Aboriginal artwork collector Hans Sip had gathered some 600 fascinating pieces — one of them paintings, hand-carved timber artifacts, urns and didgeridoos by famous indigenous artists — in his house in the Melbourne suburb of Bulleen.
Around 300km north, Marc Scalzo, chief winemaker and general manager of a yarra valley restaurant and winery, was dusting off the cobwebs from the winery’s 1886-built warehouse.
It had been mid-2015 and Marc believed the cavernous warehouse’s rooms, with their towering red gum beams, exposed wood joists and concrete flooring, had too much character to be kept behind closed doors.
He said he could see the wonder of the area and the potential it attracted
He made a decision to change the winery’s cellar door to this area as part of a multi-million-dollar growth of its own Tuileries problems, previously the older Seppelts cellars before it, had been purchased by Rutherglen Estates’ Chinese owners in 2013. However, he had been stuck as it came into the bare walls.
As he had been discussing his plans with buddy Jamie Durrant, photographer and editor of Essentials magazine, they talked of the prospect of working with the distance as a joint cellar door and gallery, drawing on the achievement of their Besen household’s artwork gallery TarraWarra Museum of Art in the retail billionaires’ yarra valley winery.
Not long after that conversation, Jamie’s head was directed to Hans’s “gobsmacking” set of Aboriginal art, which he was privy to if he had been invited to Hans’s house to picture Aboriginal artist Trevor “Turbo” Brown, who had been painting there.
Trevor possessed a gigantic collection packed in his home that was becoming hard for him to handle. Jamie noticed this, believing it made sense to place them together. “It just clicked”, he said.
“I said to Jamie, ‘I’m not interested in decorating the winery’,” stated Hans, when the idea was first floated. However, the plan evolved when he set foot within the historical place. He, Marc and Jamie hatched the idea to start out an Aboriginal art gallery which would comprise four exhibitions per year, all drawn out of Hans’s set that could be held in Rutherglen at a purpose-built, humidity and temperature controlled room.
The appropriately called Aboriginal Exhibitions Gallery, which opened last Thursday, was clarified in no uncertain terms as a coup for the area. Jane Campbell, of fifth-generation Rutherglen winemaking household Campbells Wines, claims that the gallery is “good news” for among the nation’s earliest wine tourism destinations.
The gallery’s first exhibition, fittingly curated from Jamie, is named Dhungala — Murray River in Yorta Yorta speech — also includes the work of two musicians that shared a close relation to the river, “Turbo” Brown and Craig Charles.
Hans’s collection is likely to be a significant drawcard for not just Rutherglen but regional Victoria. The collector is a NGV Foundation manhood and counts functions by Clifford Possum, Billy Doolan and Luke Cummins within his eponymous art collection, which he estimates to be worth roughly $3 million in total.
While costs won’t be displayed, every slice exhibited in Rutherglen Estates will probably be available, with a cost anywhere between $6000 and $30,000.
And regardless of the five-figure costs of some of the art, Marc is determined that the gallery is unpretentious.
The transformation of this winery is the most recent job Marc has lent his hand to in his 10 years at the helm. Winery proprietor Rayah Estate Holdings has invested nearly $15 million on the land.
Even though Rutherglen Estates is among just a couple in the area in foreign hands, Marc states it’s “just like a family operation”. Additionally, it has the vote of confidence of the Indigo Shire council, which has heaped praise on Rayah Estate Holdings for “spearheading huge increase in the wine sector”, producing jobs and economic growth in the procedure.
The winery is currently among the largest Australian wine exporters to China, sending between 35 and 40 containers of brewed wine every year, all created with locally sourced packaging and grapes grown in its own four wineries. The remaining 30 percent of wine it produces is marketed on home turf; largely alternative varieties like durif and combinations of marsanne, rousanne and viognier that appeal to national need.
Marc says that the winery is beginning to be known for producing premium wine. Now the artwork hanging on its own walls, depicting sacred trees, Dreamtime stories and dingoes and games of possum skin football, reaches the identical purpose, but with acrylics rather than grapes.
Although a car may look really appealing from the outside, you spend a lot more time on the inside than you do looking at it from the outside. So when you are looking for a new car it is worth spending some time appreciating the interior that you will be exposed to most of the time.
