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TWISSST - ISSUE - NUMBER ONE - ENGLISH EDITION
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Model: Carlos Ferra
Agency: Mayor Paris
Photo: Laurent Humbert, Paris
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86 Days have gone by
since TWISSST´s number zero issue.
More than 94.000 page hits in 14 di�erent
countries, without the support of market-
ing strategies, is more than was expected.
It appears that there is thankfully still a
place for an independent publication based
on solid information and artistic quality.
We are now moving into December and
have decided to opt for an unconvention-
al editorial line for TWISSST´s no 1 issue.
We go beyond fashion as a series of trends
and embark on a serious study of the
fashion industry, analyzing the startlingly
positive macro-economic results of the
PPR and LVMH power houses, owners of
brands such as Gucci, Yves Saint Laurent,
Louis Vuitton or Alexander McQueen.
We fall in love with the work of a French pho-
tographer and with the insouciance that
our Independence a�ords us, we choose to
dedicate the December cover to the Man.
Laurent Humbert´s photograph of
Carlos Ferra taken in Paris depicts
in a superb manner the “new mas-
culine look” emanating from the
most relevant international catwalks.
We attempt to understand Phoebe Philo,
Celine´s creative director who in barely a
few years has taken the Maison from fusty
sleepiness to the forefront of the industry.
Also from Paris, via Wetansfer, we present
the extended Works of Laurent Humbert.
We travel to Helsinki, where there ap-
pears to be a landscape for each indi-
vidual. Incidentally, on a lazy reading
afternoon we discovered the extraordi-
nary novel of Finnish writer So� Oksanen:
“Purge”, which we review in this issue.
We stop in Milan to take in the megalo-
maniac projects which are currently being
produced by the world´s top architects for
the Universal Exhibition to be held in 2015.
Back in Madrid we review la Fura dels
Baus´s untamed theatrical creativity, as
the countdown to the completion of this
edition begins: 104 pages of informa-
tion and a new challenge, to keep our
initial readers enthusiastic and to acquire
many more Twisssters around the world!
For the 94.000 hits recieved for our
zero issue and for all the future hits
we are sure we will receive for our is-
sue no 1, our last word is a huge
THANK YOU!
Norberto Lopes Cabaço
Editor in Chief and Creative Director
Editor´s Letter
Ilustration: Ricardo Naranjo González
S elf-propaganda and megaloma-nia have not only been characteristic
conducts of some dictators and big politi-cians from the � rst half of the twentieth century. � is quality, if we may say so, is as ancient as our civilisation. We can � nd examples in far ancient his-tory, before the Stalins, Hitlers and Napo-leons arose: in Egypt, Ramses II had in-vented propaganda as we know it today to boast his own image. As a matter of fact, it is not strange to � nd that all of us know or have heard the name of this pharaoh. Culture and arts have certainly not been immune against this phenomenon. � e man that for sure knew best how to use this method in the world of arts was Yves Klein, surely not one of a few that consid-ers himself irreplaceable in art history.
THE OTHER YVESKLEIN YVES
Text: Jose Manuel DelgadoTranslation: Daniela Cataldo
“© Yves Klein, ADAGP, Paris”
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Being the son of artistic parents, both painters, Yves started his
professional career as a judoka. �is fact took in�uence in a direct manner on the entire oeuvre and his personal live. As a judoka he is familiar with Zen philosophy and oriental knowledge and emerges himself into it, clearly intrigued and in�uenced by the mist that it involves.
He was also familiar with the Ro-sicrucians, a French Christian sect from the end of the nineteenth century, provided with a mist that is based on searching the void, the liberty that heaven represents. Rites and mists are fundamental to understand Yves Klein’s artistic oeuvre.�e �rst o�cial appearance of Klein as a visual artist took place in
1955 when he exposed his mono-chrome Expression of the Universe of minium orange colour at the Salon des Réalités Nouvelles. �e picture was rejected, because “one colour is not enough to build a pic-ture”. �e piece included in this ret-rospective is shown together with a series of monochromes, yellow, white, black, red, pink and green.
“© Yves Klein, ADAGP, Paris”“© Yves Klein, ADAGP, Paris”
“© Yves Klein, ADAGP, Paris”
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Colour acquired absolute impor-tance, going beyond drawing
and form. He started using colours as a �nal goal, independent from ei-ther drawing or form. �e colour as an instrument to materialise the im-material, able to change and create sentiments. He takes away line and drawing, now lacking of sense. �e roller he made his �rst instru-ment of creation, followed later on by �re and the human body. 1957 was the year of his honouring, when he arranged two simultaneous exposi-tions in Paris in both the Iris Clert and the Colette Allende Gallery. He composed a symphony designated to lead through the exposition: a 20 minute permanent note followed by 20 minutes of silence. His mono-chrome exposition concentrates on the blue. He gave his name to a blue tone which is since known as the Klein Blue.
“© Yves Klein, ADAGP, Paris”
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In 1958, he arranged a unique ex-position in his fetish gallery with his fetish gallerist, Iris Clert, to cel-ebrate his 30th birthday. He paint-ed the whole interior of the gallery with a roller. Only the door and footways were saturated with Klein Blue. He let go of Klein Blue col-oured balloons all over Paris days before the inauguration. Everything had been prepared to praise himself. He also, with the
help of some Parisian waiters, cre-ated a blue coloured Gin cocktail. �e drink was served to all exposi-tion guests and was taken while his creator Klein was explaining step by step, to small groups, the mean-ing of his work, an empty white painted room. �e guests’ reactions were divided, some found they were cheated, others, astonished, were looking for the rests of lines or drawings on
the wall, others again were moved and yelled or cried that they had understood the goal of the oeuvre: �e void. All of them had made part of an initiation rite in which Klein was the Messiah, the only way to com-prehension of the work through his translation. �ey branded him as a charlatan, a prophet, a mad man. But one thing was clear: nobody remained indi�erent.
As a structured whole in di�erent parts he developed his work.
He staged his production in a man-ner to enlarge his personality and created his own époques: the blue, the pneumatic, the performance art epoch, etc. One of these incredible perfor-mance arts consisted in painting the obelisk of Paris in blue. Strangely, in the beginning he received per-mission, but in the last minute the government stopped the work. Here is where the artist’s in-fluence ends.
“© Yves Klein, ADAGP, Paris”
“© Yves Klein, ADAGP, Paris”
“© Yves Klein, ADAGP, Paris”
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A� er that peak of his work, he started to make experiments
with other colours, such as gold and pink, both having a religious mean-ing to the Rosicrucians. He also start-ed to use � re; he literally burned can-vases that were previously saturated with � ammable liquid. � is “staining the canvas” process was achieved by coating a nude model with the liquid, a� er which Yves would tell her what to do. � ese creative processes were open to the public and also � lmed and accompanied by the monoto-nous orchestra. One could say, with-out doubt, that that was the birth of ‘art and ritual’.
