< PreviousC In CONVERSATION Christian Louboutin’s very fi rst designs, such as the Maquereau shoe, noted inspiration from the architectural beauty of Paris’ Palais de la Porte Dorée, which he discovered around the age of six. The museum was located nearby to the then aspiring fashion designer’s birthplace, in the 12th district of La Ville Lumière. “Every single day I would see that building,” recalls Christian. “So I can’t remember the fi rst time [I saw it], but I remember the architecture was very powerful.” He would spend his sundays visiting the Palais galleries and aquarium. During one visit to the Art Deco masterpiece, a young Christian stumbled upon a sign forbidding visitors to wear high heeled shoes. “In the fi fties, the tip of the heel was made in metal so it would break the fl oor,” he explains. As stiletto heels became more and more popular during this period of time, building owners became concerned about the impact the shoes would have on their fl oors, particularly in high-traffi c public buildings. This became the inspiration for the iconic Pigalle shoe, which has been redesigned over the years. The Palais de la Porte Dorée quickly became a place the fashion designer cherished greatly, a place where he discovered the diversity of decorative arts for the very fi rst time. “I saw a lot of incredible things, from African artefacts and furniture to jewellery, carpets, totems and masks,” he shares. “So it really opened my eyes up to a lot of different cultures. I was intrigued by the refi nement and the monumentality of Alfred August Janniot’s bas-reliefs, the spectacular frescoes of Ducos de la Haille and the Ruhlmann and Printz furniture.” This is also where he saw a drawing of a shoe for the very fi rst time. With the façade covered in over 200 animals and fi gures, the museum was fi rst built for the International Exposition of 1931 Christian Louboutin. Image courtesy of Jean- Vincent Simonet 30 HarpersBazaarArabia.com/culture/art Spring 2020 Façade of the Palais de la Porte Dorée - © Palais de la Porte Dorée, photo by Pascal Lemaitre HBA_038_28-33_In conversation_Christian L_11206887.indd 3012/03/2020 01:50:17 PMIMA GES C OUR TES Y OF CHRIS TIAN L OUBOUTIN through a collaboration with architect Albert Laprade, sculptor Alfred Janniot, painter Pierre-Henri Ducos de la Haille and interior designers Jacques-Émile Rulhmann and Eugène Printz, among others. Today, the monument is home to the endless creative facets of Christian’s universe in the form of art pieces. On view until July 2020, the Palais de la Porte Dorée is home to an exhibition devoted entirely to the designer’s inspirations, covering almost three decades of his life. “This is an exhibition which could only really be at this place because I have so many links with the museum,” he shares. The featured works invite visitors to immerse themselves in the creative world of Christian Louboutin and to discover the many elements of his multi-referential work. Curated by French art historian Olivier Gabet, the shoes on display – some never before exhibited – are a tribute to the designer’s daring and creative visions throughout his lifetime. Works from his personal collection as well as loans from public collections are also highlighted. Visitors will discover a selection of exclusive collaborations the designer has been a part of, such as stained glass panels created by the Maison du Vitrail, a Sevillian silver palanquin and a cabaret sculpted in Bhutan. Some collaborations have been unveiled by this exhibition for the fi rst time, including with American director and photographer David Lynch, New Zealand-born multimedia artist Lisa Reihana, British designer duo Whitaker Malem, Spanish choreographer Blanca Li and Pakistani artist Imran Qureshi. “This exhibition showcases the precious relationships that have marked my journey, through working with craftsmen who possess unique expertise as well as collaborations with artists who are dear to me,” says the designer. So what does the man himself believe is the relationship between In CONVERSATION Sketch of Pensée shoe. Courtesy of Christian Louboutin Maquereau shoe created by Christian Louboutin in 1987, in front of the Tropical Aquarium of the Palais de la Porte Dorée (Based on visual archives dating from 1988) © Christian Louboutin 31 HarpersBazaarArabia.com/culture/art Spring 2020 HBA_038_28-33_In conversation_Christian L_11206887.indd 3112/03/2020 01:50:25 PMIn CONVERSATION art and fashion? “The border between art and fashion is very blurred to me,” he answers. “It’s really about perception. There could be a part of art that could be considered fashion defi nitely; if you look at some of the designs of John Galliano, for example, they’re pure art. But I wouldn’t say that about every designer. Some designers are artists, some designers