Designing interiors may seem like an easy task, however, it can be considered an art form as the execution may determine whether a potential customer will become a customer. We have compiled a list of some of the most well-executed interiors of cars, revealing just how significant the interior design is to create a desirable car feel.
The 263mph hypercar is appealing due to its performance on its own, however, Bugatti wanted to make sure that you could revel in getting to ridiculous speeds in supreme comfort. If the exterior is a work of art, so is the interior. All the sold-out units are designed with a custom-made cabin tailored to each customer’s preference.
This is one of the least expensive cars on the list, demonstrating that you don’t have to spend a crazy amount of money to get a car with a well-designed inside. The XC40 was rearranged in comparison to other Volvo models to enhance storage space and make the most of the SUV’s compact proportions. It looks easy, is simple to use and comes in a range of vivid colours. The lava orange trim seen in the photograph is one of those superb interior colour choices and functions well with the selection of premium fabric and leather car seat installation choices.
When you think of Rolls Royce, you instantly think outstanding quality, and with the newest Phantom you get considerably more. It looks more like a personal jet cabin than a vehicle to be honest, and using a wide selection of leather colour choices it can be as mad or as civilised as you would like. You may even have artwork installed in the dashboard if you really want to, which makes the hyper-premium car possibly one of the extremely excessive, nevertheless amazing vehicles on the street.
Range Rover Velar
Land Rover took a risk with this brand new interior setup, but it has been so good they’ve put it into the newly-refreshed Range Rover. The Velar comes with a dual-touchscreen layout that streamlines the central player and gives the model a more modern appearance, and to provide credit where it is due, it functions perfectly. Expect to see a similar design in future Land Rover versions, as it does away with many buttons and makes it a much simpler console to use.
Bentley Continental GT
Much like Rolls Royce, Bentley is a by-word for quality and with the most recent edition of the superb Continental GT, the British manufacturer has nailed it yet again. As well as a large selection of excellent materials to perfect the cabin with, in addition, it comes with the latest technology and also offers a triple-sided scrolling dashboard element. It shows either a pair of clocks, the infotainment system or it blends in with the rest of the dash. The Conti’s inside is another masterpiece and is arguably the best this season. The car leather seats price is of premium quality and therefore the value is considerably higher.
Colourful, simple, good-looking. Volkswagen has ticked all the boxes with the new Polo, and it’s guaranteed to be a smash-hit. In most of the trim levels, the Polo is stylish and very well-finished, with all the GTI, R-Design and Beats versions being the stand-out options. Although not all Volkswagens thrill the senses, for hatchbacks though, the Polo has been done brilliantly. Having a central touchscreen, virtual display in the instrument binnacle and coloured dashboard, the Polo is the most affordable automobile within this list and will still come with a great range of technology.
Jerry West, the model representing the National Basketball Association, wore baseball shorts the length of loincloths. Michael Jordan motivated a major change when he appealed for a longer and baggier cut. It was then a group of freshmen at the University of Michigan known as the “Fab Five” became a national name in the early 1990s in part due to their sartorial swagger, with basketball shorts that dropped beneath the knees.
However, now the hemline is creeping back up. In early November, Cleveland Cavaliers superstar LeBron James declared he would wear shorter and thinner shorts this season, his 13th in the league, because he wanted to provide a more professional appearance. But while he’s the highest-profile convert to the shorter brief, he isn’t the first. The emerging generation of pro basketball players, one which came of age wearing tighter clothes from the floor, beat him to it.
Kelly Oubre Jr., a 20-year-old rookie for the Washington Wizards, rolls his shorts up at the waistband and from the base for almost every practice and pregame warmup, leaving them distinctly shorter and tighter compared to his peers. He takes a more conservative strategy for matches, folding just his waistband, however, the alteration nonetheless hikes the base of the shorts a few inches over his knees, exposing more leg than most NBA players have within the previous two decades.
From high school ranks through to college, basketball players have increasingly chosen slender and short over long and baggy in the last couple of years in keeping with off-court trends.
The progression from Walt Frazier’s extravagant fur coats in the 1970s to the oversize throwback jerseys in the turn of this century, basketball and fashion have interwoven for decades. Stars like Russell Westbrook of the Oklahoma City Thunder and Dwyane Wade of the Miami Heat have expanded their celebrity status to the fashion world.