“© Yves Klein, ADAGP, Paris”
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“© Yves Klein, ADAGP, Paris”
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Yves fell into obsession with the void, searched anti-gravity
through levitation, which he de-clared to have achieved repeatedly. As a peak of the void, he jumped from a third ! oor where his judoka students were waiting in order to hold him. " ey prepared a pho-tomontage and made it public on Klein’s request. In 1962, his death at 34 years sur-prised his artist collective during a meeting, and the question that we ask ourselves is “how far he would have come?” Doubtlessly, he is an example of an artist that created himself, and who, without any out-standing level of artistic qualities, not only has made himself a place in art history, but also has been recog-nised as one of the most important artists of the twentieth century. " e propaganda took e# ect.
Nuno Moreira e Marco Moreira ( Central Models, Lisbon)
Photo by : Carla Pires
All people are born equal...
then some become
Editor in Chief & Creative DirectorNorberto Lopes Cabaço
Foreign Editors DirectorMauro Parisi
Twissst Polish Edition ResponsibleWeselina Gacińska
Editorial CoordinatorChloe Yakuza
Architecture & Art DirectorMauro Parisi
Graphic DesignersDavid Lariño Torrens
[email protected] Marie O’Donnell
Staff
Foto Ryan Tansey
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Twissst Magazine - Head O� ceCalle Gran Via, 57 7 F28013, Madrid, SpainTel: 34 910 072 [email protected]
Twissst English EditionAngela Velo PérezDaniela CataldoClare Hodgson
Twissst Italian EditionGiulia ChiaravallottiFrancesco Marangon
Twissst Polish EditionWeselina Gacińska
Anna Golias
Twissst Portuguese EditionElis Por# rio
Bernardo Saavedra
Twissst Spanish EditionElena Arteaga
Benedicta Moya
Contributors
Laurent Humbert, Eleonora Maggioni,Laura Parisi, Siu Cho Hang,
Jaime G. Masip, Jose Manuel Delgado, Ricardo González Naranjo,
Carlota Branco.
Editors
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Texto: Eleonora Maggioni
Translation: Angela Velo Pérez
La Fura Dels BausAn approach to the creative impetus of the Total Theater company
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My � rst contact with the “Fura world” was almost by accident. On the eve of 2004, Genoa was the European Capital of Culture and that same night, la Fura was pre-senting the Naumon project, a light, sounds and dance performance. It was love at � rst sight, a real sensorial one. A 60m in length boat docked in the port of Genoa to the sound of the hypnotic Japanese drums with 150 people on board: acrobats, actors, dancers, experts and seamen.
� e port would become then in a huge stage hanging above the sea with great scenic design and choreogra-phies, o� ering a rising climax of colors, sounds and acro-batics that would welcome the New Year.
� e journey had just begun. A� er Genoa, they visited twenty other ports all along the Mediterranean Sea and continued in the Atlantic, Paci� c and Indian Oceans.
A Taste of Titus Andronicus/Photo Francesca Sara Cauli
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But when la Fura really surprised me was inside a theater some years later: due to their ability to modify a traditional stage by incorporating videos and other visual elements. In 2005, Fura dels Baus represented a free interpretation of Franz Ka� a’s Metamorphosis in Japan. Only one year later, this performance would arrive in Madrid. � is time, Fura chose a closer staging to Franz Ka� a’s most emblematic text, not to his performance. Despite the changes, they did not renounce the fusion with digital media. � e scenic design was constantly evolving: a large transparent cube where Gregor Samsa used to live and where the contrast between the outside and inside world of the main character materialized; a table and a screen showing pictures serving to magnify the onir-ic and daydream atmosphere described by Ka� a in his novel that resulted lancinating for the public.
Metamorfosis
Metamorphosis
Neumon in Genova 2004
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� e international success of La Fura Dels Bauls in the last thirty years is largely due to their inborn ability to bring the theater to a generally not interested audience.By using unusual spaces, their interaction with the public and the introduction of new technologies, this Catalan company has obtained recognition from the theat-er critics and from those who had never been interested in this world.
In 1979, Marcel Antunez Roca, Quico Palomar, Carles Padrissa and Pere Tantin-ya started a company focused on street show and experimentation with move-ments and music. In the 80’s, the com-pany started approaching the theater, but always keeping their experimental vision and their main objective: to break out of classical theater tradition. Music, dance and introducing new materials and new technologies responded to the challenge. In the 90’s, the company got involved with opera and large-scale performances a� er developing a performance for the opening ceremonies of Olympic Games in Barcelona in 1992.
Boris Godunov
Boris Godunov
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� ey keep their experimentation during large-scale performances, where their own language reaches huge spaces and public, such as the opening ceremonies for the Mediterranean Games celebrated in Almeria in 2005. From that moment, the compa-ny started getting a highly world recognition.
In 2008, with “Boris Gudonov”, the Fura is con� r-mated as pioneer in exploring di� erent alternatives to the traditional Italianate theater: a performance in a traditional stage by creating a metatheatrical piece in its purest form. Starting from a critic/deliberation about the emerg-ing totalitarian trend of some democratic states and about the fear to terrorism that has invaded western societies in recent years, the artistic director Alex Ollé breaks out of the purist notion of theater by us-ing � lm and audiovisual contributions. � e audience becomes the protagonist: the viewers are the hostages and, despite the fact of knowing we are observing a � ction since the beginning, we face our own ghosts, forced to be involved in the story we are being witnesses of.
A Taste of Titus Andronicus A Taste of Titus Andronicus
Boris Godunov
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In 2010, with “A Taste of Titus An-dronicus”, the Fura came to their origins with a 100% Fura performance, where the interaction between the actors and the audience is the central axis.During this performance, a free adapta-tion of Shakespeare tragedy, the audience stands up during the whole show, sur-rounded by metal walkways where we can � nd the machines served to carry the actors. During the performance, two chefs are cooking di� erent dishes that only about thirty people would be fortunate enough to taste them with the actors. A mixture of music, dance and perfumes extends all along the space trying to connect with the audience, who is waiting for the tragic end.
A Taste of Titus Andronicus /Photo Francesca Sara Cauli
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Fura works keep going by experimenting in the � lm � eld (Fausto 5,0) and on the Inter-net, with a genre that the Cata-lan de� ne as a digital theater: a mixture of «artists and bits».A� er getting in touch with the Opera world with the show «Oedipe!» in 2011, the Fura goes on with «Babylon, a ma-chines tale», being premiered in October in the Bayerische Staatsoper, in Munich. At the end of 2012, we will be able to assist to Fura large-scale performances in three di� erent countries: «Aphrodite and the Judgment of Paris» en Korea; «� e Visit» en China y «� e Hidden City» en Bucharest, Rumania.
A Taste of Titus Andronicus /Photo Francesca Sara Cauli
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Laurent Humbert
Laurent Humbert was born in the South of
France, in a small coastal city, Hyères, embellished
by clean colours, rich light and formally known to
host the International Festival of Fashion and Pho-
tography of Hyères.
Perhaps, only perhaps, these factors were in part,
determinant in this artist’s pathway.
Laurent Humbert was born in the South of
France, in a small coastal city, Hyères, embellished
by clean colours, rich light and formally known to
host the International Festival of Fashion and Pho-
tography of Hyères.
Perhaps, only perhaps, these factors were in part,
determinant in this artist’s pathway.
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30
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At only 12 years of age, he por-
trayed his family and friends. It was then
when Laurent realized the link he had
with photography was indivisible.
