Postcards: Paris, France
Bernard Arnault, President and CEO of luxury goods conglomerate LVMH, collaborated with Canadian-American architect, Frank Gehry, to create a new museum in the Jardin d’Acclimation. Extensive and costly renovations were estimated to be approximately 158 million Euros. The French cultural center has been dedicated to artisanal crafts and traditions, and is located in the Bois de Boulogne in the former Musée des Arts et Traditions Populaires (MATP), an ethnographic museum which has been classified as an historical site. Since the MATP is classified as an historic site, it cannot be sold. The city of Paris struggled to find a new tenant willing to undertake massive renovations of the defunct building. Therefore, Arnault has agreed to a 50-year lease at 150,000 Euros per year in order to create a new museum, which is housed in a building adhering to sustainable development codes.
The building is located just 300 meters from Arnault’s Fondation Louis Vuitton. Inaugurated in 2014, it was also designed by Gehry. By transforming the MATP into a lucrative asset, Arnault has increased visibility of the Fondation Louis Vuitton. For example, welcomed more than 1,200,000 visitors to its Chtchouckine collection. It has also strengthened awareness for the LVMH brand universe, further highlighting the importance of artisanal work and exceptional craftsmanship inherent to the brand’s DNA. Over a three year period, the MATP will be subsequently renamed La Maison LVMH / Arts – Talents – Patrimoine. The 13,600 square-meters of usable space includes exhibition rooms, gallery spaces, an artisanal workshop welcoming resident artists, an event hall, and a rooftop restaurant.
The collaborative efforts between Arnault and the city of Paris could be viewed as a strategic maneuver. Geographical expansion of the mogul’s empire would not be farfetched, especially after its aggressive and failed attempts to acquire Hermès in 2010. Designed by architect Jean Dubuisson (1914-2011) in collaboration with Michel Jausserand and Olivier Vaudou, Georges-Henri Rivière’s MATP officially closed its doors to the public in 2005, and its 250,000 art objects were transferred to the Musée des civilizations de l’Europe et de la Méditéranné (MuCEM) in Marseille. Since its closing, the MATP has fallen into a state of disrepair due to conflicts with the city of Paris and the Ministry of Culture. The city of Paris hopes to decrease its debt burden with these recent collaborative efforts between Arnault and Gehry.
Postcards: Honolulu, Hawaii
The Medina mosque, built in the 7th century by the Prophet Mohammed, is considered to be the first educational institution of the Muslim world. During this era, mosques served as the primary environments for learning. However, as societies evolved, learning circles expanded to include royal settings, as well as informal gatherings in market places. By the Abbasid period (750 – 13th century), religious education assumed a certain significance. It was not uncommon for some educators to specialize in the teachings of the Qur’an, theology, and law, while the emphasis for others was on history, the Arabic language, and literature.
Learning circles and study groups gradually increased in number, serving as the foundation of what were to become “madrasas”, or colleges, intended for adults who had completed their primary education in mosques or private schools. During the 10th century, madrasas emerged as independent institutions, distinct from mosques, which helped to create a new type of educational system. As a result, these madrasas became centers for religious and secular learning, as well as places where officials were educated according to Muslim orthodoxy. Documentary evidence and architectural remnants trace the origin of these madrasas to Khurasan and Transoxania in the 10th century, as well as in the region now known as northern Iran.
Educational stratification was the direct result of the emergence of these madrasas. They provided higher religious and secular education, while elementary education was provided by the “maktabs”. It was during this era that the term “madrasa-mosque”, prevalent in the Middle Ages, was pervasive, thus reinforcing mosques’ positioning as important social, educational, and cultural centers along the Silk Roads. In addition, madrasas containing libraries appeared in Bukhara, Khwarazm, Merv, Ghazna, and Nishapur between the 10th and 12thcenturies. There was a tendency to build architectural ensembles that often included a mosque, a madrasa, a mausoleum, and public “garmabs” (baths), at major urban sites.
Despite the 13th-century Mongol invasion, which severely destabilized learning, thereby disrupting the continuity of culture and creativity, madrasas continued to be the highest form of educational institution, spreading throughout the eastern Caliphate in the 15th century and 16thcenturies. After the successful introduction of monetary reform under the Mongols, economic life soon revived throughout modern-day Iran and Transoxania. Moreover, madrasas were also established on the Indian subcontinent as early as the thirteenth century. An example is the madrasa at Gwalior, whose architectural structure resembles that of some Buddhist “viharas” (monasteries). During this period of cultural renaissance, madrasas underwent significant changes, with preference given to its organizational role as a promoter of scientific and literary thought.