They effectively vanished with the retirement in 2003 of Hall of Fame point guard John Stockton, the NBA’s final notable displayer of all upper-leg skin.
As knees disappeared, fingers began to wag, and an image-conscious league shot steps. The NBA introduced a principle in 1997 requiring that shorts should not fall below one inch above the knee and also periodically broken down by fining players. The movement was widely criticized as a racist dictate against a work force dominated by young African American players who favored hip-hop clothing staples such as baggy jeans, comfortable basketball hoodies, fitted baseball caps, jerseys and oversize T-shirts.
However, after that, Nguyen clarified, clothing in hip-hop was already undergoing a drastic shift from outsized to slender. It was only a matter of time before it conveyed to off-court style.
Some players attest to making the switch for practical reasons. In 2011, Will Cummings, then a freshman guard at Temple, started rolling his buttery shorts only because they were too large on him. They settled over his knee, and he quickly grew up to them. The next year, he downsized into a large but still rolled up his shorts. As Cummings’s College career progressed, teammates started catching on. By his senior year, he noticed competitions also sporting snugger shorts for trend purposes.
Last year, NBA veteran Chris Douglas-Roberts requested size medium shorts when he signed with the Los Angeles Clippers, an option that demanded a special order by the team. He clarified that the shorter shorts, which he stated sat six inches over his knee and exhibited his compression shorts under, let him to move more openly laterally while playing defense.
Jared Dudley and other Wizards players admitted that their shorts have shrunk in the past few years but assured they would not play in anything too comfortable because they’d feel uncomfortable showing too much. Most placed the limit at mid-thigh.
Notions of masculinity are an inherent element at the bend towards tighter, shorter and more compact clothes but also, it seems, in placing limitations on how tight, short and little. Oubre has received some lighthearted banter from teammates because of their wardrobe choices for his less conservative look. He also explained a fan heckled him for wearing his shorts high and tight through a pregame warmup session.
We are in an era where fashion is mixing with art like never before. From clothes design to catwalk shows to even exhibition installations in museums, major labels to boutique homes, the term of fashion is falling over itself to incorporate significant names from a diverse assortment of the visual arts into fashion. It is hardly surprising, after all what’s fashion if not wearable art, and those collaborations involving the arts are certainly mutually beneficial. Fashion, often unfairly judged as one of the more frivolous applied arts, receives serious prestige by association, while the artists reach a broader, more populist audience.
Believe it or not, art and fashion have frequently crossed paths over history, so in this article we will be digging up the history of the long-standing relationship and time travel through history to see the result of art and fashion colliding through a century of boundary-pushing innovation, provocation and revolution.
If the collaboration between art and fashion is now at a peak, it is by no means a new phenomenon. Elsa Schiaparelli was among the most imaginative and notable fashion characters working between WWI and WWII, her nature was suited perfectly to the genius of Salvador Dalí who inspired some of her best-known works, it might only have been the collaboration of these minds that would create pieces like the 1937 Lobster dress.
The simple white silk dress featured a giant lobster painted by Salvador Dalí and has been a lively homage to his 1934 piece, the New York Dream-Man Finds Lobster in Place of Phone. Equally celebrated in Elsa Schiaparelli’s impressive catalogue is the wonderfully surreal Shoe Hat, made by Schiaparelli and designed by Dalí. The hat, which was fashioned into woman’s high heels, featured in Schiaparelli’s Fall-Winter 1937-38 collection.
Another early example of this fashion-art crossover originated from the bold geometry of Dutch painter Piet Mondrian, whose “neo-plasticism” style was informed by cubism. From the 1930s, Hermès designer Lola Prusac appeared in Mondrian’s famous works — comprising white wallpapers, grids of thick black lines and blocks of main colours — for inspiration, making a selection of bags and luggage with square inlays of crimson, blue and yellow leather.
Mondrian’s work continued to exert a strong influence on fashion after his death in 1944. Famous French designer Yves Saint Laurent loved one of his most significant victories when, in 1965, he unveiled his Fall Mondrian Collection. Though other designers had previously experimented with a similar layout, it was Yves Saint Lauren’s six a-line cocktail dresses which captured the public’s imagination and broke new ground for the future role of art in Vogue.
