most intriguing inspirations of this event (Cesare Vecellio's Habito di gentildonne antiche alla Dogalina fuor di casa, in Degli habiti antichi, et moderni di diverse parti del mondo, Venice 1590; Giovanni Guerra's Varie acconciature di Teste usate da nobilissime Dame in diverse Cittadi d'Italia, Rome, circa 1589; and Enea Vico's Le imagini delle donne auguste intagliate in istampa di rame; con le vite, et ispositioni di Enea Vico, sopra i riversi delle loro medaglie antiche. Libro primo, Venice, 1557).

Some fashionistas may not be too interested in looking at Roman, Greek or Renaissance art, but the exhibition transcends mere historical inquiry, offering a reflection on the enduring relevance of antiquities in shaping contemporary sensibilities.

The legacy of ancient hairstyles continues indeed to inspire innovation and creativity, bridging the past with the future in an ongoing dialogue of beauty and expression as evidenced by modern interpretations on the fashion runway.

For example, Guido Palau created for Prada's A/W 24 show graphic hairstyles with swirls and curves (View this photo). Sure, they didn't look like Faustina’s braids, as they were inspired by different eras, from the '30s and the '40s to the '60s, besides they also borrowed from Art Nouveau. Yet .the models' hair gelled, shaped and sculpted into wave-like swirls creating dynamic movement called to mind the hairstyles of the ladies portrayed in this exhibition (such as Desiderio da Settignano's bust of a young woman).

If creating the future means building on the past, exhibitions about antiquity can therefore provide us with intriguing ideas and inspirations.

Image credits for this post

1, 2, 11, 12, 14, 15 and 16.
Installation views "Faustina's Braids: Hairstyles, Women, and Power in the Renaissance" at Gallerie d'Italia in Vicenza, courtesy of Gallerie d'Italia

3.
Alessandro Varotari, known as il Padovanino
(Padua, 1588 - Venice, 1649)
La chioma di Berenice, before 1649
Oil on canvas, 150,5 x 117 cm
Gallo Fine Art Collection

4. Rome, Empire, Antoninus Pius (138-161 AD) for Faustina the Elder
Aureus, minted in Rome, from 141 AD
Gold, aureus, 7.23 g, 19.68 mm, 180°
Legends: Obverse (D/): DIVA FAVSTINA;
Reverse (R/): AVG-VSTA
Rome, National Roman Museum, Coin Cabinet, inventory 34386
Courtesy of the Ministry of Culture – National Roman Museum

5, 6.
Portrait bust of a female with a hairstyle inspired by Faustina the Elder, 140-150 AD circa
Cast and engraved bronze, base in red Levanto marble
Florence, National Archaeological Museum,
Courtesy of the National Archaeological Museum of Florence (Regional Directorate of Museums of Tuscany)

7, 8, 9. 10.
Portrait bust of Faustina the Younger, 161-170 AD circa
White marble, height 70.9 cm,
The Royal Collection / His Majesty King Charles III
Royal Collection Trust / © His Majesty King
Charles III 2023

13.
Andrea di Michele, known as il Verrocchio
(Florence, 1436 - Venice, 1488)
Ancient heroine (Olimpias?), 1461-1464 circa
Marble, bas-relief, 48 x 31.50 x 8.50 cm
Milan, Museum of Ancient Art at the Sforza Castle
Museum of Ancient Art at the Sforza Castle - © City of Milan/Ranzani

17, 18, 19.
Desiderio da Settignano (attributed to)
(Settignano, circa 1428-1431 - Florence, 1464)
Bust of young woman, 1455 circa
Marble, height 47 cm
Florence, Bargello National Museum
© Claudio Giusti

Of Evening Gowns with Grand Sleeve-Glove-Cape Hybrids & Renaissance Costumes

The looks spotted at the 96th Annual Academy Awards have been widely analyzed in the last 48 hours all over the Internet, so, rather than commenting about them further, let's draw a comparison.

Ariana Grande and Cynthia Erivo took the stage to announce the Oscar for Best Song ("What Was I Made For?" by Billie Eilish), showcasing styles that align with the method dressing trend discussed in yesterday's post.

Grande donned a dramatic candy-pink fitted strapless gown by Giambattista Valli Haute Couture, while Erivo opted for a dark green custom Louis Vuitton leather gown featuring ruffles cascading down the back, culminating in a train, matched with a bolero with oversized puff shoulders. Their choices echoed their roles as Glinda and Elphaba in the upcoming film adaptation of the Tony Award-winning musical "Wicked" (View this photo).

Both gowns emphasized the shoulders/arms, a trend that resonates with the costumes in Yorgos Lanthimos' "Poor Things" and aligns with the current rediscovered interest in sleeves. Grande's ruched column gown was strapless, but incorporated a unique accessory combining oversized gloves, sleeves, and cape.

Let's zoom in on Grande's puffy cape-cum-sleeves-cum-gloves reminiscent of inflated balloons. We explored grand sleeves and puffed-up sleeves in previous posts, but this hybrid sleeve-glove-cape amalgamation draws inspiration from various sources.

Such super sleeves can be observed in Renaissance portraits like Peter Paul Rubens' depiction of Isabella d’Este (probably a close copy of a lost Titian original), the Marchioness of Mantua and one of the leading women of the Italian Renaissance, and in Pieter Holsteyn II's engraving of Giulio Romano's portrait of Margherita Paleologo (Marquise regent of Montferrat and Duchess of Mantua).

Reflecting on fashion history, Schiaparelli introduced emerald silk velvet gloves for the Winter 1951-52 season that incorporated a sort of long puffy sleeve that covered the arms (intriguing note: that collection was entitled "SHAPE" - a word indicating not just the emphasis on forms and silhouettes, but also an acronym standing for Supreme Headquarters Allied Powers Europe, directed by General Eisenhower at the time the collection was created; there you go, another hint at the fact that, yes, fashion can be political).

These gloves accentuated what they concealed and concealed what they revealed, embodying a visual ambiguity that was theatrical and unbalanced, just like Valli's gown for Ariana Grande.

Madame Grès also came up with a design that incorporated blillowing sleeves in 1959 that she reinvented in the '70s as a stunning silk paper taffeta gown with an empire waistline and huge sculpted sleeves. In these designs the monumental sleeves created a cape-like effect that voluminously filled the space around the wearer bestowing upon them a sort of statuesque elegance.

So, remember fashion students, when you appreciate a painting (especially from the Renaissance), pay attention to each element of the composition and do not overlook any detail. You never know where a Renaissance sleeve might lead you.