It was that !rst image that became the
driving force of a whole training process,
the curiosity for the revealing of that !rst
image, proper of its early age, also re-
vealed a curiosity, intrinsic, to the person-
ality of this acclaimed photographer.
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After graduating in Art and Communica-
tion, Laurent left his home town and moved to
Paris, where he developed his own creative pro-
cess and dug into experimentation.
He created a signature, his images enlight the ar-
tistic DNA of the man behind the camera.
Lacoste, Zara, Dim or Lancel are among his clients,
and allow him to gather as positive as numerous
critics from media such as “Le Figaro”,”L’express”,”L
una”,”Tetu” or “GQ”.
The fact that Laurent Humbert had and keep earn-
ing the appreciation and recognition from both
Parisian and international brands is thanks to years
of investigation and the creation of exceptional
emotional images that don´t require accessories.
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Unconditional supporter of a “Less is more” concept and
of a “clean” aesthetics, Laurent’s work reminds us of Cristóbal
Balenciaga maxim: « A couturier must be an architect of design, a
sculpture for shape, a painter for colour, a musician for harmony
and a philosopher for temperance».
We defend the quote, and the applicability to too many di�erent
areas, certainly in photography and with no regrets, to Laurent’s
work.
For this, for what it represents and for signing the cover of
Twissst’s �rst edition,
Merci Monsieur Humbert!
Norberto Jose Lopes Cabaço
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The New Milan, step by step
Since Milan was awarded to organise the “Universal Exposition 2015” on March 31,
2008, the restyling of the city seems to be unstoppable. The Lombard capital is changing its
face and the citizens have almost become accustomed to the presence of urban construction
sites all over the city.
Palazzo Regione Lombardia. Photo: Simone Utzeri
Text: Laura Parisi
Translation: Daniela Cataldo
40
From Porta Nuova to the Cascina
Merlata, from the former Excelsior
cinema to “Bosco Verticale”, from the new
regional authority seat to the “Citylife”
complex and from the redevelopment
of the railway stations to the military
barracks and old industrial areas, Milan
seems to have overcome the endless,
typical Italian debate about the primacy
of conservation and traditional style on
one hand and the way towards modernity
and the image of a forward looking
internationalh metropolis on the other.
Three years from the inauguration of the
Expo, in order to experience what the
�nalised exposition area will e�ectively
look like, we went to visit the economic
capital of Italy. In spite of delays and some
controversial issues, the urban changes
and modi�cations are contributing to a
new future Milan.
Palazzo Regione Lombardia. Photo: Simone Utzeri
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We began our walk were the changes were already visible. In
2009, Milan has seen the inauguration of the new Lombardy regional
o�ces. Built on 30,000 square meters by 700 workers, 24 hours a day, the
project was carried out by the Pei Cobb Freed & Partners architecture �rm
based in New York City.
Palazzo Regione Lombardia. Photo: Meravigliosopericoloso
Palazzo Regione Lombardia. Photo: Meravigliosopericoloso
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Also in 2009 has been opened the hotel located in the two towers designed by French architect Dominique Perrault, 72 meters and 65 meters respectively with an inclination of 5 degrees: The bigger tower bends towards Fieramilano, the lower one towards the city centre. This movement, together with the chromatic contrast between the black coloured facades and the aluminium gold look of the cylindrical element provides with a strong personality to the architectonic whole.
In four 9-!oor buildings with curved lines grouped around a central tower of 39
!oors, all the city administrative departments previously scattered across the city, are
now centralised without abandoning the original location in the Pirelli skyscraper.
Hotel NH. Photo: Roberto Arsu" (Urban#le.it)
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Back in the city centre, just
above the Porta Garibaldi station,
we are able to admire the “Centro
Direzionale di Porta Garibaldi”. The
two old towers of the national railway
from the 1980s, after an almost
!nalised re-cladding process, have
been completely transformed, taking
into account the most modern eco-
compatible architectural techniques
(photovoltaic panels on the facades,
solar panels on the roof and thermal
protection glass). Aesthetically, the
special arrangement of the glass on
the façades, providing a thousand
di#erent re$exes, suggests the shine
of a diamond.
Facade detail of Torre Garibaldi. Photo: Simone UtzeriFacade detail of Torre Garibaldi. Photo: Simone Utzeri
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The urban redevelopment project follows the standards of sustainable architecture
and in the new Milan, the culture of public green areas are fundamental. An example for
that is the Portello district of 400,000 square meters: Where the Alfa Romeo and Lancia
factories were located, a conversion plan is being carried out in order to build a 70,000
square meters large park, developed by Andreas Kipar and Charles Jenks, open to the
public from this autumn.
Parco Portello. Photo: University2night.it
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The central elements of the park are two hillocks built with rubble from
the area: one spiral-shaped with a lake in one of its indentations, the other cone-
shaped with two footpaths that cross the hillock without intersecting each other
and a sculpture park.
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Residential and o�ce buildings will be added to the square as well as spaces dedicated to fashion
and creativity, a big hotel, and numerous commercial premises.
Another goal of 2011 has been
the completion of the historic RCS
seat in Crescenzago developed by the
architectural !rm Boeri, by Barreca and
LaVarra, transforming the building into
the headquarter of the multimedia
group.
In the Garibaldi - Repubblica area, some
last details of the redevelopment project
are being completed. The project is led
by Cesar Pelli who; with his “Fashion
City“, has designed a pedestrian district
with a vast park, an impressive podium-
square of 100 meters diameter and 6
square meters above the road surface,
and eco-sustainable buildings made of
glass and steel. Between them, a tower
of 145 meters (200 m considering the
banner), will stick out.
Torre Cesar Pelli. Photo: Roberto Arsu�
Città della Moda. Photo: City!le.it
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Close to that area, in Porto
Nova -Varesina, another commercial
centre is rising up, a tower that is
already marking the Milan skyline:
the “Diamond”, developed by KPF
from New York, with its peculiar
form, the overhanging principal
façade. The focus of the Diamond
stays in the energy-saving measures
which earned the most prestigious
prize in the architectural eco-
sustainable "eld.
Diamantone. Photo: Urban"le.it
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Mirando Having a look at some future projects, one understands that the current urban development
will provide the city with a legacy of new cultural and exhibition platforms that are characteristic for a true
cultural capital.
In 2013, for instance, Porta Volta will be totally redesigned by the Swiss architect Jacques Herzog. Two twin
buildings will embrace the old city gate, giving space to the Feltrinelli Foundations’ headquarter, library
Fondazione Feltrinelli. Photo: Designboom,com
49
and archives. At street level, both towers will o�er to the citizens a recovered area with the publishing
house bookstore, shops and restaurants.
hAs stressed by the architect himself, the hints and references to Milan’s architectural history are many:
from the reinterpretation of the twin buildings as gateway to emblematic squares such as Piazza Duomo
or Piazza Duca d’Aosta, to the longitudinal constructions that are typical for the Lombard region or the
allusions to the pointed arches of gothic architecture.