Although subject to periods of growth and decline, madrasas flourished and were considered universal centers of education and intercultural exchange amongst diverse populations. They provided a range of curricula including theology, science, history, and philosophy, as well as language, literature, philology, music, and the teaching of “adab”, or polite culture. Leading scholars recognized that the secular sciences would ensure the dynamic development of society. These teachings would later be challenged in medieval times, subjected to strict Islamic theological traditions. However, during this period, madrasas in Samarkand and Herat were highly-esteemed cultural centers for science, mathematics, astronomy, and medicine. An example is Samarkand’s renowned 15th century Ulugh Beg madrasa in the Registan square for scholars such as Ghiyath al-Din Jamshid and Qadizada Rumi. Furthermore, madrasas were established for the specialization of medicine in Herat. Madrasas such as these were not only centers for education and culture, but they also housed the poor, especially “mustahiqqs” (students), who received room and board during their studies, eventually sharing their knowledge and expertise with future generations. Over time, madrasas that first appeared along the Silk Roads in Bagdad continued to flourish, spreading throughout the current eastern Chinese regions and beyond.
image © Sergey Dzyuba
sources provided upon request
Postcards: Honolulu, Hawaii
The expansive Kushan territories (1st – 4th centuries AD), encompassed a vast range of artistic cultures, unified under one administration. These cultures can be divided into four broad regions: 1. Bactria, 2. Mathura (India), 3. Arachosia and Nagarahara, and 4. Ancient Gandhara. Both Arachosia and Nagarahara, as well as Ancient Gandhara, are situated in areas which are now known asmodern Afghanistan and Pakistan. Despite regional variations, artistic production reflected the legacy of a common cultural heritage of the Silk Roads. Gandhara served as a major crossroads from which Kushan art was disseminated to Afghanistan, Central Asia, and Indian towns such as Mathura, Devnamori, and Amaravati. In addition, excavations in Begram, Pushkalavati, Taxila, Mathura, and Surkh Kotal revealed that some Gandhara art displays elements that are characteristic of the Hellenistic period. Due to external influences, Kushan art was constantly evolving. It absorbed earlier Graeco-Bactrian traditions, and was also receptive to Western trends through international trade and commerce. However, it always retained its individuality, reflecting the sociocultural aspirations of its people, as well as the importance of local craftsmanship. Artistic Kushan jewelry design reflects a variety of styles, techniques, and materials. While the Taxila collection is predominately Graeco-Roman in character, Gandhara jewelry generally reflects a range of classical Iranian, Sarmatian, and Indian savoir-faire typical of Gandhara art. It also displays a mastery of goldsmith techniques borrowed from Western Asia. Gems, precious and semi-precious stones, shell, bone, ivory, glass objects, and beads were all used in jewelry design. Examples include necklaces, bracelets, anklets, hairpins, and finger rings, sometimes with encrusted gems and impressions. Decorative items such as brooches, turban pins, and miniature gold figures of Cupid, Psyche, animals, birds, and flowers can be found in the Taxila collection. Moreover, elaborate ornamentation was a reflection of elevated social status. Bodhisattvas, nobility, and deities are always depicted wearing jewelry. Conversely, those of lower social status wore replicas, or none at all. Kushan art, artifacts, jewelry, and craftsmanship are a direct reflection of those who were living within its expansive territories. Economic prosperity and peace remained the basis for the popularity and development of this art along the Silk Roads. These objects are visible remnants of the global, transnational fluidity of culturally embedded concepts that are passed down through generations. They also reveal the subtle intricacies of pluralistic identities, intercultural dialogue, and communicative exchange amongst diverse populations.
image © Ashwin. Sources provided upon request
Oscar Lawalata Culture, the Indonesian Batik Foundation (YBI), and Rumah Pesona Kain jointly curated the exhibition entitled, “Batik for the World”, at the UNESCO HQ in Paris from 6-12 June 2018. A collection of 100 batik cloths were transported from various parts of Indonesia and exhibited on-site. Through colorful displays and discussions, the weeklong event offered a platform that increased awareness and appreciation of the cultural heritage of Indonesian batik on the local and international levels. Thus, its history, embedded cultural values, craftsmanship, and development along the maritime Silk Roads were highlighted. In addition, visitors could partake in informal workshops, where they were able to witness the batik-making process involving “malam” (hot, liquid wax), “canting” (copper wax pen with a bamboo handle), “wajan” (liquid wax receptacle), and other tools used by skilled artisans who help to promote its safeguarding. Moreover, the exhibition showcased batik textile creations by contemporary designers Oscar Lawalata, Edward Hutabarat and Denny Wirawan during a fashion show that celebrated the diversity of Indonesian regions, batik processing methods, natural coloring, embroidery, and fabrics.
Indonesian batik was added to UNESCO’s Intangible Cultural Heritage of Humanity list in 2009, and has been internationally recognized as an historical fabric of human civilization. It is thought to be over 1000 years old, with historical evidence pointing to its use in parts of Africa, Asia, and the Middle East. Although the actual origins of batik are unknown, it is believed to have been transported to Asia by way of the Indian subcontinent. “Batik” is derived from an Indonesian-malay word, which is now often used as a generic term referring to the process of dyeing fabric. The process is traditionally performed on cotton and silk using a resist technique. This includes covering areas of cloth with a dye-resistant substance in order to prevent color absorption. Those areas not covered are able to absorb deep hues. Thus, the fabric is both durable and fade-resistant. Other batik methods also exist, such as the splash method, the screen printing process, and the hand-painting methods.
