• Trophée Chopard

    Written by Yasmine M

    Julia Roberts wore a tuxedo jacket and tulle skirt with Chopard jewellery to present this year's Trophée Chopard winners with their award. One of the winners where actor Sheila Atim, she wore a burnt orange Prada dress with Chopard jewellery to accept her award.

    Since 1998, Chopard has formed a glittering duo with the Cannes International Film Festival to which it serves as official partner. In addition to crafting the legendary Palme d’or in its workshops along with all the trophies to be distributed at the closing prize-giving ceremony, and adorning the stars for the traditional “Montée des Marches” ritual thanks to the magnificent Red Carpet Collection, the Maison also awards rising talents with the Trophée Chopard as well as organising unforgettable annual parties. This year, Chopard is once again, set to dazzle and while bringing its own inimitable sparkle to the legendary Croisette.

    Over the past few decades, Chopard has expressed the quintessence of glamour through the creation of unique Haute Joaillerie items adorning the greatest film stars. Charlize Theron, Cate Blanchett, Julianne Moore, Sharon Stone, Gwyneth Paltrow, Hilary Swank, Marion Cotillard, Léa Seydoux, Penelope Cruz, Scarlett Johansson, Lupita Nyong’o, Freida Pinto, Fan Bing Bing, Zhang Ziyi, Isabelle Huppert, Catherine Deneuve and Jane Fonda, to mention but a few, have all dazzled on the red carpet wearing Haute Joaillerie treasures crafted by Chopard.

    Certain images remain etched in collective memory. Many will notably recall Angelina Jolie in 2007, resplendent on the red carpet in a yellow gown enhanced with daffodil diamonds. And how could one forget the natural and disarming beauty of Julia Roberts, on her first appearance at the 2016 Cannes Festival, strolling around barefoot with her decolletage illuminated by a necklace set with a magnificent emeralds?

  • Moley Talhaoui, 2022, © Jimmy Backius

    Retrointrospective

    Written by Lina Aastrup

    Moley Talhaoui

    ”Retrointrospective” at Ganymede, Hjärnegatan 3, Stockholm

    May 19-22, 2022

    Moley Talhaoui is a brilliant artist who Odalisque has been following ever since our very first print issue. We met up with him for a chat about the upcoming show – “Retrointrospective” – his first in Stockholm in ten years. Make sure not to miss the opportunity to see his works live at Ganymede, this week only.

    Lina Aastrup: This is your first show in Sweden in a long time, how come you so rarely exhibit here, even though you are based in Stockholm?

    Moley Talhaoui: I have mainly worked with galleries in London and the US for many years now, so it just so happens that this is where my focus is normally. There is also something different about showing here – I wouldn’t call it difficult, but it feels special and important somehow.

    LA: Could you tell us about your new exhibition?

    MT: I was actually supposed to exhibit in Stockholm in 2020 already, but it was right when the pandemic hit, and everything was cancelled. “Retrointrospective” is comprised of large scale paintings created on site in Stockholm from 2017 until very recently, including three entirely new works that have never been shown before.

    LA: Why this particular series of work?

    MT: From 2017 and onwards, my artistic practice has expanded in width. I never work on specific themes for my exhibitions, every work I create is part of the same narrative. They build on each other, which is why organizing the exhibition chronologically makes sense.

    LA: And this narrative is?

    MT: In my work, I am constantly searching for the true, universal self that we are all part of, that predate the individual selves that make up Moley or Lina for example. The way I see it, we are all connected. I feel there is a certain expectation from society that coming from my perspective, I would have to focus on topics like precarity, inequality or being a racialised body. These are of course really important topics to deal with in art, but I never considered life to be that divided. When you see everyone as part of the same soul, it becomes clear that the differences between us are really just different contexts or different parts of the same journey in life.

    LA: When looking at your paintings, I cannot help but noticing some recurring motifs, like the apparently skin-less body. What does this particular iconography mean to you?

    MT: Everything I do, all the symbols and motifs, have a specific meaning in my world. But the beautiful thing is that they also function like a Rorschach test. The viewer brings their own references to the art experience, making their own reflections and assumptions about what they mean. Ultimately, what they see is more about them than about me. And that is something I would never want to deprive the audience of by sharing what I thought about when making them.

    Regarding the bodies, I never aimed to make them look “skinless”, but I have heard that particular interpretation many times before. If you look back in time, to around 2008-2014, I made a lot of skeletons. After that I had a period of obsessing about Santería and conceptual spirituality. I think all spirituality is a reflection on what we all feel, it is just the conceptual framing that differs, be it Islam, Christianity or voodoo. These bodies I have been working on for a while now could be seen as a way to connect the skeleton, the spirit and the body. Either way, I feel like as if I have reached a point where I am connecting the dots and completing this whole narrative in a holistic way which is also why it felt so right to share my work through an exhibition at this moment in time.

    Moley Talhaoui, 2022, © Jimmy Backius
    Moley Talhaoui, “Sensithief”, 2020. Oil on canvas, 200x150cm. Photo by Dimitris ’Dimman’ Vulalas.
    Moley Talhaoui, “Mindcraft”, 2021. Oil on canvas, 140x140cm. Photo by Dimitris ’Dimman’ Vulalas.
  • CHANEL Cruise 2022/23 backstage

    Written by Fashion Tales

    Heading to Monte-Carlo for the CHANEL Cruise 2022/23 collection.
    “To me, Monaco is a matter of feelings above all. That’s Karl, Caroline, Charlotte,” says Virginie Viard.
    “From very early on, I knew we would hold a show there, and more precisely at the Beach Hotel. Besides, Karl was
    dreaming about it. From this magnificent venue, one can glimpse his villa, La Vigie.
    I will never forget the times I spent there: terraces and balconies, big umbrellas, baskets of flowers - so much beauty.
    ”The trailers of the collection, directed by Sofia and Roman Coppola, stage a group of girls
    enjoying boat trips, bathing in the sea or motor sports. “A sporty atmosphere, but not only.
    There are lots of tweed or silk jumpsuits lined with light terry cloth. Many sequins and flowers shape
    embroidered plastrons adorning thinly striped long shirt-dresses with white high collars – a nod to
    Karl –, a sequined midnight blue dress, or backless tops worn over wide-cut trousers.”
    Inspired by the Monte-Carlo ballet and the dancers’ pointe shoes, black satin shoes are adorned by thin strass buckles.
    Bags are shaped like tennis racquets. The flowy and shiny swimming suits are twisted into asymmetrical black skirts or draped dresses.
    “The first time I saw Caroline was on the beach in Monaco. She was wearing a draped black dress, very thin tights and heels,” recalls Virginie Viard.
    “Monaco is inherent to the history of CHANEL. We have lived so many happy moments there.”

    #CHANELCruise

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