#Bea Szenfeld

[strathshepard]

Bea Szenfeld, 2016 from The Met’s “Sleeping Beauties”

Photography Joel Rhodin

[costumedump]

Ammonite

Bea Szenfeld

Spring/Summer 2014

Sleeping Beauties: Reawakening Fashion - The Metropolitan Museum of Art

[longlistshort]

Bea Szenfeld, “Ammonite”, spring/summer 2014, White paper, white polyester thread, and white plastic pearls

Undercover (Japanese, founded 1990) Jun Takahashi, Dress, spring/summer 2024, White silk satin trimmed with pink rayon plain-weave roses and pink synthetic pleated organza and overlaid with white nylon tulle embroidered with black plastic sequins and crystal, bugle, and seed beads in the forms of spiders and trimmed with white silk satin

(Gucci, Alessandro Michele, Cape, autumn/winter 2017-18, Seafoam silk satin embroidered with polychrome plastic sequins, plastic pearls, clear glass crystals, black glass bugle beads, and bronze glass seed beads in the pattern of a dove, a cloud and flowers)

Pictured above are just a few of the many stunning works on view at The Metropolitan Museum of Art for the exhibition, Sleeping Beauties: Reawakening Fashion. In addition to the over 200 garments and accessories, the museum has added an additional sensory experience that includes some of the scents that influenced the designers of certain time periods.

From the museum-

When an item of clothing enters The Costume Institute’s collection, its status is irrevocably changed. What was once a vital part of a person’s lived experience becomes a lifeless work of art that can no longer be worn, heard, touched, or smelled. Sleeping Beauties: Reawakening Fashion endeavors to resuscitate garments from the collection by reactivating their sensory qualities and reengaging our sensorial perceptions. With its cross-sensory offerings, the exhibition aims to extend the interpretation of fashion within museums from the merely visual to the multisensory and participatory, encouraging personal connections.

The galleries unfold as a series of case studies united by the theme of nature. Motifs such as flowers and foliage, birds and insects, and fish and shells are organized into three groupings: earth, air, and water, respectively. In many ways, nature serves as the ultimate metaphor for fashion—its rebirth, renewal, and cyclicity as well as its transience, ephemerality, and evanescence. The latter qualities are evident in the “sleeping beauties,” garments that are self- destructing due to inherent weaknesses and the inevitable passage of time, which ground several of the case studies.

Sleep is an essential salve for a garment’s well-being and survival, but as in life, it requires a suspension of the senses that equivocates between life and death. The exhibition is a reminder that the featured fashions— despite being destined for an eternal slumber safely within the museum’s walls—do not forget their sensory histories. Indeed, these histories are embedded within the very fibers of their being, and simply require reactivation through the mind and body, heart and soul of those willing to dream and imagine.

(Mary Katranzou’s “Digitalis” evening dress, spring/summer 2018, White synthetic faille digitally printed with lilies, daisies, dahlias, peonies, petunias, amaryllises, chrysanthemums, and foxgloves, embroidered with polychrome sequins, seed beads, bugle beads, and cannetille, and pieced with white neoprene trimmed with gray scuba knit and digitally printed with black lilies, daisies, dahlias, peonies, petunias, amaryllises, and chrysanthemums)

About the dress above from the museum-

Mary Katrantzou‘s evening dress combines several elements of the three painted silk gowns opposite. Stylistically, the bold scale, color palette, and arrangement of the floral motifs resemble the 1740s robe à la frangaise, while the techniques of outlining the pattern in black and embroidering the flowers and leaves with beads recall the 1780g robe à l’anglaise and the 1870s Mme Martin Decalf gown, respectively. Katrantzou’s design inspiration, however, is decidedly contemporary: the children’s activity paint by number, which involves filling in numbered sections of a picture outlined in black with corresponding colored pigments.