Fondazione Feltrinelli. Photo: Designboom,com
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In 2014, one can admire the master work of
the Dutch architect Rem Koolhaas, who in the old
industrial area of Via Ripamonti, will bring life to the
Contemporary Arts Centre commissioned by the
Prada Foundation. An asymmetric tower, serving
as warehouse for their artworks, will preside a
totally recovered area of a former distillery whose
space can be used �exibly: a “cube” in the centre of
the patio that can be used as an open air cinema,
an auditorium, a performances area or as control
centre.
Fondazione Prada photo courtesy of DesignBoom Foindazioen
Prada Attilio Maranzano
Fondazione Prada photo courtesy of DesignBoom Foindazioen
Prada Attilio Maranzano
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Fondazione Prada DesignBoomFondazione Prada DesignBoom
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At Porta Ticinese, the “City of Cultures”
by Chipper�eld inside the former Ansaldo
factory, is designed for the development of a
vast cultural conglomerate formed by the new
Archaeological Museum, the Study of Visual
Arts Centre and the traditional marionette
laboratory.
From an architectonical point of view, the
recuperation of some of the existing buildings
will be combined by the developing of a new
complex in which will be located the Centre
Another main attraction in 2014 will be the historic Isola district, once the projects will be
�nalised. The two residential towers of 105 meters and 78 meters each, better known as the “Vertical
Forrest” by Boeri, will be de�nitely outstanding with its trees and shrubs growing on every !oor in
order to absorb contamination and produce oxygen.
of Extra-European Culture with exposition areas on the �rst !oor as well as a bookshop, cafeterias,
restaurants, an auditorium and a library.
Bosco Verticale. Photo: Bernard Peissel
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In that year we will also
see the development of the
much commentated “Citylife”,
the impressive residential,
business and shopping complex
that is being built on the area
of the former trade fair centre
(Fiera di Milano). It doubtlessly
will in�uence the image of
a new Milan, due also to the
internationally renowned
authors of three of the planned
skyscrapers and colloquial
known as “il Dritto” (the “Straight”
by Arata Isozaki), “lo Storto” (the
“Twisted” by Zaha Hadid) and “Il
Curvo” (The “Curved” by Daniel
Libeskind).
The project will be �nalised with
di�erent residential solutions
designed by the same architects,
a Contemporary Arts Museum
by Libeskind and the Palazzo
delle Scintille (Palace of Sparks),
a cultural space dedicated to
infants and elderly people,
hosted inside the only intact
building from the former trade
fair centre.
As soon as all these
projects will be reality, Milan
will doubtlessly be converted
into a new contemporary
architectural reference in
Europe, something that
really was a need, taking into
account the city’s undisputable
importance in the world of
design and vanguards.
Citylife - Tre Torri.
Citylife - Tre Torri.
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The Business
of Fashion
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How to be an ‘indie’ fashion designer and not die trying.
Text:Norberto Lopes Cabaço
Translation: Daniela Cataldo and Clare Hodgson
When we started to think about how to ap-
proach management in fashion business, we believed
it necessary to make a change in the role of the creator
towards the !gure of creator/Manager, fundamental for
the success of a newly founded brand or one outside the
protective orbit of a holding company.
To deal with the !nancial résumés of the big !shes in
fashion industry and to write a text that would uncover
the other side of the fashion phenomenon, the one that
does not appear either in pictures or backstage, but that
feeds them, seemed fundamental to us. Showing con-
trasts, causing reactions, whether in favor or not.
While global brands grow in a vertiginous manner in
half-yearly intervals on the local or world market, rec-
ognised designers with established brands are having a
hard time.
58
A The fashion industry is facing well
known di�culties, especially in Spain: David
Del�n has closed his shop in the heart of Madrid.
Carmen March has put on hold activities for her
own brand to take over the creative manage-
ment of Pedro del Hierro. And the �nancial dif-
�culties that Victorio & Lucchino are apparently
currently experiencing are generating remarks
from all sectors of the fashion world.
While the di�culties for fashion designers with
already established brands are many, the chal-
lenges faced by new designers are daunting. Al-
though they are able to design for days on end
and meet the rigorous deadlines of the national
and international calendar, the vast majority of
new creators are perfectly ignorant of the busi-
ness they belong to.
None of the creators we talked to in order to
tackle the subject had any professional back-
ground in business planning, how to develop a
brand, internationalise an idea or establish an in-
come forecast in space and time. They confessed
to feeling insecure about setting prices for their
garments and, due to the familiar surroundings
in which they move, they �nd it complicated to
prepare a collection with a su�cient number of
units to guarantee a cash-�ow for their invest-
ments.
Education, schools and universities, and di�er-
ent fashion platforms are not usually establish-
ing links to one another. Education and divul-
gation are two parallel processes and neither
seems to take into account professional com-
mercial actions adapted to the universe of each
creator.
The fashion designer of the XXIst century must
abandon the idea of creating for creation´s sake,
of being ‘indie’ and making a living from his art,
as anyone in any other professional sector will
understand. Being ‘indie’ and owning an estab-
lished business means not to depend on spon-
sorships or impossible partnerships in exchange
for a budget that allows survival.
It is inconceivable that only a few of
these designers, ambassadors at the
forefront of creativity, acting in a glob-
al society, have functioning websites
or online shops. Only a small number
had developed an accessories line.
And even fewer have a distribution
network or do regular direct market-
ing campaigns.
Reality tells us how urgently we need
to reverse this trend. The past con-
�rms that fashion designers such
as Valentino or Giorgio Armani only
came to glory when they accepted
that management was something as
important as their expertise. And the
present tells us that creators prosper-
ing individually on a global level are
rare, especially in Europe.
59
the brands’ philosophy and target market.
All this is why these two major groups lead
the commercialisation of the so called Luxury
Market.
In a time of crisis, French multinational PPR
which is dedicated to global business in the
luxury and the sport & lifestyle sector and is
the holder of brands such as Gucci, Yves Saint
Laurent, Balenciaga, Alexander McQueen,
Stella McCartney and Bottega Veneta, shows
vertiginous and extraordinary sales �gures.
The key �gures in 2011 in the luxury sector
were by themselves worthy of note: €4.9 bil-
lion in revenue, 13,500 employees and 801
fashion stores were shown in the PPRs’ 2011
end results.
At the present, global fashion is behaving contrary to this scenario, and the �gures speak for
themselves.
€14 billion, again, €14 billion was LVMHs’ (Louis Vuitton Möet Hennessy) and the PPR Groups’ (Pinault-
Printemps-Redoute) revenue in 2011. And €14 billion do not materialise thanks to a small consumer ‘élite’,
but due to fashion having generated a global business, far away from the “democratisation of fashion”,
predicted by many, characterised by a considerably less elegant but truer phenomenon: the “democrati-
sation of the necessity” of fashion consumption.
PPR and LVMH coordinate, monopolise and
share the majority of the world biggest fash-
ion brands, and the ensuing result is only
possible by developing a meticulous and
detailed business plan. Perhaps this tough
and unglamourous vision belies the idea that
fashion design is a creative experiment trans-
formed into reality but there is still it is a story
to be told.
Fashion is ruled by budgets and timelines,
cash-�ows and forecasts and is, just as any
other commercial business, aiming for pro�t
and persistence. Fashions is about a business
that happens to be fashion: a detailed knowl-
edge of consumer trends regarding pieces,
seasons, cities and countries, bestselling col-
ours and preferred materials, being aware of
60
3 brands have generated 85% of their income:
GUCCI
The brand has a revenue of €3.14 bil-
lion and counts 376 direct fashion stores. It
amounts to 63.9% of the total annual income.
