Defying Gravity: Bushra Fakhoury’s Danse Gwenedour sculpture unveiled at Marble Arch

Bushra Fakhoury's Danse Gwenedour

A gravity-defying sculpture was unveiled last month near Marble Arch as part of Westminster’s City of Sculpture series.

Bushra Fakhoury’s Danse Gwenedour is a joyous celebration of life, inspired by the folkloric dance performed by villagers in Bretagne, or Brittany, France. Masked figures hold hands in a circle, three of them suspended in the air through the support of a fourth member of the group.

The sculptor finds inspiration in myths, fables, folklore, carnivals, parades, the powers of observation and good old-fashioned people-watching. Fakhoury’s expertise can be traced back to the age of seven, when she carved out flowers and animals from marzipan.

Although she was born in Lebanon and has lived in places such as the Ivory Coast, France and Kenya, she’s called London home for 40 years. She received her PhD in Art Education at the University of London.

With its inception in 2012, the City of Sculpture programme’s aim is to provide temporary pieces of public art for residents and visitors. Individual artists and over 15 galleries have taken part, with pieces covering more than 20 sites across Westminster.

Fakhoury was joined by Councillor Robert Davis MBE, founder of the City of Sculpture, and Robert Roux, the Deputy Mayor of Nice, on 11 March to reveal Marble Arch’s uplifting new addition, Danse Gwenedour.

Another of Fakhoury’s sculptures, Dunamis, stands at 9 metres tall south of London’s Park Lane. Unveiled in 2013, it depicts a man in a pointed hat holding up an elephant by just its trunk.

To learn more about Fakhoury's work, visit her website or – better yet – see it for yourself.

Alexander McQueen: Savage Beauty Returns to Reign

Photo courtesy of the Victoria and Albert Museum

             Awestruck is the only word suitable enough to describe how I felt as I toured the Alexander McQueen: Savage Beauty exhibition at the Victoria and Albert Museum. Having booked almost a year in advance, I had no idea that its scale would be quite so massive and a ticket so coveted. After its widely successful run at the Metropolitan Museum of Art in New York, the retrospective has finally come back home to reign and rightfully so. Born into a working class family in London, Lee Alexander McQueen worked his way up in the fashion world, which he managed to take by storm without taking it too seriously.

The Savage Mind gallery, photo courtesy of the Victoria and Albert Museum

             The exhibition begins with McQueen’s MA graduate collection, Jack the Ripper Stalks His Victims (1992), and closes with his final collection, Plato’s Atlantis (2010). Five years after McQueen’s tragic suicide, the exhibition is a haunting reminder of his genius lasting legacy. It is easy to invest in a brand, but it is more important to invest in the man behind the brand, which the V&A has pulled off exceptionally. A quote from McQueen foreshadowed his fate: “I want to be the purveyor of a certain silhouette or a way of cutting, so that when I’m dead and gone people will know that the twenty-first century was started by Alexander McQueen.”

The Romantic Naturalism gallery, photo courtesy of the Victoria and Albert Museum

             Indeed, there will never be another like him. With my McQueen handbag in tow and my black and white McQueen skull scarf draped around my neck, I was professing, probably a bit too loudly and excitedly, my knowledge about the designer to anyone who happened to be within earshot. I had a very important introduction to make after all. Like a pilgrimage to Mecca, my fashion items were returning to holy ground, to be reunited with their creator. I had all of the necessary makings of a fan girl. I’m sure McQueen would think that was very uncool of me, but I remained on the verge of tears (happy ones of course), covered in goose bumps for the entire exhibition.

Alexander McQueen is a girl's best friend

             I cannot begin to explain how it felt to see McQueen’s creations, which I had only previously seen in photos or videos, in the fabric flesh. The exhibition remained true to McQueen’s vision and propensity towards performance on the catwalk, even down to the music and the ambience. The mirrored box from the Spring/Summer 2001 Voss show was there fully equipped with lights to turn it from clear to opaque glass.

