ANNE WANNER'S Textiles in History / exhibitions |
Isabelle de
Borchgrave a Palazzo Medici Riccardi Palazzo Medici Riccardi - via Cavour 3, Firenze, Italia |
Tickets: full prize 7,00 Euro reduced prize 4,00 Euro open 9. 00 to 19. 00, closed on wednesday |
The Medici Court revived:
Isabelle de Borchgrave at the Medici Palace |
sent by: Rosalia Bonito Fanell: You may remember the fairy tale
about the Sleeping Beauty princess whose
royal court falls asleep and is revived from its cobwebby
past after prince charming kisses and wakes her up. Isabelle de Borchgrave has done just
that to the This Belgian textile artist may
already be known to the general public for her
contemporary furnishings and print designs for Target,
Caspari, Gien and other well-known brands. But there is another side to her
personality. she has created and perfected for over
a long period of time a unique technique with paper
and paints. With her It all began twenty years ago when
she met the costume designer Rita Brown while
working in Isabella shows study of costume
historian Janet Arnolds close adherence and
painstaking reproduction of the historic past. One thing I personally noted was
Isabelles minute transcriptions of
historically-patterned flat lace collars, cuffs and
stiffened ruffs. There is a long tradition of
Swiss, Austrian and Franco-Flemish (Belgian) paper
cutwork that goes back to the sixteenth and
seventeenth-century Habsburg Governance of Belgium.
Both professional male and female workshops, but also the
mademoiselles who wiled away their time in castles and
palaces, cut by hand or with stencils ornate paper decorations.
And even in the New World In the However, these are not replicas
of times-gone-by this was not Isabelle de
Borchgraves intention. Some of you may have seen her work
at the recent And now in Her first inspiration came to her
many years ago from seeing the Benozzo Gozzoli chapel
frescoes on a student visit to So Sleeping Beautys palace
reawakens certainly a princely sight. To sum up the more
technically related textile aspects of the
exhibition I noted the following four points in
particular: De Borchgraves creations of
crumpled paper have a long textile tradition. Firstly, paper was originally made
on frames as felt is. The contents of medieval
paper included cotton and linen rags and even woolen
lint. During the seventeenth-century there was
paper even made entirely of straw. Isabella uses dressmakers
pattern paper and Japanese rice paper for the more
transparent veils. Another old Renaissance Swiss and
Austrian traditional paper cutwork, called cadeit,
is the lacey paper cut-outs for the ruffs and flounces.
In Monasteries and Convents nuns created saint images
with these lacey frameworks. And even the modern
paper doilies under pastries and cakes derive from this
tradition. life-size effigies or mannequins
to brighten up solitary dining halls and salons of
Baroque palaces and castles still exist internationally
in stately homes. So we find the Medici family
seated at a long trestle Renaissance dining table. Lastly and perhaps closer to us in
time is the paper-simulated jewelry, costume
jewelry. Coco Chanel certainly would have
been very much in favor of this ephemeral opulence
.
Maybe our next fashion trend? |
home content | Last revised April 9, 2009 |