(Conner Ives, “Couture Girl” dress, autumn/winter 2021-22, White deadstock silk organza embroidered with polychrome deadstock plastic seed beads and polychrome recycled polyethylene terephthalate sequins of daisies, peonies, dahlias, and sunflowers)

About the dress above-

Nature and artifice coalesce in Conner Ives’s “Couture Girl” dress from the designer’s 2020 graduate collection “The American Dream,” which was inspired by the women with whom he grew up in Bedford, New York. The garment’s bulblike shape parodies the pneumatic silhouettes of mid-twentieth-century fashion. The dress took five months to complete and is a testament to Ives’s commitment to sustainable practices: the silk organza is deadstock fabric donated by Carolina Herrera’s creative director, Wes Gordon, and the paillettes – made from recycled polyethylene terephthalate (PET) – were designed and produced in collaboration with Rachel Olowes of the Sustainable Sequin Company. Ives embroidered the more than ten thousand sequins by hand, basing the six shapes on his four favorite flowers – daisies, peonies, dahlias, and sunflowers.

The museum also included these rose-inspired garments.

Dolce & Gabbana, Domenico Dolce, Stefano Gabbana, Dress, 2024 Alta Moda, Red silk satin

(Valentino, Pierpaolo Piccioli, Jacket, autumn/winter 2022-23 haute couture, Red silk taffeta appliqued with self-fabric roses)

This exhibition closes 9/2/24.

[meramu-meramu]

[jeannepompadour]

Bea Szenfeld paper fashion exhibition, 2015

[artfulfashion]

Costumes by designer Bea Szenfeld photographed by Aart van Bezooijen

[mimeticspace]

Bea Szenfeld

[lamaisongaga]

         FASHION CREDITS: “G.U.Y.” MUSIC VIDEO PART I

Lady Gaga took directing back in her own hands when filming her music video for “G.U.Y.” in early 2014. Filmed at the Hearst Castle in San Simeon, the mini film lasts nearly 12 minutes and features 4 songs. Shortened versions of “ARTPOP” and “Venus”, the full version of “G.U.Y.”, and an extended version of “MANiCURE” during the credits.

Fashion director: Brandon Maxwell. Key hair and makeup artists: Frederic Aspiras and Laura Dominique.

In the opening scene of our “ARTPOP” film, Gaga, portraying the injured Himeros, wears a pair of brown wings by Jim Henson’s Creature Shop and Haus of Gaga arrow, both custom-made for the video. 

Her body is spray painted with crimson paint and she’s also wearing fishnet tights.

When injured, barely alive Gaga came to the castle, she was welcomed and carried inside by two guardians (played by Graham Breitenstein and Asiel Hardison), wearing hooded black rubber capes from the Design Academy Eindhoven graduate, Martijn van Strien‘s “Dystopian Brutalist Outerwear” collection.

In the healing process scene, the dancers in black wear swimsuits by Mikoh, Beach Riot, Araks and American Apparel. 

One of the girls wears a super elaborate creation by London-based costume maker and avantgarde fashion designer, Katarzyna Konieczka. The one-of-a-kind corset, a fusion of plastics and fabrics, is called Black Snakes In The Water, and was inspired by “black snakes entangling bodies immersed in water. The shape was designed to evoke the way of swimming and writhing of moray eels and water hoses”. 

The dancer on the right wears a leather shoulder piece from Valentim Quaresma’s Fall/Winter 2013 collection, “Daydream”. With this collection Valentim yearns to find the connection between industrialization and creativity. 

The model in the middle wears another leather shoulder piece from Assaad Awad’s Spring/Summer 2013 collection while the black headpieces are by Arturo Rios: Alison velvet bow headband and Noir silk satin bow headpiece.

All girls are wearing Vince Camuto Fall/Winter 2013 Onya black leather pointed-toe Chelsea booties!

The healing process scene continues as we see more and more dancers and models. 

We see a few wearing black braided hair headpieces by Charlie Le Mindu while others wear Bea Szenfeld Spring/Summer 2014 paper couture (more to these later) and silver orb skirts (worn as headpieces) from Bea’s “Sur La Plage” collection. 

Her male dancers are wearing white vests by BLK DNM, jeans by PAIGE with white leather boots by Dr. Martens. 

The synchronized swimmers are wearing black swimsuits by Body Glove with custom neoprene headpieces by Mia Gyzander.

The dancers cover Gaga with a purple tulle veil embellished with flowers and colorful monarch butterflies - a custom creation by Philip Treacy for the video.