It’s not just painters who’ve sparked inspiration for top fashion designers. Architects and their designs also have been cited as creative muses. Coco Chanel summed up the significance of this connection when she said: “Fashion is architecture. It’s a matter of proportion.”
Designing some of the most iconic architecturally-inspired clothing was couturier Paco Rabanne. His first runway show in 1966 was titled 12 Unwearable Dresses in Contemporary Materials and featured pieces made from sheet metal and rubber. Regardless of the unconventional materials, Rabanne skilfully tailored his dresses to his models’ exact proportions.
Perhaps this is because Rabanne always had his mother’s guidance in the back of his mind: “In fashion you have every liberty except one, don’t ever undermine a woman’s beauty.” Rabanne was certainly true to those words, regardless of what materials he was using.
The amalgamation of art and style is so powerful that Alexander McQueen’s team chose to announce an exclusive alliance with Damien Hirst in 2013. The work reflects a meeting of two of the darkest minds in modern design. Ethereal and haunting, McQueen takes inspiration from Hirst’s Entomology collection.
Butterflies, Spiders and other insects creep across McQueen’s collection of 30 chiffon scarfs, forming geometric patterns throughout the fabric. This cooperation was celebrated equally throughout both the art and fashion world, suggesting an interdependence which will long continue.
Looking at big name designers nowadays, it is clear they’re continuing to follow suit by moulding all manner of design and art in their collections. Fashion’s favourite sisters, Kate and Laura Mulleavy, who’ve worked with high-street giants like Gap and Target, are among those who have turned to the artistic canon for inspiration.
The Mulleavy’s were celebrated for integrating Vincent Van Gogh’s work in Rodarte’s 2012 collection, from subtle references to the impressionist painter’s thick brush strokes inside their light fabrics and colour palette, to their daring tribute to Van Gogh’s piece, Sunflowers, which is known to be wall hanging art, incorporated into their iconic blossom print chiffon dress.
But leave it to Marc Jacobs to take artistic inspiration to another level. Unsurprisingly the conceptual artist Daniel Buren clarified their 2013 Louis Vuitton collaboration as a “totally crazy adventure”. Not content with integrating Buren’s check canvas layouts into his garments, Jacobs drafted the artist to design the staging for his catwalk show.
Buren had complete artistic freedom when designing his eponymous set, complete with moving escalators. The breathtaking spectacle was set up in the central courtyard of the Louvre, making it an unforgettable alliance of art and style.
We’ve seen how easily fashion has adopted the notions of art, from the historic absorption of influences into the present day where style collections are conceived and promoted using, and in part producing, the new-found celebrity status of budding artists. But if the connection is a two-way road, what is the art world’s involvement with fashion?
Japanese Modern artist Takashi Murakami can rightly be regarded as a pioneer of multi-disciplinary crossovers, working in both the fine art areas of sculpture and painting while at the same time enjoying success in the fields of animation and product. His holistic, commercially-savvy approach makes fashion a natural arena for Murakami to express himself, and the artist recognised early in his career how improved vulnerability from mainstream collaborations could develop his work.
It was that guy Marc Jacobs again who got the ball rolling for Murakami, inviting him to work on a now-famous array of handbags for Louis Vuitton which re-invented the business’s signature LV emblem. Following the massive success of this endeavour, Murakami has struck up a long-term creative venture with the company, while he also enjoyed additional commercial success with the likes of shoemaker Vans.
On the subject of footwear, no discussion of this art-fashion symbiosis can pass without considering Tom Sachs and his work with sports mega-brand Nike with their collaboration on men’s and women’s sneakers. The American sculptor has something of a love-hate connection with style and commercialism in general, having produced several high-profile pieces critiquing the basic ideas of luxury brands like Chanel.
However, the more accessible area of sportswear gave Sachs a platform to explore topics of mass-production, economy of scale and environmental effects. The artist’s NIKEcraft collaboration centred on an imaginary, lo-fi mission to Mars, and pushed the boundaries of materiality by repurposing car airbags, ships’ sails as well as real spacesuits to build his futuristic designs of men’s boots.
Contemporary artist Vanessa Beecroft has integrated fashion into her multi-disciplinary work, together with the Italian’s performance pieces which makes extensive use of models in haute couture loaned from big name labels. This fascination with the performance part of fashion has led to notable collaborations, particularly centred on live shows and the theatricality of the catwalk.
