The India Art Fair 2023 will consist of the following.

India Art Fair director Jaya Asokan gives a sneak preview of what to expect when it debuts in February.

Swati Bhat

Play Area, 2018, Dia Mehhta Bhupal, diasec print.Galleryske

Right now. In a brand-new world that has been altered by the epidemic, where we are more aware of the role that creativity and art can play in fostering empathy, fostering cross-cultural connections, and advancing a community. We want India Art Fair to be a gathering place for artists and non-artists alike in the upcoming year and to be an inclusive venue in the purest meaning of the word.

In order to keep loyal to our aim of delivering the best contemporary art from South Asia and India in one location, we have pooled our collective knowledge from the last several years for this edition. A gifted Warli artist duo, the Vayeda Brothers, who add a modern perspective to the traditional art form from Maharashtra, will turn the fair facade into a "Forest of the Future" to make space for traditional art forms of South Asia.

Debashish Paul and Lakshmi Madhavan, two of our other artists in residence, will demonstrate innovative ideas. While Paul will explore his gay identity through a performance art piece, Madhavan's commitment to community will be evident in her exhibit of vibrant white and gold kasavu fabrics created in partnership with the rapidly disappearing Balarampuram weavers in Kerala.

I have a lot of enthusiasm for some of our artistic endeavours. My favourites are a monumental sculpture resembling a pelvic bone by Prashant Pandey that alludes to the wonderful moment of the birt, Parag Tandel's thought-provoking sculpture installation, an eight-foot-tall, twisted fibreglass scale by Shivani Agarwal that invites viewers to measure the intangible, such as emotions of love, joy, intimacy, and truth, and Shivani Agarwal's surreal scale.

#thecommunique #tcn #tc #art #event #TIAF2023

How "Women Talking" costume maker Quita Alfred Obtained Clothing From a Mennonite Community

Quita Alfred, a costume designer, grew raised in Winnipeg, Manitoba, and always felt a connection to the Mennonite community there. Alfred views the conversation she had with "Women Talking" director Sarah Polley as being "very serendipitous."

Swati Bhat

Credit: ©Orion Pictures Corp/Courtesy Everett Collection

I'm in the Mennonite [community] of North America, and if I can get a jump on this before we start prep, I'm likely to be able to find practically everything that we need, Alfred recalled telling Polley.

Alfred first had a meeting with Marianne Hildebrand, a prominent but non-conformist Mennonite living in nearby Winkler. There, in the heart of Mennonite territory, Alfred had access to local shops where he could buy clothes and accessories. “We always joke in the movies, ‘Oh, I’ll just run to the pirate shop for you!’” she laughs. “But in this case, there were a number of times I actually did go to the Mennonite shop and buy prayer coverings, or the real fabric that the real women in more traditional colonies use.”

Alfred started organising the families into colour schemes and patterns once she had gathered a collection of garments and textiles. As intelligent characters, Alfred envisioned the Friesens—played by Rooney Mara, Claire Foy, and Emily Mitchell—in blues and purples .“I always use the word ‘electric colors,’” she explains, and “small, repeating patterns.”

Alfred perceived the Loewens, which included Jessie Buckley, as intuitive and said that they were "more feeling than intellect." She "chose swirly designs and natural colours - greens and browns and flowing shapes" for their family. Alfred goes on to say about Buckley's clothing, "It nearly looks like murky water. like tumultuous water. Jessie immediately replied to it. With the Loewen women, there is something hidden.

Alfred used dark red and black to represent the Janz family, and especially Frances McDormand's 'Scarface' Janz, "because they were so rigid and so conventional and so immovable in their convictions and their values."

The gowns are "a lot more intricate than they look," according to Alfred, so making them proved to be a fun task. The costume team worked on pleating and other intricate tasks for hours. Each dress has a bib over the top that snaps on the left shoulder as well as an underbodice. She argues that the garments are designed to "negate the wearer." They are designed to serve as a reminder of their inferior status to both God and the male members of their family. To keep the women covered and modest, the dresses are also modest in style and design.

Alfred discovered from her research that over the course of 500 years, Mennonite custom and travel had embraced a variety of designs and patterns. Puffed sleeves date back to their early Dutch origins. They introduced floral designs as soon as they arrived in Prussia, Poland. They incorporated vivid colours into their prayer cloths, absorbing them from Russia and Ukraine. They have persisted with them, she claims, "because they are a culture that is so wedded to its history and bound to tradition."

#womantalking #QuitaAlfred #art #style #lookdesign #entertainment

The Costume Designer for 'Emily in Paris' on Her Favorite Season 3 Looks

The costume design process for Season 3 of "Emily in Paris" began with a bang.

Or, more precisely, with bangs.

Swati Bhat

Image: Netflix

Lily Collins, who plays the title character in the Netflix dramedy, first experimented with fringe in her hair before it appeared on the show. Season 3 begins with Emily feeling manic and grabbing a pair of scissors, an ordeal that costume designer Marilyn Fitoussi found inspiring after the dilemmas created by the Season 2 finale.

“Everything starts with Lily’s bangs. She sent me a picture, and suddenly, it reminded me of French icons of the ’60s,” Fitoussi says. “New wave movies. You have Jean-Luc Godard, you have Brigitte Bardot, you have Jane Birkin — all these delicate, graceful silhouettes.” I said, ‘Jesus, she looks like Françoise Hardy!’ So the ’60s is the starting point for the design. We’re playing a Parisian game; it’s time for her to embrace the French culture.”

Fitoussi also noted the character development mirrored in Season 3's costumes: "Emily starts dressing a little like Sylvie [her boss, played by Philippine Leroy-Beaulieu]. I played a mirror game with them. They have a love-hate relationship, so Sylvie is wearing more colour and Emily is wearing high-waisted and wide trousers that she didn't have before."

Fitoussi was able to pay tribute to a real-life fashion designer: Stéphane Rolland, who has offered his work to "Emily in Paris" since Season 1 and is the inspiration for Pierre's designs throughout the show, with all of the looks at the event honouring Pierre Cadault (Jean-Christophe Bouvet) in Episode 2. Many of the outfits in this scene are Rolland pieces from various stages of his career, and Rolland himself appears in a cameo.

Emily, on the other hand, wears a Dolce & Gabbana jacket with dramatic zebra-patterned wings. “I noticed this piece when I went to Milan, to a runway show. I was thinking of this jacket for Mindy [Ashley Park] at the beginning,” Fitoussi says. “But when I received the script and saw the tribute to Pierre Cadult, and of course Stéphane Rolland, I decided to use it for Emily.”

#entetainment #art #emilyinparis #netflix