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“Années 80, Mode, design et graphisme en France” at the Musée des Arts Décoratifs continues until April 16, 2023. Curated by Elsa Janssen, this exhibition starts small with Yves Saint Laurent’s proclivity for gold buttons. Nearby, a ‘cabinet of curiosities’ by Valérie Weill boasts an array of his gold objets d’art, such as a partial bust by Claude Lalanne, who created wearable pieces for Saint Laurent’s fall-winter 1969 collection. And then come the tableaux vivantes, staged with his dazzling creations across three decades. The embroideries glint, the lamé shimmers. In other contexts, the effect would be OTT; but Saint Laurent gave equal weight to attitude as surface treatment. On the upper level in a darkened space, a grouping of nightlife attire—including a single sober Le Smoking for contrast—appears across from a wall collaged with photos of the YSL muses who shone in these golden looks. Just as illuminating: the display of fabric swatches from his artisan suppliers who seemed to embrace the challenge of contemporary opulence. While some might linger over two floor-to-ceiling displays of jewelry—one chronological, one chromatic—arranged by Anna Klossowski, the indisputable pièce de résistance is a gleaming gown from the fall-winter 1966 collection covered in sequins with a neckline of colored stones that gives the impression of liquid gold. Before visitors exit, they pass Saint Laurent’s words: “One day, my name will be inscribed in gold letters of the Champs-Élysées.”
After Saint Laurent’s rarefied life in Paris, Alice Neel’s portraits offer multi-dimensional realness. In truth, the statement that opens the show—“In politics and in life, I have always liked the losers, the underdogs. It was the smell of success I didn’t like”—puts an extreme spin on her general attraction to ordinary people. Curated by Angela Lampe, this enthralling retrospective features families, same-sex couples, activists, and marginalized figures whom she renders sensitively with no trace of exploitation. By the same token, it is loosely divided into two themes: the struggle against class and the struggle against genre. If all had gone according to plan, this exhibition would have debuted in June, 2020, ahead of the retrospective at The Metropolitan Museum of Art. But you could look at Neel’s work repeatedly and always observe something different: how she outlines her figures; how she creates different skin tones with tints of blue or purple; how she captures light reflecting off black patent leather shoes. Her faces are pure character: vulnerability, weariness, occasionally a certain pride. Her sitters’ body language speaks volumes. Their clothes crease in such a way to suggest they are relaxed. This is not an exhibition about style—Neel would likely shudder at the thought—yet every person has made a choice to wear something that betrays an intrinsic aspect of their individuality.
Within the museum’s soaring nave and surrounding galleries, layers of clashing color, radical shapes, and cultural exuberance are grounded by the national and historic events that made the ’80s such a defining creative decade in France: the presidency of François Mitterrand, the AIDS epidemic, the fall of the Berlin Wall, and the bicentenary of the French Revolution. Spanning fashion, design, and graphic arts, the exhibition reveals how inspiration was flowing in all directions, which the curators convey as carambolages or a pile-up of objects. Independence contributed to the diversity of stylistic expression, whether from the flamboyant couturiers Jean Paul Gaultier and Christian Lacroix, the avant-garde masterminds Azzedine Alaïa and Rei Kawakubo, or everyday designers such as Agnès B. “This independence allowed them to create with complete freedom,” said fashion curator Mathilde Le Corre. At the same time, mainstream brands such as Kookai and Naf Naf became the antecedents to fast fashion, while Fiorucci set the stage for collaboration. In the realm of design, the arrival of Philippe Starck and the birth of Memphis were two sides of the same eccentric coin. Campaigns by Jean-Paul Goude and graphic posters for Act Up-Paris, an organization that raised awareness and support for AIDS, were gutsy, impactful, and brought a stigmatized subject to the forefront. There is a poignant layer, too: While many of us have salient memories from the pre-Internet ’80s, some of the iconic talents on display—Thierry Mugler, William Klein, and Issey Miyake, among them—are no longer alive. All the more reason to celebrate this collective legacy.
Suitable for Women/Men/Girl/Boy, Fashion 3D digital print drawstring hoodies, long sleeve with big pocket front. It’s a good gift for birthday/Christmas and so on, The real color of the item may be slightly different from the pictures shown on website caused by many factors such as brightness of your monitor and light brightness, The print on the item might be slightly different from pictures for different batch productions, There may be 1-2 cm deviation in different sizes, locations, and stretch of fabrics. Size chart is for reference only, there may be a little difference with what you get.
- Material Type: 35% Cotton – 65% Polyester
- Soft material feels great on your skin and very light
- Features pronounced sleeve cuffs, prominent waistband hem and kangaroo pocket fringes
- Taped neck and shoulders for comfort and style
- Print: Dye-sublimation printing, colors won’t fade or peel
- Wash Care: Recommendation Wash it by hand in below 30-degree water, hang to dry in shade, prohibit bleaching, Low Iron if Necessary
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