The Voss gallery, photo courtesy of the Victoria and Albert Museum

             Lingering in the Cabinet of Curiosities room, I examined the intricacies of metal mouthpieces, butterfly-adorned headwear, and the spray-painted dress from the No. 13 Spring/Summer 1999 collection. Televisions broadcasted the clothes in motion from previous catwalk shows: from the derrière flaunting “bumsters” and too-cool-for-school models wearing them in Nihilism (Spring/Summer 1994), to the lace-encased horns and crucifixes in Dante (Autumn/Winter 1996), to the abundant houndstooth and seeping lips in The Horn of Plenty (Autumn/Winter 2009). Even McQueen’s model choices were deliberate – the way they sauntered out, flicked off members of the audience, and appeared all-around irreverent and indifferent to their surroundings.

The Cabinet of Curiosities gallery, photo courtesy of the Victoria and Albert Museum

             McQueen viewed his clothes as just that – clothes. His humble and somewhat unfounded assumption implied his stance on whether fashion equates to art. For someone who could cut clothes without a pattern and managed to cram a pentagram, a carousel, a game of chess, fire, water, red contact lenses, and much more into his catwalk repertoire, surely we must argue that what McQueen achieved was an art form. Naysayers slammed him for being misogynistic when he was anything but. McQueen lashed out with the perfect response: “I know what misogyny is! I hate this thing about fragility and making women feel naïve…I want people to be afraid of the women I dress.” That kind of confidently executed intimidation on the part of the wearer, that kind of empowerment, is what McQueen’s clothes represent.  

"When you see a woman wearing McQueen, there's a certain hardness to the clothes that makes her look powerful. It kind of fends people off." - Alexander McQueen; the Romantic Nationalism gallery, photo courtesy of the Victoria and Albert Museum

             McQueen’s version of beauty is savage because of the gritty, dark side of it that he chose to expose and become known for. He drew inspiration from sadomasochism, primitivism, romanticism, and nationalism, making it hard to believe that each room represented the amalgamation of one creative mind. Sarah Burton is the current creative director of Alexander McQueen. By her own admission, she does not share the same fascination with the darker side of life as the brand’s founder did. No one would wish a tortured past upon another, but McQueen’s demons were precisely what spurred on his theatrical and inventive visions. I cannot bring myself to watch the catwalk shows under Burton in recent years for fear of being underwhelmed due to my high standards. Without Alexander McQueen the individual, I fail to rationalize Alexander McQueen the brand.  

McQueen's last collection, Plato's Atlantis (Spring/Summer 2010), before his premature departure from the fashion world, photo courtesy of the Victoria and Albert Museum

             Just like the ever-changing hologram that distorts McQueen’s face into a skull and back again on the cover of my Alexander McQueen: Savage Beauty book, he will eternally remain the man, the myth. Due to his untimely death, he will also be preserved at the height of his youth and his success for all of time, leaving a giant fashion-shaped hole in our lives. McQueen, at least for me, will forever be the King of fashion, presiding from his celestial throne. I think he’d quite like that, don’t you?

The cover of Alexander McQueen: Savage Beauty

One Night Stands in Farringdon

             Pop-up shops: they come, they go, but they never fail to make a lasting impression during their short-lived timespan. One such pop-up shop at the Clerkenwell Gallery in Farringdon left me dreaming of gold, gems, and jewels. I was invited to a clandestine viewing of 12 designers and one artist that occupied a slot for a mere few hours on a Thursday evening. With complimentary beer from Peroni and coconut water in flavors various, a seamless evening appeared to be on the cards.

             Out of the assembled, while clothing was also on show, the brands that really caught my eye were of the jewelry variation: SMITH/GREY, Tessa Metcalfe, Pearl & Queenie, Kasun London, and Gogo Philip Vintage Bijoux. As an added bonus, I was introduced to artistic talent, Domenico Cordua, and was able to catch up with Laura Smith of the LAURASMITH line, whom I met for the first time during this year’s London Fashion Week.