The brand, currently headed by Frida Gianni-
ni, weakens any other brand and if 2011 was
a positive year, 2012, is currently showing ex-
ceptional results. In the "rst half of the 2012
"scal year, Gucci had a €1.73 billion turnover,
17.6% higher than the same period in 2011
and represented 59% of the total semi-annual
revenue in 2012.
61
62
Tomas Meier took over the creativity management
in June 2001, when the brand, founded in Vicenza (Italy) in
1966, were taken over by the PPR group. Since then, with
extensive work and a practical vision of luxury, the brand
has risen to a global level.
In 2011 the �nancial year closed with a total €683 billion
turnover and 170 direct points of sale. In the �rst half-year
of 2012, the turnover rose to €429.5 million (an increase
of 44.3% with regards to 2011) which is 14.7% of the half-
yearly revenue.
BOTTEGA VENETA
63
With a €354 million turnover in
2011 and 83 direct stores, the groups’
�gures increased by 7.2% in revenue.
The �rst semi-annual �nancial state-
ment was closed with an incredible
46.4% increase with respect to the �rst
semester of 2011, con�rming the good
health of the brand in terms of creativ-
ity and �nance.
The brand was created in the 1960s by
the incomparable Monsieur Yves Saint
Laurent, headed until recently by Ste-
fano Pilati and now in the expert hands
of Mr. Slimane.
€223.5 million turnover is the result
of Maison Yves Saint Laurent, which
brings it up to the third position in the
PPR brand ranking.
YVES SAINT LAURENT
64
LVMH (Louis Vuitton Möet Hen-
nessy), multinational Group and holder of
more than 60 brands, presided by Bernard
Arnault did not present results by brands
but by sectors and business instead. Within
the sector of fashion and leather goods the
�gures are equally impressive. The result for
2011 was €8.7 billion. €4.6 billion in revenue
for the �rst half of the 2012 �nancial year
represents an increase of 17% with regards
to the same period of the previous year.
The holder Group of Louis Vuitton, Marc
Jacobs, Fendi, Céline, Givenchy, Loewe,
Donna Karan or Kenzo has maintained the
lead in revenue in the �rst months of the
current year in Asia (excluding Japan) and
represents 33% of the global value. The US
represent 19%, Europe (excluding France)
18%, Japan 14%, France 8% and the remain-
ing markets 8%.
Balenciaga, Alexander McQueen, Stella McCartney, Brioni and Boucheron make up the
remaining 15% of the groups’ income and although it may seem strange, some of the most ac-
claimed brands by fashionists are the little sisters within the same acclaimed group.
Their role is di!erent, but with respect to volume their importance is similar.
65
All over the world, 43 new stores opened last year (between June 2011 and June
2012), that is to say 3.58 shops per month. According to a Group press release Louis Vuitton,
the groups’ main economic motor, won again, in each and every one of the business lines,
a bene�t of two digits (without speci�c details). The sales indicators for Chinese and Ameri-
can clients were crucial: in Europe, it is the tourists visiting Maison Vuitton who guarantee a
positive result.
The groups’ e�orts to open new, spectacular spaces such as the �rst Vuitton �agship in Italy,
“Roma Etoile”, and the opening of a boutique in Amman, establishing the brand for the �rst
time in Jordan come as no surprise.
LOUIS VUITTON
66
FENDI
FENDI, founded in 1925 in Rome by Edoardo and Adele Fendi and currently designed
by the infamous Karl Lagerfeld, is in good health, too. The masculine garment line achieved an
important increase in terms of sales, and the iconic baguette handbag, that celebrates its 15th
anniversary this year, increased its results. With the opening of new stores in Mexico and China,
the Group forti�ed Fendis’ international presence.
67
CÉLINE, a French brand created in 1945, was initially dedicated to the manu-facturing of children’s’ shoes. After having grown in the 1960s with the opening of a garment line for adults with an unmistakable Parisian character, sporty and chic at the same time, Céline Vipiana dedicated herself to a plan of expansion and interna-tionalisation until 1997, when Michael Kors assumed the artistic management of the brand. After his leaving in 2004, the brand su�ered an important setback resulting in an endless coming and going of creative directors until the arrival of the extraordinary Phoebe Philo in 2008. After only a few collections Philo has successfully placed Céline at the forefront of French avant-garde fashion. And it seems that fashionists are stay-ing faithful. The Group made the words “performed remarkably well across all its markets” their own, and achieved the expansion goal with the opening of new own shops in Madison Avenue, New York.
CÉLINE
68
Donna Karan, too, achieved a sustained increase that was in part due to the
positive results of the accessory line and DKNY Jeans.
Brands such as Loewe, Marc Jacobs, Givenchy, Pucci o Kenzo also achieved a “green
�ag”, as the results have met expectations, especially for Kenzo that regained momen-
tum due to the good acceptance of the collections designed by the duo Carol Lim and
Humberto Leon, whom have brought some fresh air and youth to the brand created
by Kenzo Takada.
When we speak of global fash-
ion, we must see fashion in a position of
equality.
Certainly, it does not make sense to
compare both realities, but what makes
sense is applying the same rules and
methods to the dimension of each busi-
ness. It is about planning and creating
a strategy for the consecration of a pro-
ject.
What fosters this new reality and ena-
bles the distribution of its bene�ts, is
education, schools, divulgation plat-
forms, press o�ces and the media, the
creators and their human potential.
“Fashion is not something that exists in
dresses only. Fashion is in the sky, in the
street, fashion has to do with ideas, the
way we live, what is happening”
Coco Chanel
69
71
The secrets hidden in the silence
Aliide focused her mind on
stockings all the way home - not Ingel, not
Linda, not anything that has happened.
She recited di�erent kinds of stockings
out loud: silk stockings, cotton stockings,
dark brown stockings, black stockings,
pink stockings, gray stockings, wool
stackings, sausage stockings. The shed
loomed in front of her, dawn broke –
children’s stockings - she had circled
around the pasture to the back of the
house – embroidered stockings, factory
stockings, stockings worth two kilos of
butter, stocking worth three jars of honey,
two days’ pay...
Text: Mauro Parisi
Translation: Daniela Cataldo
Photograph: Dimitri Korobtsov
72
Purge is a story of two women’s ups and downs, only
di�erent because of their ages and past experiences
whose paths cross on a wet late summer morning.
Zara is a Russian girl that, escaping from the tra�cking
of women, turns up exhausted and disoriented in
Allide’s garden. Allide is an elderly woman who lives
alone in a remote part of Estonia. They are both
suspicious; they are both women with di�cult pasts,
aware of ever lurking dangers.
This distrust gives way to di�erent feelings when they
realize fear is not the only thing they have in common.
I usually get carried
away by the appearance of a
book. The times I don’t pick a
book just because of critic’s
book reviews, I let cover
pictures seduce me to read
their stories.
That is exactly what happened
when I !rst saw So! Oksanen
Purge´s Spanish edition:
such a “simple” cover got
my attention and the clearly
Nordic author’s name and the
summary of the story caught
me completely.