Batik is considered to have reached the height of its artistic expression in Java during the 19th century. Recognizable motifs, patterns, and colors often designated family, social status, and geographic origin. Traditional colors for Central Javanese batik were made from natural ingredients, and consisted primarily of blue, brown, beige, and black. Some designs include Kawung, or intersecting circles, Ceplok, geometric designs, Parang, or “knife pattern”, and Prada cloth, a batik decorated with gold leaf or gold dust. These prints were inspired by Japanese, Indian, Chinese, and Dutch influence, which resulted in the richness of the color and motifs. The art of batik later spread to the rest of the Indonesian archipelago, and then to the Malay Peninsula. Due to its popularity, more production centers were subsequently created. Although most batik fabric is now decorated and tailored by machine, there is still a desire for traditional textiles that are of the highest quality and hand-made. Today, skilled artisans, educational programs like those initiated in 2005 by the Batik Museum in Pekalongan City, Indonesia, as well as similar exhibitions, continue to transmit batik cultural heritage, which helps preserve its maritime Silk Roads legacy.
image © Evans Winanda Wirg
sources provided upon request
Karl Lagerfeld and the Opéra national de Paris: A multi-sensorial, artistic collaboration
The haute couture ballet costumes and set design for George Balanchine’s Brahms-Schönberg Quartet were created by Karl Lagerfeld for the Opéra national de Paris. Renowned dancers Bart Cook and Maria Calegari served as the choreographers, and I acted as the cultural liaison and assistant to choreographers, artists, and directors. The luxurious costumes reflect an innovative, collaborative approach to fashion in the rapidly evolving globalized community. Moreover, they fully activate the five senses while providing elements of fantasy of a bygone era. For, “There will never be a world without fantasy, which expresses the unconscious unfulfilled” (S. Kaiser, 1997).
This is an essential point, since art, fashion, and culture inhabit the same multi-sensorial landscape. They represent a constantly evolving visual language which must be effectively transmitted to spectators. Inaugurated in 1875, the OnP formerly represented an elitist Parisian society. The institution was historically linked to utopian images of wealth, power, prestige, and elegance. Therefore, Lagerfeld’s costume designs for each of Balanchine’s four acts needed to the encapsulate the Zeitgeit of the OnP. That essence was effectively transmitted through a consistent visual theme involving textures, costume accessories, and classical ballet silhouettes. A muted color palette of white, pale pink, and crème-orange created a bold visual juxtaposition with the monochromatic interjection of black and white details and piping. Traditionally feminine elements and curvilinear shapes were visible with velvet headpieces and armbands, satin ribbons, tulle/chiffon tutus, and bejeweled caps. These contrasted the straight lines and geometrical shapes traditionally considered masculine.
Lagerfeld conceptualized various sketches which were inspired by the Vienna Secession, an artistic movement established in 1897. Costumes were skillfully constructed in the OnP couture atelier according to Lagerfeld’s initial artistic intentions, but still allowed for subsequent modifications and adjustments of material, fabric, and accessories. Thus, costumes were individually adapted to each ballet dancer, taking into consideration rigorous choreographic maneuvers. They also accounted for other variables including lighting, sound, and stage conditions. This resulted in the creation of regal, yet fashionable costumes which contributed to the multi-sensorial landscape while integrating an advanced degree of technological innovation and functionality.
Lagerfeld’s extensive research resulted in the creation of tailored men’s black and white suede waistcoats, as well as folklore-inspired, embroidered headdresses. The women’s costumes included black and white bodices with princess seams in satin and velvet attached to voluminous tutus constructed of pink, orange, and white tulle/chiffon. Use of luxurious fabrics and detailed embroidery created a sophisticated, glamorous environment of classic, understated elegance. It also alluded to a previous era where clothing was symbolic of an individual’s social status and morality – whether actual or contrived. Lagerfeld’s set design purposefully evoked an ancient palace adorned with heavy, gray, floor-length drapery. This contrasted the color palette and texture of the costumes. Such an atmosphere was meant to reference the waning splendor of the Austro-Hungarian Empire.
Artistic collaborations between the French heritage institution and fashion have steadily increased in the globalized economy. The OnP has hosted a variety of cultural events and fashion shows such as Stella McCartney and Dries van Noten. Moreover, the OnP has collaborated with renowned fashion designers including Christian Lacroix for George Balanchine’s Le Palais de cristal, and Yves Saint-Laurent for Roland Petit’s Notre-Dame de Paris. Recently, it has begun collaborative efforts with contemporary, avant-garde fashion designers such as Iris van Herpen for Benjamin Millepied’s Clear, Loud, Bright, Forward, Alessandro Sartori for Millepied’s La nuit s’achève, and Mary Katranzou for Justin Peck’s Entre chien et loup.