• Miley Cyrus Is The New Face Of The Dolce & Gabbana Spring/Summer 2024 Eyewear Campaign

    Written by Fashion Tales

    Dolce & Gabbana introduces its Eyewear Campaign for Spring/Summer 2024, photographed by Mert Alas. The campaign features Miley Cyrus, the American singer, songwriter, actor, and performer, who also wrote the accompanying soundtrack to the Campaign video, inspired by her on-set experience

    The campaign features Miley Cyrus, the American singer, songwriter, actor, and performer, who also wrote the accompanying soundtrack to the Campaign video, inspired by her on-set experience.

    A Los Angeles studio, a vermilion bed, dishevelled bedsheets echoing a night to remember. Miley is there, in all her allure, standing in a moment frozen in time. Beside her is American actor and model Matthew Nozska.

    The seductive essence of the morning after perfectly blends with graphic and sensual poses: Alas’s lens captures the essence of the protagonists, revealing their unfiltered characters free from preconceived notions.

    This is the soul of the new Dolce & Gabbana Eyewear Collection.

    The new Spring/Summer 2024 items will be available worldwide starting from March 2024 online at www.dolcegabbana.com and at the best EssilorLuxottica opticians and retailers.

    image courtesy of Mert Alas

  • photography Daniel Camerini

    Linea Matei’s First Solo Show Is a Tender Triumph

    Written by Rosel Jackson Stern by Filippa Finn

    When I walk into Linea Matei’s first soloshow Ser Du Mig, I don’t know what I’m looking at. Humanoid polyester sculptures with rounded edges in varying champagne colours sit in a circle with an empty chair among them. Each sculpture is stuffed with wadding and set up as though I’ve just walked in on an otherworldly AA meeting — alien yet somehow familiar.

    It’s opening night on a chilly February evening at the Stockholm based gallery CFHill. The room is buzzing with onlookers gazing at the circle, in turn watched by more textile sculptures lining the walls around us. The sculptures seem to echo the humanity of the onlookers. There’s an affinity to them as if we’re meeting ourselves from a different dimension. On closer inspection, each sculpture possesses a mirror where the face should be.

    This confronting intimacy is no accident. Having graduated from Konstack in 2022, this encounter is the first solo show of textile artist Linea Matei. She has sketched each sculpture and crafted them using the sewing skills she gained as a child. The subtle depth of their postures has been hard-won through hours of interviews across Sweden with subjects of varying ages, sensibilities and locations. “I wanted to set up the sculptes so that they explored what might happen if the interviewees somehow met,” she tells me in the upstairs rooms of the gallery. “What would happen if these people from wildly different backgrounds shared space?” she asks. The result is not just a cheap imitation of human behaviour, but a life given, reflected and cared for. Each of the sculptures is someone we know, forgotten or avert our eyes from. They are someone we console, someone whose shoulder we cry on. Both disturbing and comforting, there is a warmth to Linea's show born of mature and nuanced practice.

    At the opening, the eerie familiarity seems echoed by my fellow spectators. When I asked one buyer what made them purchase one of them, he smiled and said: “It was something about the [sculptures] confidence and attitude of ‘please take care of me’ that spoke to me. It’s both vulnerable and strong. Like life.“ What has started as an unforgivingly chilly night in Stockholm has blossomed into an unusual display of public tenderness. We meet the sculptures with the sensibility of glimpsing a long-lost friend, only to be confronted by our own faces. For cold and cynical hearts, the show is bright and unassuming mediation on connection. It is confounding, delightful and surprises even the most deadened of viewers into a shared moment of humanity. It’s a benevolence so sweet that it poked my eye upon first seeing the show, equivalent to a stranger picking up on an awkward habit I never thought anyone noticed. Once I’d finished flinching, something inside me melted at the lives lived through these sculptures.

    Linea has done what the best art does: transmutes the world around them to reflect something of value back at the viewer. To do so without becoming a cliché, or overly “sugary” as my grandmother would say, you have to be specific. In this case, the angle of an arm, or weight of a knee becomes the difference between being force fed a message and inhaling the sweet scent of your favourite dish as a child. There’s no clearly discernible moral to Ser Du Mig, a credit to the artist. True to its name, it constitutes a wildly successful exploration of what it means to be seen.


    Ser Du Mig runs until 15/03/2024 at CFHill Gallery in Stockholm.

  • photography Émilie Mathé Nicolas

    Xavier Veilhan’s new exhibition “Crop Top” in Stockholm

    Written by Fashion Tales

    We are pleased to present Crop Top, a new exhibition by Xavier Veilhan. The opening takes place on February 22nd in Stockholm, Sweden from 17:00 to 20:00 at Linnégatan 31.


    Xavier Veilhan’s multifaceted work encompasses sculpture, installation, painting, photography, as well as hybrids of the aforementioned and he is also engaged in performance work and filmmaking. Veilhan addresses issues of perception as well as the physical and temporal relationships created within the context of the exhibition format, often creating dedicated scenography. His work has been internationally exhibited at acclaimed institutions and he frequently works in the public space. At the 57th Venice Biennale in 2017, he transformed the French Pavilion into the critically recognized Studio Venezia.

    In Crop Top, the organic and the digital converge, as do images and volumes. Starting from his series of “blurred” 3D scanned portraits, Veilhan wanted to abstract these works further as well as use materials that correspond with his newfound environmental focus. The material used in this exhibition is essentially raw wood: a renewable material that has been transformed. Most of the wood comes from the region of Sologne, where it is milled directly. Crop Top is also Veilhan’s first opportunity to experiment with a way of conceiving exhibitions that can travel by sea and the majority of the presented works have been brought to Stockholm by sailboat. This environmental and artistic project will develop through exhibitions and collaborations over several years and journeys, including transatlantic ones. The sea freight and the exhibition itself are two parts of a project which fuse as the reality of renting a sailboat, living on it and transporting artworks, meets the reality of the finished exhibition.

    An initial inspiration for Crop Top was the lines and stripes of Tuscan churches composed in marble marquetry. The stripes and contrasting materials appear in the exhibition, most notably in the sculpture Stephen (Crop Top), 2023, from which the exhibition lends its title. Crop Top was chosen for its sound, its evocation of clothing and an arbitrary or artificial cut-off, as is the case of the previously mentioned sculpture whose top has been cut off and replaced by another piece of wood. Lines, stripes and mechanical traces are also left in the materials by the tools used in the production process.

    The exhibition explores different degrees of representation between the physical presence of the object and the virtual existence of the image with an idea of deconstruction - whether sculptural or statuary. This tension in the transition between image and object is present in Veilhan’s marqueteries and in the new abstracted landscape works. A gradual shift from individual objects to a greater whole is taking place as individually coloured wooden pieces are assembled together, and when completed, gives shape to a new motif.

    Xavier Veilhan was born in 1963 in France, and lives and works in Paris, France.

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