The secrets hidden in the silcence
73
We witness the sad and harsh realities of women´s sex trade
in the countries of the former Soviet Union and the backdrop
of the Soviet and Nazi occupation of Estonia, being aware of
all the consequences this may have meant for the society.
Oksanen’ style is quick, rough, with short chapters and no
attempt to make up reality. She lead us to a story where lives
aren’t worthy but by a high desire; fears and abuses, secrets
kept to survive and all the sacri�ce entailed are all present in
her work. They stay in our memory even after having read the
book.
The story then continues with a
series of �ashbacks from both Zara
and Aliide’s past lives, leading us to
a novel that gets close to a thriller,
gripping us to the end.
What is striking about this novel is
the setting chosen by the author; a
peaceful countryside residence of an
elderly woman, with the traditional
household smells and the rhythms
marked by the preparation of jams
and stews. This scenario o�ers us a
haven of peace against the harshness
of both women’s past histories.
Purge’s success is based on those
sometimes rough details. Oksanen
con�rms this by recognising that
her objective is that “the reader gets
into the story through visual and
sensorial information; that he or she
feels things from a material point of
view”.
Everything has its own meaning and
place in the novel. The presence of
plenty of jars in Aliide’s house and
her perseverance in making canned
foods is a wink to the Soviet Union´s
decline and Estonia´s recovered
independence, when the county ran
out of reserves and people started
home production to avoid a shortage
of supplies.
Illustrations: Ricardo González Naranjo
74
Purge is the third
novel of this Finnish-Estonian
contemporary writer. She
�rst studied Literature, and
after becoming exhausted of
analysing other people’s work,
she started to explore how to
express her own concerns at
the Finnish National Theatre,
where she studied drama.
With her �rst novel, “Stalin’s
Cows”, she received acclaim
from both the public and
the Finnish critics, but
her masterpiece is Purge.
Thanks to this best seller,
she received the Prix Femina
Étranger award in France and the Nordic Council Literature Prize in 2010.
Thanks to her, we gained access to Finnish contemporary literature and it was a really nice discovery and surprise, because of the topics covered in her work and the sharpness of her style we are sure that we won’t miss the opportunity to get inside So� Oksanen’s world.
Photograph: Anneli Alekand
76
Text: Norberto Lopes Cabaço
Translation: Daniela Cataldo
Phoebe Philo
t h e w o m e n b e h i n d . . .
77
7878
“One of the reasons why I try to use
fabrics and cuts that don’t go out of fashion
is because I like the idea of women buying
the clothes and then...I don’t know what the
word is...cherish sounds over-emotional for a
relationship with a piece of clothing...but for
a woman to feel proud, satis�ed, comfortable
and powerful in them, to wear them and get
on with their lives.”
79
Rarely, so little words have
said so much about the vision of
a fashion designer. That is who
Phoebe Philo is; she highlights
what is necessary, and therein lies
her success.
Phoebe Philo created an
unbreakable yarn between modern
women and contemporary fashion.
The modern woman in need for
practical answers to urban living,
fast and multitasking, and Philo
provided that answer.
Born in Paris and naturalised as a
British citizen, Philo graduated in
1996 at the Central Saint Martins
College of Arts and Design in
London. In 1997, she started to
work for Chloé as an assistant to
Stella McCartney. The relationship
between the two was highly
positive. Philo provided Chloé
with an e�ortless chic look, and
a legion of avid followers for a
clothing line with practical use,
wearable seven days per week.
That happened to be the best
publicity a designer could obtain.
A clothing line on the street based
on Philo’s winning idea that has
driven forward an entire industry.
80
The relationship between
Philo and McCartney was so
productive that Philo �nally succeeded her as Creative Director in 2001, when the Gucci Group supported McCartney in her idea to create and develop a clothing line under her own name.
During this period, Philo designed iconic pieces, such as the Paddington, the Edith-Bag, or the high waisted Chloé high jeans
that Kate Moss, Kylie Minouge,
Geri Halliwell, and others, quickly
adopted as must haves in their
wardrobes.
Philo continued to strengthen
the Chloé brand as a global
standard, until she announced
in January 2006 that she would
leave the position as Creative
Director. Philo thus ended her
relationship with Chloé in order
to take a sabbatical and organize
her priorities.
8181
In September 2008, she succeeded
Ivana Omazic as the Creative Director of
the decidedly old fashioned brand Céline.
The opportunity that every designer
aspires to arose: having free hand to
develop an established brand, protected
by a big luxury group, in order to bring up
a new aesthetic vision.
When Bernard Arnault, president of the
LVMH Group (Louis Vuitton Moet Henessy),
announced the expected change at Céline,
Phoebe Philo con�rmed: “This is a really
exciting step for me to be taking, with
what could be seen as one of the most
promising brands of the industry. I can’t
wait to step back into the studio and begin
creating designs which will reinvigorate
the brand, get customers excited about
the product and work with a team that are
incredibly serious and passionate about
their work.”
Phoebe Philo knew that the critics’ eyes
would be on her from the front row, and
when the �rst collection came out in June
2009, she took great attention to the details
in order to satisfy their expectations. She
selected the production factories carefully
and decided in favour of Italian factories
instead of French. She wanted the process
to be more clinical rather than ‘couture’. She
designed a generous accessory collection
and presented a portable line, strong,
with a �rm commitment to forms and
architecture, this would act as a conductor
throughout the whole process of creation.
82
Her Resort collection gained the
best international critics and Célines’
future appeared to be bright and
con�dent. Phoebe Philo has continued
to work for Céline, to make it a truly
global brand. In terms of creativity as well
as �nancially, the brand has improved
its position and enjoys today a much
deserved recognition.
Phoebe Philo is a woman with a global
vision, a fashion designer, a trendsetter
who reinvented a look only a few were
committed to.
83
She provided the brand with a genuine
street sensitivity, a mannish touch that
characterises the Céline look and that the
brand had adopted already in previous
editions, resulting in an über-feminine,
strong and balanced look.
There are no cracks in the prêt-a-porter
accessories collections, they appear
perfectly identi�able and if we take
into account that this perseverance and
homogeneity have been achieved in
only four years, the result is even more
surprising.
84
Céline is a renewed
brand, global and established.
Today, its collections are cult
pieces, a real declaration of
intentions. Phoebe Philo is still
in charge of leading a brand
that never before has been at
such a forefront of design.
Is it true than that ‘less is more’?
Well, so it seems....
85
� e approach to the port of Helsinki is probably the most symbolic view of the city, taking in the church of Tuomiokirkko watching over the presidential palace.
A visit to the Remote North: HelsinkiText: Weselina Gacińska
Translation: Daniela CataldoPhotos: Jaime G. Masip
86
Regardless the reason for a journey and inde-pendent from the season of the year, the cap-
ital of Finland amazes visitors with its serenity and classicistic architecture that combines Rus-sian and Swedish in� uences. We went on a trip to Helsinki in May. Apart from visiting the city, we wanted to participate at the local students’ festi-val called Vappu.