When Kanye West started his Adidas collection earlier this year, it was Beecroft’s influence that made the series stand out; referencing her 2005 performance work VB55, the models did not parade up and down a catwalk whatsoever, instead occupying a space in un-moving, hypnotised ranks since they wore a selection of utilitarian, quasi-military urban casual women’s shoes.
Finally, we wind back the clock to the ever-innovative master of multi-disciplinary artwork, Andy Warhol. The Pop Art genius had a longstanding fascination with style dating back long before the days of fame and The Factory. Warhol had started out in fashion illustration, working for glossy magazines designing for commercials for goods like Schiaparelli’s gloves.
His breakout artwork, the infamous Campbell’s soup cans, quickly crossed over from wall art to wearables, with New York society girls among the first to wear dresses printed with can layouts in response to his series (Campbell’s themselves afterwards produced a paper edition of the apparel for the princely sum of $1 plus 2 cans of soup). Once a worker of journalism companies like Harper’s Bazaar, Warhol became a journalist himself, he started his own magazine, Interview, where style characters — designers, models, and fashionistas alike — played a starring role, and there wasn’t a demarcation between his personal and professional relationship with fashion.
Posthumously, Warhol’s position in the style Hall of Fame was cemented by Gianni Versace’s 1991 Pop Art collection, which comprised a jewel-encrusted variant of the artist’s lurid Marilyn Monroe prints.
It may be true that for each meaningful collaboration between art and fashion, you will find ten creatively empty exercises in advertising. Placing cynicism aside, however, and there is no denying the symbiotic relationship which has always existed between the two — a connection which only appears to be growing more powerful as more of the modern art world’s best talents step over in the glamorous world of fashion.
Large, industrial area art spaces are becoming increasingly popular. No longer just for Hipsters here are some of the best spaces from around the world!
Basilica Hudson, New york city
Everything storage facility conversion dreams are made from, and the type of area that requires you to utilize the word “area” far to frequently when explaining it (get ready for more of that on this list …), the Basilica Hudson is a repurposed foundry 2 hours inland from the Big Apple on the Hudson River surrounded by low loaders, cargo ships and docks on the banks. Established as a non-profit multidisciplinary art area in 2010, the Bascilica now serves as a place for “non-traditional art experiences”. The open, hangar-like structure hosts routine weekend occasions to draw individuals from the city. These consist of the “Farm and Flea” markets, routine screenings of movies from sci-fi to John Waters and shows that have actually up until now consisted of artists such as Grimes, Godspeed You! Black Emperor and Angel Olsen. A key event of the year’s programs is the yearly Basilica Soundscape celebration: a weekend of multimedia arts and music that changes the blank area of the Basilica into an incubator of speculative noises.
The Spinnerei, Leipzig
As in any city or area whose art scene has actually progressed, the east German city of Leipzig has actually discovered its previous commercial structures offered brand-new life by its imaginative locals. The very best known of these is the Spinnerei, a substantial complex of red-brick factories that was main Europe’s biggest cotton spinning mill. Production decreased in 1992 and ever since numerous areas have been gradually inhabited by artists, designers, musicians and other creatives. In the last years the Spinnerei has gained larger prominence with the opening of exhibit areas from worldwide galleries. Of these, Hall 12 is a big, light area with outstanding interior design style utilised for visitor exhibits. Larger still is Hall 14; a huge 20,000 sq metre previous production hall that has exhibits, displays and an art library. While specific galleries run their own programs, you can likewise go on directed trips of the website to obtain a feel for the history and advancement of the location. Somewhere else in Leipzig is the Kunstkraftwerk, a previous power plant that’s been changed into another art area, marking the most recent significant cultural project for the city.
Mikser Home, Belgrade
Inhabiting a light, wonderfully refurbished storage facility, Mikser Home (developed by designers Maja Lalic, Aleksandar Spasojevic and Ivana Ibraimov at Remiks studio) has ended up being Belgrade’s most popular arts centre, opening in the run-down Savamala area in 2013. It signs up with another location in the post-industrial location: KC Graduate, which has a bar, exhibit area, hosts club nights and has been a crucial driver for the city’s independent arts scene. While the environment at KC Graduate is more subtle– lampshades made from laminated recycled plastic and a casual, more youthful environment– Mikser is sharper and slicker, with wooden laminated tables showing work by Serbian designers for sale, a coffee shop (with outstanding coffee, obviously) and areas to use your laptop computer and work. At nights the area is changed for theatre, productions and celebrations.