             The Clerkenwell Gallery seemed at first glance a rather odd venue to show off bespoke pieces due to its cramped interior, but it is that same interior that also made every designer stand stand out. Although jostling other patrons became commonplace, the up-and-downstairs areas were inviting, with the collections taking center stage. The stalls were overseen by most of the designers themselves, offering a unique opportunity to interact directly with the creative minds behind the products laid out in front of us.

             As I headed to the bottom floor, Smith, as ever the delightful and unassuming designer of the room, greeted me at the bottom of the stairs. As we chatted, I fawned over her coral sheers and tried-and-true blacks just as I had fawned over her golds and lilacs at London Fashion Week. Smith wore the X Dress - Silk and Jersey from her Autumn/Winter 2013 collection, epitomizing what it means to keep things simple, but still standout. To avoid repeating myself, have a read here of my interview with Smith during London Fashion Week for more on her inspirations, what she has in store for next season, and an overview of her line, its trademark being Nottingham lace.

The two Lauras; pictured with Laura Smith and her Autumn/Winter 2013 collection

             I was immediately awestruck by Kasun London, the jewelry range consisting of what could be considered dark fantasies, or guilty pleasures. I couldn’t resist trying on the Black Vampire Bite Ring, a gilded and fanged showstopper encasing synthetic onyx. It originally reminded me of a shark’s powerful grip, but considering the stake cross, vampire heart, and silver bullet pendants, it soon became evident that the blood-sucking creatures were the intended focus. I later learned that the collection was called “God Loves Fangs,” featuring skulls, claws, and jaws aplenty, treasures that would act as the perfect conversation starters. My infatuation was running dangerously deep and I had to admit that I had been bitten by the brand, placing that dazzling ring high up on my wish list.

             Still sticking with the theme of skulls, except of animal rather than human origin, Pearl & Queenie’s delicately quirky Longhorn Herding Necklaces were next on my fixation radar. Taken from the Equestrian Treasures collection, expect to also see hunting coins and horseshoes. All of the jewelry is handmade and paired with engraving and symbols of love, luck, and fortune, with credit owed to best friend duo Becca Hulbert and Kathy Dyton. Romance and sentiment dominate the rest of the jewelry in bridal, gypsy, and love story collections. Stamps of “Sweetheart” and “My Heart is Yours,” pearls, cameos, fortune teller hands, charms: this is the stuff of nostalgia. Pearl & Queenie captures the no frills, unapologetic personal meaning of jewelry and how that meaning translates from person to person.

             Back upstairs, more designers were bound to draw me in, and through familiarity, I immediately recognized Tessa Metcalfe’s pieces, which I had first encountered during this year’s London Fashion Weekend. It would actually have been harder not to take notice with a dead pigeon as the focal point of the table’s layout. Speaking to Metcalfe, she revealed that taxidermy was responsible for her designing direction. Indicative of this is the recurring pigeon claw that appears in her rings, necklaces, and earrings. I guess that would explain the bird on the table then, which actually was a wearable hat. Metcalfe’s goal was “finding beauty in the gutter” and she certainly did that by creating her own distinct kind of jewelry, formulated from perhaps an unusual, but nonetheless inspired, idea.

             The running theme of the night actually leant towards that unusualness, that atypical quality. Birgit Marie Schmidt and Sofus Graae, the masterminds behind SMITH/GREY, weave together rugged utilitarian pieces that are chunky and bold (especially for the men) with whimsical horses, bulls, and roses, reminiscent of a fantastical merry-go-round that is just a little “off” upon closer inspection. The roses still protrude with thorns, giving the collection an edgy prettiness, and the horses meld together in succession, but their faces are not always on view, replaced instead by torsos and suspended, dangling legs. The Fighter Ring, a gold plated bronze knuckleduster, is my devilish pick, with tusks that thrust upwards. The SMITH/GREY website says that their jewelry is used as a “narrative medium to unlock the imagination and awaken curiosity.” Mission accomplished.