Basically, the model of Helsinki is based on San Petersburg. While belonging to the Russian Em-pire between 1809 and 1918, Helsinki adopted the contemporary style of the time, providing the city with an exceptional character, incomparable with other Scandinavian capitals.
87
We began our trip through Helsinki at the city’s landmark, the white evangelical ca-
thedral Tuomiokirkko that dominates the city and constitutes the most characteristic element of the urban landscape. � e majestic construction stands in contrast with its modest and plain interior, lit only by a few lampposts.
Nonetheless, when Vappu begins on April 30, the cathedral turns into the meeting point for Hel-sinki University students. � e celebrations start at six o’clock in the evening, when a select group of students puts a white cap onto Havis Amanda, the modernist symbol of the city. Hundreds of people meet all around the nude female statue, dressed up in coloured cloth and wearing the same cap. Ac-cording to tradition, everybody having obtained the bachelor’s degree, has the right to put on that accessory during Vappu. A� er that, the multitude goes towards the cathedral.
88
�e Tuomiokrikko stairs at the start of Vappu are a meeting point and a place of celebrations.
89
The unaccustomed participant of the celebrations, can not but ad-
mire the original fancy dresses that re-minds of carnival in spring. � e festival last until May 1 and is celebrated with concerts and parties held on the univer-sity campuses and the centrally located Kaivopuisto Park.
90
Not even the three blacksmiths, symbolising work and human coop-eration, are spared wearing Vappu´s white cap during celebrations.
Helsinki’s city centre is quite small and all important spots of inter-est are at walking distance. At the harbour, a few steps from Tuo-miokirkko, you ! nd the Uspensky cathedral, the biggest Orthodox Church in Europe outside the Russian territory. It is worth a visit. Apart from the exuberant interiors, it o" ers a view over South Har-bour and the historic centre.
On our way to the harbour, we reached Esplanadi and passed by the presidential palace and the city hall. In front of the palace, street market lovers may taste the local specialities or buy tradi-tional Finnish artisan works made of leather or wool. At the kaup-patori stalls you even may buy fresh ! sh directly from the boat.
Who will not be persuaded to try the specialities here may want to go to a modernist kauppahali market. # e elaborate mahogany decoration adheres to the Art Nouveau style, and a wide culinary range o" ers a large number of delicacies to choose from, such as traditional ! sh specialities, reindeer meat and Russian caviar. # e market is always visited by a lot of people, but it is worth staying for a while and to taste some of the authentic Finnish delicacies.
91
Several times a day, ships go from South Harbour to the Swedish for-tress Suomenlinna. Built in 1748 on � ve islands, it once protected
the city entrance from the sea. Large parts of the city walls still exist and a defence earth embankment with artillery pieces and some of the military buildings have been transformed into museums and galleries.
� e Toy Museum is one of the curiosities of the island. In this little family-run museum are shown over a thousand dolls, teddy-bears and toys from all over Europe. � e most antique toy of its collection is a doll from 1830. A daytrip to Suomenlinna is particularly recom-mended on a sunny a� ernoon. Numerous paths close to the coast, the museums and a series of cafeterias guarantee a pleasant rest.
92
�e maritime culture is apparent in many corners of Helsinki, remnants of the trading origins of the Finnish people.
93
Docks and leisure moorings surround the city. In the background the Uspensky Cathedral and other nineteenth century buildings.
94
Remember, while visiting Finland, Helsinki not only stands for mod-ernism or the Scandinavian classicism. Due to the strong presence
of design in urban spaces, Helsinki has been given the Title of World Capital Design 2012. � e majority of the work-shops, conferences and expositions are held here and in the nearby city of Espoo. For the sake of distinction, new architectural projects are being developed in the capital. One of them is the ‘chapel of silence’ in Narinkka Square. � is innovative wooden project o� ers a peaceful place to enjoy a relaxing moment in the heart of the city.
We recommend making a day of your journey to visit Porvoo, one of the most ancient cities at the Finnish south coast. You can travel by bus or coach, but the most picturesque itinerary would be by ship. � e trip over the sea is the best way to admire the coastline, its forests and the many little islands. In Porvoo, the obligatory walk will lead you through the narrow brick paved streets. Your visit to the old town Van-ha Porvoo, should begin with the medieval church Tuomiokirkko from the 15th century.
95
In Porvoo the traveller will appreciate the calm of the Finnish provinces /countryside
96
For many hundred years, this monument has su� ered several times from � re damage and destruction. Being restored, today
it is a tourist attraction and a place of utmost historic signi� cance. It was here that in 1809, Tsar Alexander I proclaimed the Grand Duchy of Finland and convened the � rst Finnish parliament. Ur-ban history, a complex relation with the Russian Empire and a col-lection of everyday objects imported from Russia in the 19th cen-tury are shown in the town museum in the Porvoo main square. You can not miss the charming old town, as all the small streets are leading towards the main square or the river.
� e pastel shade little cottages give you an impression of being in the peaceful province of Finland and not in the industrial South. It seems that time stands still in Porvoo, you may not � nd the typical souvenirs or tourist attractions in the town centre. Nonetheless, you may appreciate to take a rest in a cafeteria, have pastry with traditional jam, taste some of the unique forest fruits and enjoy the serenity.
97
To � nish your walk, you may like to go round the river and enjoy the idyllic view over the
village. By good weather, the sun extracts the del-icate colours and Porvoo appears as a delightful impressionist picture.
In the South of Finland, the intrigued traveller may � nd many contrasts: unique landscapes, industrial centres, small villages on countless is-lands, and impressive towns and cities like Hel-sinki and Porvoo.
We would like to encourage you to break with the stereotypes of a remote North and get to know the Finnish coast.
! e streets of Helsinki’s city centre present and unmistakable architectural mix of Scandinavian and Russian styles.
98
Culture CalendarText: Jose Manuel Delgado, Giulia Chiaravallotti
Translation: Angela Velo Pérez
99
JEAN PAUL GAULTIER, � e Fashion
World of Jean Paul Gaultier: From the Side-
walk to the Catwalk
(Until January 6, 2013. MAPFRE Founda-tion, Madrid, Spain)
It attempts to be a chronological exhibition of the most pampered “enfant terrible” of Pa-risian Style. It focuses on the evolution of his style and his concept of Fashion. Produced by the Musée des Beaux Arts of Montreal, and in association with the same Fashion brand, it is the ! rst international show devoted to the French designer out of France.
" e exhibition includes 110 pieces of haute couture and prêt-à-porter and 50 study prints and catwalks extracts and interviews to the designer. " e retrospective begins with “" e Odyssey” and his unmistakeable sailors and mermaids, the mark of his collections.
A% er that, we can ! nd all his in& uences since an early age: his corsets and garters, made freed from that restrained area typical of pri-vacy, are a characteristic of this period that will long all along his artistic production.
" e humoristic part, an essential element when we talk about Jean Paul Gaultier, is en-sured by the presence of 30 clothes-horses that, through di' erent projections, own fac-es and voices of world-known famous peo-ple, friends of the designer; a “masquerade” which the same Jean Paul Gaultier himself takes part in.
Not to be missed!