Russell Industrial Centre, Detroit
The year Detroit stated itself insolvent, 2013, was the same year the Russell Industrial Complex, a century-old factory area synonymous with the idea of slab cranes, pressing machines and blue collar labour, started changing into the innovative town that it is today. Now it is among the biggest creative neighborhoods in the midwest, supporting everybody from furniture-makers to designers. The respected seven-building complex catches the essence of Detroit as it starts to take a brand-new identity– beyond that of cars and truck manufacture. And the areas are extraordinary: large passages lined with standard factory windows, big storage facility areas and an old-fashioned water tower that gazes over the network of structures. Though it is primarily utilized as a work area for artists, there are regular events– from block celebrations to open studios– for those who wish to explore, with the greatest being the yearly People’s Arts celebration.
The Swimming pool, Tokyo
Considering this concept shop is the work of Tokyo’s king of cool Hiroshi Fujiwara– considered the “godfather” of Harajuku street style– it’s not a surprise what an extremely stylish joint this area has actually ended up being. The store changes an unused pool in a run-down 1970s home block into a tidy, light, almost-futuristic environment that still protects previous functions. The sunken swimming pool location is the centerpiece and the shop area makes up the pool surrounds for the area, with glass floor covering fitted throughout the base and clean glue laminated wood finishes. On the other hand, the stripped-down walls have been left bare, apart from areas still lined with blue and white tiles. Designer Nobuo Araki– who has dealt with creating galleries in the past– teamed up with Fujiwara to produce the store, which promotes an environment that recognisable yet discreetly modified, a fitting area for the perfectly developed clothes and items on display within it.
Ler Devagar, Lisbon
If you have actually ever wished to see an enormous wall of books, Ler Devagar (Portuguese for “read slowly”) is a great location to satisfy your need. Ler Devagar inhabits an old material factory; books are stacked practically to the top of the high ceiling, while commercial metal sidewalks and stairs take you around the store. Just like Librairie Avant Garde, it’s rather various in tone to the moldy, dark, Black Books-esque book shops that comprise most literary dreams, however in lots of ways the repurposed interior sets off the creativity in precisely the method a bookshop must do. Dotted with sculptures– the most popular being a flying bike hanging from the ceiling– the store likewise has two bars separated by retaining walls, making it a lovely social and innovative environment to immerse yourself in. Ler Devagar becomes part of the LX Factory complex in the Alcântara area, now an “island” of art, style and style areas– consisting of more recent celebration areas such as Town Underground Lisboa
Collecting and buying art can be done by almost anyone. Previous knowledge about the art business is not needed nor is experience in collecting art or an art history degree.
What you will need is a love for, and appreciation of, art; a desire to collect and a desire to learn some of the basic, simple techniques that will help you appraise and evaluate any kind of artwork, whoever the artist is or whatever historical period the artwork.
There is no “right or wrong” method to collecting art, nor is there any right or wrong type of art to buy. Collecting art can be as simple as buying what you like, the art that speaks to you. However if you are concerned about spending your money wisely, with a view to what you buy being an investment there are other factors you would need to consider.
If you find a piece of art you like and want, whether it is a painting, print or sculpture then you need to investigate the artist. There are many ways to do this:
Speak to people at the gallery where the art is being shown, whether this is the gallery owner or fellow collectors or the dealer who is selling the art, in some cases you may even be able to speak with the artist themselves.
Review written material: this can include art reference books, art reviews, the artists resume and gallery exhibit catalogues.
Look at the artists other work, try to see work from all periods of the artists career. Also, you could ask the seller to show you other examples of the artists work.
Try to find out about the history of the artwork. Has it been displayed in any important galleries or art shows? Has the piece won any awards? Has it been bought and sold before and has it increased in value?
Finally, you need to ask yourself if the price is fair at the time of buying? Nobody can put a price on the future value of an artwork with 100% accuracy, but after having done sufficient research you can get a better understanding of the true value of the work today. And have a better idea about what the price will be in the future.