Postcards: Paris, France
Jewel K. Goode. Global Communications Specialist, Writer, Art Curator, and Photographer
Postcards: Paris, France
Silk Roads
Silk Roads Series: Regional Differences in Clothing
Regional differences, socio-economic and political factors, cultural variations, and climate all had a direct effect on clothing choices for those who lived throughout the expansive Silk Roads areas. Scholars, aristocrats, government officials, craftsmen, and farmers adopted a manner of dress appropriate for their immediate environment in medieval Central Asia. Although sparse, historical information regarding dress in the Eastern Islamic lands was usually provided by writers, geographers, and travelers. Differences in the style, finish, and quantity of materials were apparent in clothing of the rich and poor. During this time, Khurasan was a renowned center for silk, wool, and cotton textiles, while Nishapur was noted for its cotton cloth, scarves, and turbans that were often exported to Iraq and Egypt. In some societies, felt was used to make cloaks, saddlecloths, and rain hats. Moreover, the fur of sables, grey squirrels, ermines, and other animals were essential materials for garments, for the Mongols, the Turks of the steppes, as well as dignitaries in Persia. Similar to present day, Mongols in the 13th century wore a soft material belt wrapped tightly around the waist. This served as an unstiffened corset, helping to maintain posture while horse riding during long journeys.
The oldest piece of silk from this region originated in the Samanid period, and was woven for a ruler in Khurasan. The transnational fluidity of ideas, concepts, and savoir-faire is evident with the presentation of articles from Khurasan to the Harun al-Rashid (786-809) court in Bagdad. These tribute items included silk clothing, white robes, and head coverings, amongst others. Individuals belonging to a higher social class often wore clothing made of silk, wool, and expensive furs, while those of the lower classes would possibly use heavy outer coats made from dog or goatskins, lined with linen or cotton. Mongol women wore long trousers under their sack-like garments, and tall, basket-like hats covered with a piece of cloth. Married women wore a type of kaftan (“nemreg”) that was wide and slit in front down to the ground. During the ninth century, wealthy merchants often wore the “taylasan” (a head-shawl whose end did not fall below the chin). However, the lower classes did not wear this garment. Cooks wore garments resembling boiler suits, traders and artisans wore loose-fitting garments, and farmers wore thick cotton dresses with colorful turbans. “Muhtasibs” (municipal inspectors) monitored the state and cleanliness of dress. Most towns had their textile specialties, such as “mulham”, the half-silk cloth of Merv. Bukhara, with its famed weaving factories, produced various kinds of silk cloth, known as “Bukhari”. This fabric was heavy, strong, and often bought in large quantities by international communities.
Cloth-making required specific skills, such as the ability to process the hides, manufacture thread, and a knowledge of stitching techniques. Products obtained from livestock remained the primary raw material of the craft industries. Sheep’s wool was used to manufacture felt, while belts, harnesses, headgear, clothing, and footwear were made from the skins of domesticated livestock. In nomadic societies, herders generally only made items that met immediate requirements related to climate, lifestyle, and transience, such as “bogtogs”, or headdresses. Although successors of Genghis Khan wore gold-woven robes, sometimes embellished with precious jewels, pearls, and gold, previous dress had consisted mainly of animal skins. Sack-like garments that were loose on the left side, and tied at the shoulder on the right side, were common. The “deli”, a robe with seamless shoulders, is an example. Although the concept remains the same, “delis”, as well as many other garments from the Silk Roads that date from the 10th to 13th centuries, have continued to evolve and gain complexity, while maintaining their unique characteristics.
Author: Jewel K. Goode. Global Communications Specialist, Writer, Art Curator, and Photographer
Image © Omani girl, Katiekk. Sources provided upon request.
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Silk Roads Series: Art of Tea
Although intercultural exchanges involving tea developed between European ports, such as those in Portugal, and the Far East from 16th century onwards, tea-drinking is believed to have it origins rooted in southern Asia, dating to the Han period. It was first used as a medicinal elixir concocted from untreated green leaves. However, by the T’ang period, tea was enjoyed as a refreshing beverage, prepared from leaves that had been moistened and formed into a dense mold. Anecdotes dating to the 8th century reveal how the city of Chang-an had a flourishing number of tea shops, and many touted the health benefits of tea rather than wine.