Cortesia fundación mapfre
Fernando Botero: A Celebration
(Until January 20, 2013 at BBK Room, Bilbao Fine Arts Museum)
For the lovers of vital and exuberant sensuality of this acclaimed Colombian artist, this is an exhibi-tion no to be missed. A true anthology of his art career, including 79 paintings and one sculpture: “Horse with Brides”, displaying in the city’s Gran Via, Bilbao, outside the head o�ces of the Basque savings bank sponsoring the exposition.
�e city honours the sculptor with the celebration of his 80 years of life, where we can see his art evo-lution through some of the exposed works from the last 60 years, including paintings, sculpture and drawing.
Lina Botero, the artist’s daughter has written the catalogue, which also includes contributions from two of the most important Latin-American writers and Botero’s friends: the Nobel Carlos Fuentes and Mario Vargas Llosa.
100
Wassily Kandinsky, Dalla Russia all’Europa
(Until February 3, 2013 in Pisa, at the Blu Palazzo d’Arte e Cultura, Italy).
�rough !"y works of Abstracts Russian master, drawn from the collections of the Museum in St. Petersburg and other Russian art institutions, we will be able to get closed to the !rst art years of the Russian painter. �is exhibition dates from 1901 to 1922: since he started his pictorial career, when he abandoned his ethnograph-ic studies, which led him to the most remote Russian Empire’s countryside, to 1922, when he decides to #ee Soviet Russia to take up an invitation from Walter Gro-pius to teach at the Bauhaus.
�is exposition opens with an unpublished section de-voted to his early work, characterized by the Russian folklore in#uences.A"er that, he started to develop a symbolist atmos-phere in his paintings, a period known as “Murnau”. Fi-nally, we can also !nd his most media works, where he found a connection between the occidental vanguards and the Larionov or Goncharova’s one.
101
Pre-Raphaelites: Victorian Avant-Garde, Tate
Britain, Londres.
(From September 12, 2012 to January 13, 2013)
�is usual exhibition in Great Britain, bringing to-gether over 150 works in painting, sculpture, pho-tography and the applied arts, is lead by the Pre-Raphaelite Brotherhood, the �rst huge movement of modern art in Great Britain, was born a�er the 1846 economic crisis.
Led by Dante Gabriel Rossetti, William Holman Hunt and John Everett Millais, the Pre-Raphaelite Brotherhood rebelled against the art establishment of the mid-nineteenth century, taking inspiration from early Renaissance painting (before Raphael), made high pictorial quality and acceptable works, highly improved by colors, mostly the cold ones, glorifying the mysticism of the di�erent images. In this early Renaissance, they looked for a guide to a more virtuous and Christian life, as they only knew corruption, represented by the inhospitable and brutal industrial society at the time.
We will see the Millais’s �rst painting “en plein air”, entitled Ferdinand Lured by Ariel (1849-50), one of the seven creators of this brotherhood.
Museum of Bags and Purses, Amsterdam,
(Until March 10, 2013)
�e Museum of Bags and Purses is located in a Herengracht canal house built in 1664 in Amsterdam downtown. �e Museum has more than 4000 bags, wallets, suitcases, purses and accessories dating back to the end of until today. �is is the largest museum across the globe specialized in the �eld.�e aim of this Museum is to study the bag and its complete history: forms, functions and materials, giving special attention to the history of each piece and what it has to say about the fashion and style of the time.�e bags with the most unusual forms started back in the XIX century and the imagination of designers followed the new technologies. With fan, shark, house, car, !ower or vase-shaped bags, this museum proves us that design and creativ-ity are eternal values in society construction.
Małopolska Garden of Arts
(From October 19, 2012 in Krakow, Poland)
Maybe the most international Poland’s city opens a new place for culture and entertainment by inau-gurating the Małopolski Ogród Sztuk (Małopolska Garden of Arts) in the historic heart of the city. It aspires to become the Kraków’s Pompidou Centre.
Because of a last decade’s will to not allow aban-doned spaces in the city centre, we can admire the transformation of an old building used as a former horse riding school and a theatre stage later into an spectacular structure with a glass and transparency predominance, reminding to a greenhouse.
�e glass façade, revealing fragments of the original walls, leads to a discreetly recovered and lush gar-den, a metaphor of the richness and cultural o�er diversity of this new structure to the city.
102
As Idades do Mar (!e ages of the sea)
(Until January 23, 2013 at the Calouste Gulbenkian Museum, Lisbon, Portugal)
Only Lisbon could host an exhibition exclusively dedi-cated to the sea and the meaning of this essential ele-ment over the course of history and art history.
With the precious collaboration of the D’Orsay Mu-seum, the collection brings the work of 89 artists all along six di�erent lines: �e Age of Myths, �e Age of Power, Sea and Labour, Storms and Shipwrecks; �e Ephemeral, �e Quest for In!nity.
�is exhibition features artists such as Manet, Consta-ble, Monet, Van Goyen, De Chirico, Friedrich, Hop-per, Fattori, Sorolla, Klee, Turner, among others. We can admire their works until January 2013 at the Gul-benkian Museum.
Besides, we will be able to see the works of national artists such as Pousão, Souza-Cardoso, Vaz, Vieira da Silva e Menez. �rough their works, we could under-stand the special meaning of the see in the Portuguese imaginary.
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A ROOM FOR LONDON (Until December 30, 2012, Queen Elisabeth Hall, London, United Kingdom) Who wants to improve the views to the River �ames a�er waking up on top of the Southbank Centre? �anks to 2012 A Room for London edition, this is a real chance.
A Room for London started as an art project. �e idea was to create a temporary installation on the top of the roof of a mythical building in London, a place where people could stay one night.
�is time, the installation will stay on top of the Queen Elisabeth Hall, one of the biggest and more important London’s single-run arts centre. �e aim of this pro-ject is that the public enjoys the views from such a sin-gular place in the city, where none has been at before.
�e contest played to more than 500 di�erent projects, but �nally, the architects David Kohn and Fiona Ban-ner were the selected ones thank you to their design: “Boat”.
For this project, David designed and equipped the building with all the typical elements from a ship usu-ally at sea and, to get even closer to the feeling of be-ing on board and to think that, at any time, the boat would be used to plough the sea, he added a lower and upper deck.But, instead of a huge ocean and the coast of a remote island, we will be able to admire River �ames, the Big Ben and St. Paul’s cathedral.
When the boat is full, there will be a raised �ag to let us know the bedroom is not empty that night. �e one-bedroom installation includes a registration book to simulate a logbook. �e guest can write his interest-ing and unusual experiences on board of this ship.
David Khon and his team have previous experience. �ey have already created a temporary restaurant in the Royal Academy of Arts and a contemporary art gallery at West End.
On the other hand, Fiona Banner has recently pre-sented her installation “Harrier and Jaguar”, based on two well-known war planes, at the Tate Britain.
A Room for London, will welcome the lucky members of the public and all those artists, writers and com-mentators that want to spend a unforgettable weekend in this boat.
�ese special guests will be able to use experience as inspiring source for new art works, web publishing, writings, etc. �is is a space for creation.
A Room for London - as a part of London Festival 2012 - was inspired by Living Architecture and Artan-gel, in association with the Southbank Centre.
�e entry and reserves are available for all publics, but not to suit every pocket. For more information, visit www.Livinglondon.uk.com.
Good luck, sailor!
