MEXICO SHOWS FRIDA AND DIEGO IN BLACK AND WHITE

Their unique story of love and art has been celebrated in movies and books, but there is always more to discover about Frida Kahlo and Diego Rivera.

Frida types a letter dictated by Diego

protesting the destruction of his fresco

at Rockefeller Center. May 1933, New York.

Anonymous. Newspaper image. 

The two icons of Mexican art are the subject of at least three exhibitions currently taking place in Paris, France, ranging from a huge show of their paintings side by side at the Musée de l’Orangerie to an exposition of period photographs at the Mexican Cultural Institute.

Titled “Complicities”, the photography exhibition in particular will be an eye-opener for those already familiar with Rivera’s larger-than-life murals and Kahlo’s vivid and disturbing portraits.  It puts the artists in their social and historical context, framing them against the background of the Mexican Revolution and the politics of their time.

“The exhibition is a road show that the Ministry of Foreign Affairs has put together and it has been shown in other countries, but this is the first time in France," said Sara Valdés, the minister-counselor for cultural affairs at the Mexican Embassy in France and director of the Cultural Institute.

“We have produced this particular show with fresh printings of original photographs because we thought it was very useful to show it during the Diego and Frida art exhibition as it gives the historical perspective to their art in the first half of twentieth-century Mexico,” she told Tasshon.

The remarkable black-and-white photographs, drawn from Mexico’s archives, show the famous couple working together, demonstrating together, and meeting with the leading cultural and political figures of the era.

Frida in the garden
by Leo Matiz (1917-1998)
Xochimilco, Mexico circa 1941
© Foundation Leo Matiz

The exhibition begins with images from the revolution and takes viewers through “the life and the role of this couple, whose work has its background in the Mexican Revolution”, said Valdés.

“Not only were they lovers, militants and painters, but they also symbolized an entire generation of change in modern Mexico,” she added.

Some of the most moving photos in the exhibition show the artists’ final moments. There is Kahlo staring solemnly at the camera in her last public appearance, 11 days before her death in 1954, and a terminally ill Rivera painting in his studio in 1955.

A separate section of the exhibition, billed as a show in its own right, is devoted to the work of the accomplished Colombian-born photographer Leo Matiz, who took personal and “up-close” photographs of the artists on a variety of occasions. These clear, beautifully shot pictures reveal a different side of Kahlo, portraying her in relaxed, feminine poses, or enjoying herself in the company of friends. One photo, on a kind of surreal level, actually looks like a publicity image for the popular film that actress Salma Hayek made about Kahlo’s life.

Matiz’s work is the “jewel in the crown” according to Valdés, and viewers to the exhibition will likely remember these evocative photographs for a long time, especially that of the artists as a young couple – smiling, joyful and seeming to look into the future.  - L. McKenzie

("Complicities: Frida and Diego" runs from 16 Oct. to 20 Dec. 2013)

DESIGNER LIE SANG BONG HITS HIGH FINAL NOTE IN PARIS

Closing out Paris Fashion Week on Wednesday, Korean designer Lie Sang Bong –we have to say it – played not one note wrong.

Lie Sang Bong: black & white

Consistently among the few stylists who truly understand the concept of “ready-to-wear”, Lie presented designs that anyone would be happy to step into at a moment’s notice. Playfulness, elegance, simplicity and colour were the hallmarks of his 2014 spring/summer collection, and those lucky enough to see it gave him a rousing ovation.

By the time his show took place at the imposing Palais des Beaux Arts by the River Seine, the carnival-like atmosphere of Paris Fashion Week had dissipated, and what was left was a real appreciation for artistry. So Lie probably knew he couldn’t disappoint his loyal following.

His show began with strikingly simple black and white outfits, including for instance a white vest over a lace-detailed black dress, paired with black high heels. He presented different compositions with the same colours, all evoking a kind of carefree, careless classiness.

Another black dress, cinched at the waist, flowed outwards, with a pink floral hem, while a white blouse bore a red rose and black circles for vivid contrast with slim-fit dark trousers.

As the show progressed, the white and black garments gradually incorporated blues, reds and greens, mostly in floral designs. Then came vibrant colours, with Lie inviting viewers to imagine “petals swirling in the wind … petals exploding like fireworks”, as the ultra-feminine dresses moved to bright pink and florals.

After this burst of vibrancy, the outfits went back to black, though keeping with the theme of flowers. Lie finished with a “rose to burst like a storm”, presenting a billowing white maxi dress imprinted with huge black flowers.

It was a fitting end to the nine frenetic days of Paris Fashion Week. - J.M. De Clercq & L. McKenzie
(Photos: J.M. De Clercq)

Lie Sang Bong's closing statement. (Photo: De Clercq)

SHIATZY CHEN DRAWS ON SCENIC PAST FOR NEW COLLECTION

A Shiatzy chen design

Cubism, childhood memories, colourful landscapes. These were all joyously reflected in Shiatzy Chen’s 2014 spring/summer collection during Paris Fashion Week, which ended Oct. 2.

After 35 years in the fashion business, the label’s chief designer Wang Chen Tsai-Hsia gave herself free rein to “splash out”, as she incorporated some of her boldest colours to date in youthful yet stylish garments.

Dazzling orange, vivid reds, soft pinks, and imperial yellow contrasted with pale cream hues and black geometric lines, all on luxurious fabrics such as satin and silk. Added to this was the innovative use of traditional embroidery, as Chen played with the features of Chinese opera masks as well as ink paintings.

“She has really evolved,” said Jin Zhu, a fashion-media professional from Shanghai, China. “The collection was a little bit girly, and she added some sporty elements.”

A detail from a blouse.

“She was channelling Picasso and other artists,” added her colleague Vico Mao, also from Shanghai.

Jin and Ma were just two of the scores of viewers from Asia who came to France to see the collections of Chen and other designers. The crowds at Chen’s shows in particular have grown tremendously since she began participating in Paris Fashion Week over the past decade.

Presented at the iconic Grand Palais, the latest show drew celebrities as well as art-lovers who’ve become enamoured of Chen’s signature style, which blends an Eastern vogue with Western tailoring. The A-line skirts and straight-cut pants, combined with the fabrics, could be worn to any event demanding a certain level of sophistication.

In fact, several women in the audience showed off designs from Chen’s fall/winter collection, presented at the same venue earlier this year. One outfit that got the cameras clicking comprised a gold brocade skirt and jacket, worn by someone who seemed to be some sort of celebrity. We were too busy to ask her name. - J.M. De Clercq & L. McKenzie

Shiatzy Chen