These intercultural exchanges were the direct result of the expansive network of maritime and land routes that explorers, missionaries, physicians actively travelled across. By embarking on such journeys, they were also able to transmit elements of Western culture to the Far East, which were later transformed and reconceptualized by those regions, according to their specific aesthetic preferences. As a result of this transnational fluidity between diverse regions and populations along the Silk Roads, significant sociocultural imprints and innovative developments related to tea consumption eventually appeared in the West. Such activity permitted the free flow of ideas, goods, and concepts – the effects of which are still experienced internationally throughout contemporary society.
Dynamic exchanges and sociocultural developments concerning tea were often closely associated with everyday life, daily rituals, spirituality, and community. In some cases, consuming tea was even associated with the Taoist notions involving extraordinary psychic-spiritual and physical effects. Therefore, tea soon made an entrance into creative spheres, including poetry and literature. As a result, its popularity quickly rose throughout the Far East, with poets and artists writing about the pleasures of tea, tea customs, and traditions.
Thus, an aesthetic culture developed around tea-drinking, and achieved a considerable amount of notoriety, especially in medieval Japan in the 14th and 15th centuries. Artists such as Murata Shuko, Takeno Joo, and Sen Rikyu developed a particular approach that was characterized by the term “wabi”, or frugality. The art of the “wabi” tea ceremony, or “chado” (“the way of tea”), was borne out of a synthesis of various Japanese aesthetic and religious traditions. Over time, it continued to exert its influence on intercultural dialogue and exchanges. The art of tea was not only passed down through generations, but it was diffused to the West and across various continents. The powerful sociocultural elements embedded in tea were due to its ability to develop and solidify community bonds.
Tea was first exported from Macau through Malacca. It then passed from Manila to the Indian sub-continent before reaching the West. Cultures and regions around the world have continued to adapt the ubiquitous product according to their own societal norms. Similar to that of the Chinese culture, tea is often associated with pre-engagement rituals between a future bride and groom. The British and Dutch also incorporated the beverage into their lifestyles, where it developed connotations linked to hospitality, mutual understanding, local tradition, and community. Bento de Gois, Italian missionary, Sabatino de Ursis, and Italian cartographer, Matteo Ricci are examples of individuals during the 16th and 17th centuries who actively explored unknown regions in the Far East in order to gather knowledge, understanding, and appreciation. Their experiences abroad were later transmitted and incorporated into elements of western society and traditions.
Moreover, in the Portuguese language, “cha” is derived from the Cantonese pronunciation of the word, while “tha” and “tea” are derivatives of the Fukinese dialect. The transcendent power of tea as a beverage and renowned universal concept, is visibly translated in old teas salons on Rua Nova de El-Rei (also known as Avenida do Cinco de Outubro), as well as houses typical to Macau. These tea salons referenced Mediterranean urban structures, built around squares and cobblestoned streets, and were reminiscent of European cities. Thus, the transmission of tea to other regions of the world was possible due to the cultural significance it carried, both as a product and a concept. Positive connotations associated with tea and its benefits still exist in contemporary society, due to the active exchange of ideas, concepts, and goods along the Silk Roads, and beyond.
Author: Jewel K. Goode. Global Communications Specialist, Writer, Art Curator, and Photographer
Image © Rain of Joy. Sources provided upon request.
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Silk Roads Series: Sericulture
Silk Roads Series: Regional Differences in Clothing
Silk Roads Series: Sericulture
The active exchange of goods, ideas, and expertise has played a significant role in the evolution of sericulture, or silk production, along the Silk Roads. This is reflected in distinctive artistic styles and craftsmanship that has continued to spread throughout various regions. The textile was so valued, it is said that by the 4th century BC, Greeks and Romans began referring to parts of the Far East as the land of “Seres”, or silk. Moreover, sericulture techniques were heavily guarded and controlled by authorities. Silk was considered a precious textile that was reserved for the aristocracy, and its use was emblematic of authority and power. The textile was preferred by royal families, and its weavers enjoyed an elevated social status comparable to that of painters or sculptors. During the Han and Tang dynasties, the absolute value of silk increased, as well as its production. Due to its versatility and popularity, silk gradually became identified with general use. Clothing made of silk is characteristically lightweight and ethereal, providing warmth in cool temperatures, and relief in hotter temperatures. Not only was it used for clothing production and decoration in the Far East, but it also assumed cultural significance in the economy as a highly sought, valuable commodity.