SMITH/GREY designer, Birgit Marie Schmidt, reflected amongst her roses (top)

             To wrap up on the jewelry front, we have Gogo Philip, founded by Georgi “Gogo” Philip Pecenikov in 2007. Think chains, chains, chains. A chain is a go-to, never out of style accessory, and there is always one swinging from my wrist and most likely my neck in this classic design. Gogo Philip is a surefire “forget-me-not” brand, drumming in the mantra that bigger truly is better. During the night of the pop-up shop, I actually was wearing a heavyweight chain-link necklace and I caught the Gogo Philip vendor taking a look at it as if to nod in accordance with the choice. The clasps are also less discreet than those seen on regular necklaces, projected as part of the whole ensemble. The half gold, half rhodium chain would be my choker of choice, but Gogo Philip makes it difficult to choose just one. Like a magpie attracted to all things shiny, I lingered over the stand, silently desiring.

             Last, but definitely not least, the walls of the Clerkenwell Gallery were filled with limited edition illustrations from Cordua, each representing a darker rendition of someone famous. His psychedelic colors and elegant caricatures are eerie yet very fashion forward. Cordua’s website shows just a handful of what he is capable of, including, to my surprise, an illustration of Madison Montgomery (played by Emma Roberts), a character taken from American Horror Story: Coven, one of my favorite television shows. This is just further evidence of Cordua’s all-inclusive scope. If you have a favorite celebrity, it is highly likely that Cordua has depicted said celebrity in his work, so that he or she may become pride of place in your own household. The streaky results are one-offs fresh from the paintbrush of Cordua, the kind of art we all wish we were making when we blindly tampered with watercolors.

             Well, there you have it; the naughty inside gossip of my one night stands in Farringdon taken straight from my little black book. They were every bit as risqué, gorgeous, and pleasurable as you could imagine. It would seem that I have been a very busy girl, so next time some one night stands come knocking, don’t you be afraid to “get busy” either.

             Discover SMITH/GREY here, Tessa Metcalfe here, Pearl & Queenie here, Kasun London here, Gogo Philip here, Laura Smith here, and Domenico Cordua here. You’ll thank me later!

Breathless with Miles Aldridge

Pictured with Short Breaths #5 at the Brancolini Grimaldi Miles Aldridge Short Breaths exhibition, photo (right) courtesy of Brancolini Grimaldi

             London Fashion Week’s festivities don’t just cease with the termination of the week. I was given the very special privilege to attend a post-fashion week drinks party hosted by Rosie Fortescue of reality television series, Made in Chelsea. The event was held at art gallery Brancolini Grimaldi, located on Albemarle Street in central London. Originally opened in 2000 in Florence, Italy by Isabella Brancolini, the gallery prided itself on displaying contemporary work in the form of photography, painting, installation, and video. Camilla Grimaldi joined forces with Brancolini in 2005, hence the adoption of the gallery’s name as it stands today. A second gallery went on to open in Rome and the gallery began to hone in on photography and video, finding its niche. April 2011 saw the launch of Brancolini Grimaldi in London, the perfect setting for flaunting the work of photographers who revel in twisting the confines of their genre. 

The event invitation featuring Aldridge’s Semi-Detached #2 

             Miles Aldridge’s Short Breaths exhibition was the backdrop for the party, where guests mused over his photographs, wine in hand. The exhibition came to a close this past Saturday after its run from the 12th of July. Somerset House ran a retrospective of Aldridge’s work called I Only Want You to Love Me around the same time frame, finishing last Sunday. Born and based in London, Aldridge studied illustration at Central St. Martins and became a music video director before tapping into his potential as a fashion photographer in 1993. A various number of Aldridge’s portraits are included in the permanent collections at The National Portrait Gallery and the Victoria & Albert Museum here in London and the International Center of Photography in New York. Aldridge has worked with the likes of British Vogue, Paris Vogue, American Vogue, Vogue Italia, The Face, Numéro, The New York Times, The New Yorker, and Paradis. Alongside this impressive selection, he has also collaborated with brands such as Yves Saint Laurent, Armani, Longchamp, L’Oréal, Hugo Boss, and Paul Smith on advertising campaigns.