The Real Housewives of Beverly Hills make an appearance in the music video. All of them are wearing custom hand-painted pink neoprene dresses by artist and designer Holly Fowler.

The models around them are all wearing the paper couture creations from Bea Szenfeld’s Spring/Summer 2014 collection which included shapes of animals (lions, bears, gorillas etc.), plants and architectural sculptures.

Stay tuned for the next chapter!

[crossconnectmag]

HAUTE PAPIER by BEA SZENFELD

Fashion with paper and scissors by Bea Szenfeld

Beata "Bea" Szenfeld (born 23 December 1972 in Poland) is a Swedish designer and fashion designer. She is known for her artistic and experimental creations with unusual fabrics and contexts. She has also designed invitations and held exhibitions with art work. Photography Joel Rhodin

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Posted by Andrew

[its-thesmokedetector]

Bea Szenfeld - MBFW Stockholm We love designers that strive to set new boundaries. Scratch that. We love designers that don’t know limits and whose creativity opens up a whole new horizon. Bea Szenfeld spring/summer 2014 collection did that and way more.The whole concept might be best described as ‘paper couture’ because well...

[samwisejohnsonn]

Wearable Art - In response to Bill Wadman (a photographer who uses slow shutter speed to capture intense movements), Bea Szenfeld (a fashion designer who specialises in paper outfits) and David Sheldrick (specifically ‘Token’, a collaboration with Sueng Ki Baek where he incorporated UV paint)

[emmaklee]

(via High on Paper: Bea Szenfeld Dresses the Royal Swedish Opera Company with ‘Haute Papier’ | Yatzer)

[lelumadesign]

Stockholm Craft Week 2022

Nu var det ett tag sedan jag rapporterade om vad jag håller på med!

Har just varit några dagar på Stockholm Craft Week ! Fanns otroligt mycket att se och inspireras av men fick koncentrera mig på vissa områden i staden då det annars tar mycket tid att komma runt till dom olika utställningarna!

Jag åkte först till Konsthantverkscentrums vernissage på Bellmansgatan , där jag har varit medlem en del år men aldrig varit där. Utställningen ”Gläntan” var en medlemsutställning med tio konsthantverkare som representerade en bredd av material! Dessutom hade Klara Gardtman öppen atelje. Hon var Artist-in- office i derat projektrum och visade sina pågående vävda tolkningar med inslag av fotografi och tredimensionella kollage!

Sedan besökte jag flera ateljér i kvarteret runt Hornsgatan. Bland annat Blås & Knåda där ett 30 tal glas och keramik konsthantverkare hade utställning ihop!

Begav mig sedan till KA Almgrens Sidenväveri med en intressant historia och utställningen ”Textil trilogi 2” producerat av Fiber Art Sweden!

Nästa anhalt blev  utställningen ”Hantverket” i Stadsmuseet med bland annat Bea Szenfeld och Åsa Pärson

Avslutade med att besöka atelje'r i Misschiefs i Bilpaladset! En plattform för utvalda kvinnliga konstnärer som visade sina projekt genom utställning och liveframträdanden!

Friday I went to the Museum of Modern Art and saw Hilma af Klint and other Exhibitions about life!

Gick också in på Östasiatiska museet då jag aldrig varit där och sedan till utställningen ” Jugend.2” av  8 glaskonstnärer från Glasakademien som visade nytolkning av jugendstilen i Hallwylska museet !

Var sedan rik på inspiration och upplevelser som kommer säkert kommer till användning vid mina kommande skapelser!

[hifructosemag]

Read about and pre-order Hi-Fructose: New Contemporary Fashion, an upcoming, 300-page hardcover book edited and designed by Attaboy, on HiFructose.com. It's an experimental look at the collision of art and fashion through a Hi-Fructose lens. (Cover: Bea Szenfeld Anderson (From the White Collection) Photo by Joel Rhodin.)

[andersonsallpurpose]

Say what you will about our minister of culture, but that dress she wore to the Nobel banquet was pretty nice. Also difficult to eat in, apparently. (Design by Bea Szenfeld and Naim Josefi. The paper sleeves symbolize the melting polar ice.)

[themooninbull]

designer Bea Szenfeld | Haute Papier collection | photographed by Joel Rodin