During silk production, silk threads are woven into textile cloth or used for embroidery work. Literary sources such as The Book of History and The Book of Rites detail aspects of sericulture. Reeling silk and spinning were household duties attributed to women, while weaving and embroidery were often conducted in workshops. In silk-producing provinces, the intergenerational aspect was apparent. Women devoted a large portion of the year to care of the silkworms, as well as to the unraveling, spinning, weaving, dyeing, and embroidery of the silk. Initially, production of both silk twine and silk cloth could be attributed solely to those in the Far East.
However, around 300 CE, the production of silk twine appeared in regions as far west as the Roman province of Syria, created during the Roman Empire (27 BC – 393 CE). It was here that the Sasanian, Shapur II (310-379 CE), established the most influential silk-weaving industry. From 224-651 CE, the Sasanians exerted significant influence in the world, and their expansion caused considerable conflict in Rome. The Sasanian region was an expansive area, recognized for its expert weavers, especially in cities such as Susa, which is located in modern Iran. Sasanian silks were then exported to both the East and West, by way of maritime and terrestrial routes. Those textiles originating in the Far East and Indian sub-continent, where silk-producing centers also appeared, inspired their designs. These designs were then incorporated into local textile patterns according to aesthetic preferences. Conversely, weavers originating from the Far East borrowed Sasanian motifs, thus transforming and recontextualizing the designs into their own culture.
Weavers from Byzantium, who considered themselves inheritors of the ancient Roman Empire, exhibited a similar trend. These Byzantine weavers generally hailed from cities such as Constantinople and Antioch. Two main types of silk weaving patterns were produced. The first was based on hunting or battle scenes, while the latter was comprised of a series of circles enveloping birds and other small animals. A Byzantine silk fragment from the tomb of the Holy Roman Emperor, Charlemagne (742-814), incorporates both of these graphic designs. The burgeoning Byzantine textile industry subsequently led to the spread of silk weaving even further west. Roger II of Sicily (1095-1154) introduced silk weavers from Constantinople to Palermo in the 12th century.
As a result of this act, the Italian silk industry was borne, and still exists. Moreover, during Pax Mongolia, silk textiles emanating from the Far East were ubiquitous throughout the region now known as Italy. This was apparent with the juxtaposition and visible translation of Italian designs with Far Eastern influences onto luxurious textiles. The resultant patterns encapsulated a greater degree of fluidity and boldness. In addition, the appearance of heraldic animals typical of the Sasanian style decreased, while flourishing arabesque ornamentation and scrawling vegetation were adapted from Far Eastern designs.
Moreover, the UNESCO World Heritage site, La Lonja de la Seda (Silk Exchange) in Valencia, Spain, built from 1482-1522, assumed a pronounced role in the evolution of sericulture. Emblematic of the power and wealth associated with the Mediterranean mercantile city in the 15th and 16th centuries, it was originally used for trading in silk, and renowned as a center of commerce. In contemporary society, the production of silk worldwide has steadily increased, especially in the Far East, despite the manufacture of synthetic textiles that are able to substitute its use. Regional variations of silk weaving exist, but the transmission of savoir-faire, knowledge, and expertise from one generation to the next allow these techniques to be disseminated throughout local and international communities along the Silk Roads, even today.
Author: Jewel K. Goode, Global Communications Specialist, Writer, Art Curator, and Photographer
Image © bigjom.jom. Sources provided upon request.
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Karl Lagerfeld and the Opéra national de Paris: A multi-sensorial, artistic collaboration
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.
Jewel K. Goode 