|ANNE WANNER'S Textiles in History / exhibitions|
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
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
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Firstly, paper was originally made on frames as felt is.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|