Miles Aldridge, photo courtesy of Vogue Italia 

             It was such an honor to meet Aldridge and see him mingling with the guests at the party, those of which included Made in Chelsea stars Jamie Laing, Oliver Proudlock, Spencer Matthews, and Hugo Taylor who came along to support fellow cast member, Fortescue. Dancer/model Anthony Kaye (better known as B.B.), who appeared on our radar in E4’s model reality series Dirty Sexy Things, was also present. Aldridge had an intense gaze, a mischievous smile, and a pair of seriously cool tortoise shell glasses. We chatted for a while and I was pleased to personally express my delight over the photographs to the man behind the camera. He acted as onlooker, almost certainly analyzing others’ reception of his work. Aldridge needn’t vocalize his presence, because the guests were bound to already admire him with reverence from afar. After they sufficiently viewed the exhibition and evidenced his mastery of photography, it was only a matter of time before they approached him.   

Chromo Thriller #3, photo courtesy of Brancolini Grimaldi

             Indeed, it is hard not to say something about Aldridge’s photographs, which are alluringly sexual and thought provoking. All of the models are painfully glamorous, but behind their eyes lays dissatisfaction with the domestic roles they have either gained or been forced into. Their dead, blank stares eyeballed the attendees of the evening, pleading with us to take them more seriously before we cast them off as just pretty faces. Layers of pristinely applied makeup crack thanks to Aldridge, who has even stated himself that he doesn’t “feel like making happy pictures about beautiful models being content.” Aldridge adds depth and substance to his subjects who toy with menial tasks such as cooking. It’s as if the models must find a way to entertain themselves, even if that entails playing with fire, quite literally in some cases.

Home Works #3, photo courtesy of Brancolini Grimaldi  

             There is no denying the sensuality of Aldridge’s material. It does not attempt to conceal itself or dress itself up as something else. This is pure and true eroticism at its finest. It would be ignorant to view the phallic symbols as anything but what they are. Despite this titillating triumph, male figures featured very minimally in the Short Breaths exhibition. When they did make an appearance, they were either reduced to the shadows or added to the overall consternation that is characteristic of Aldridge’s work. The shining stars were certainly the women, and with faces and bodies that enticing, there isn’t much room left for anyone else anyway. Now, I am just generalizing to one particular exhibition, because Aldridge has certainly done his fair share of shoots with male models as well.

BBQ, photo courtesy of Brancolini Grimaldi 

             The airbrushed, porcelain quality that emanates from the subjects of the photographs is further juxtaposed by their sour facial expressions and hungry eyes. Aldridge does not shy away from color, which almost seems ironic in most of the models’ cases. While the women might be struggling with some inner turmoil, they are forever surrounded by candy-coated settings, prodding them to perk up. This is perhaps what is so enchanting about the photographs. They turn sinister upon second glance. Where before they held promise and hope and joviality, these visions soon diminish to reveal a crease in a downturned smile or a strained suppression of anxiety. 

3-D, photo courtesy of Brancolini Grimaldi  

             This is all of course based off of my own subjective experience. With art, there is no right or wrong answer and everyone will take something different altogether away from Aldridge’s work, just like with any other artist. I often wonder if artists feel amused by the various bouts of interpretations that their work endures. I suppose it comes with the territory and all anyone can do is take a stab in the dark and hope to do the creator justice, just as I am now.

The Pure Wonder #1, photo courtesy of Brancolini Grimaldi

             Fortescue socialized with guests like a seasoned host during the evening and her choice of venue was nothing short of cultured, which was to be expected. 180 signed and numbered copies of Miles Aldridge’s Carousel debuted at the Short Breaths exhibition. The limited edition portfolio consists of 32 lithographic and silkscreen prints produced on fairground-worthy cotton candy pinks and bumper car brights that will have you spinning right round. However, Aldridge’s Carousel is definitely one you won’t want to get off and probably wouldn’t mind getting stuck on.

A Drop of Red #2, photo courtesy of Brancolini Grimaldi   

             For information regarding Brancolini Grimaldi and upcoming exhibitions at the art gallery, see here. Check out Aldridge’s range of stunning photography for yourself here. 

Bold Gold #2, photo courtesy of Brancolini Grimaldi