are designers.” The fi nal section of the exhibition refl ects the theme of endless possibilities. The space houses the many inspirations that are rooted in the present while are simultaneously shaping the future, as well as works that have resonated with Christian for decades. “For me, this exhibition is an opportunity to pay tribute to the Palais, which gave rise to my vocation and that has continued to inspire me ever since,” he says. “The infl uences are really art pieces; furniture, architecture, photography, movies, characters, or related to painters. [The section] will explain that everything starts with a sketch – a sketch to me is a very important thing.” The show marks the fi rst major Parisian exhibition devoted to the roots of Christian Louboutin’s fashion masterpieces. Perhaps most important are the memories associated with the space – the neighbourhood where he grew up and the museum he visited as a young boy. For the fi rst time, the designer has completely opened the doors to his creative universe, inviting visitors to immerse themselves in his lifelong journey where art meets fashion and the possibilities are endless. ■ Entrance of the Palais de la Porte Dorée - © Palais de la Porte Dorée, Photo by Bryce Davense The Christian Louboutin exhibition is on show at the Palais de la Porte Dorée, Paris, until 26 July 2020 Gate of the Palais de la Porte Dorée made by Jean Prouvé - © Palais de la Porte Dorée, photo by Bryce Davense 32 HarpersBazaarArabia.com/culture/art Spring 2020 HBA_038_28-33_In conversation_Christian L_11206887.indd 3212/03/2020 01:50:31 PM33 HarpersBazaarArabia.com/art Spring 2020 IMA GES C OUR TES Y OF T APP AN AND RESPECTIVE AR TIS T S In CONVERSATION Christian Louboutin. Image courtesy of Jean-Vincent Simonet HBA_038_28-33_In conversation_Christian L_11206887.indd 3312/03/2020 01:50:38 PM34 HarpersBazaarArabia.com/culture/art Spring 2020 HBA_038_34-37_The Artist_Sassan_11235445.indd 3411/03/2020 02:13:52 PMLOVE An Eternal Brand new works featured at Sassan Behnam-Bakhtiar’s Rebirth exhibition serve to nurture the precious relationship between humanity and the universe. Ayesha Shehmir unearths the inspirations behind the works, which will inaugurate Saint-Jean-Cap-Ferrat’s cultural centre Paris-born, French-Iranian contemporary artist Sassan Behnam- Bakhtiar’s latest solo exhibition entitled Rebirth is set to launch 4 June this year at cultural space Villa Namouna in Saint-Jean-Cap-Ferrat, France, and will be held under the patronage of the Mayor of Saint- Jean-Cap-Ferrat, Jean-François Dieterich. The show will unveil the artist’s newest works and will also mark the inauguration of two public sculptures which pay homage to the beauty of humanity and nature. “Nature holds the secret to our intellectual, emotional and spiritual evolution,” expresses Behnam-Bakhtiar. “My inspiration was life and the connection between nature and humans. There is value in under- standing a harmonious way of life with our natural surroundings. In the words of John Muir, ‘nature’s peace will fl ow into you as sunshine fl ows into trees. The winds will blow their own freshness into you, and the storms their energy, while cares will drop away from you like the leaves of Autumn.’” The new paintings presented at the Rebirth exhibition depict con- nectivity and the beauty of natural landscapes, which the artist has The ARTIST Facing page: Sassan Behnam-Bakhtiar. Fabric of Life. 2019. Oil on canvas. 116x89cm; This page: Sassan Behnam-Bakhtiar HBA_038_34-37_The Artist_Sassan_11235445.indd 3511/03/2020 02:13:59 PMALL IMA GES C OUR TES Y OF THE AR TIS T AND L OIC THEBA UD 36 HarpersBazaarArabia.com/culture/art Spring 2020 witnessed in the surroundings of Saint-Jean-Cap-Ferrat, which are, as he says, “full of movement, light, feelings and memory.” The featured paintings serve to freeze precious memories, feelings and experiences which otherwise may fade away into the depths of time. Works on display will include Trees of Paradise (2018/2019) and For- est of Life (2019), amongst others. “To walk amongst a space designed by nature, fi lled with tall Aleppo pines over a hundred years old under their protective shadows while letting enough sunlight graze your skin and the ground by the sea, gives you the feeling of taking steps in a small part of what we would image as paradise,” says the artist, sharing his inspirations. “Those few moments should be frozen and remem- bered, giving you a nudge so you understand that you can promote balance and harmony in your life by understanding your connection to nature, such as these tall old trees for instance which are dancing over the sea. Once, I took this walk and the fi rst thing that came to my mind was the purity of these trees being here for a much longer time than me and my predecessors, still showing their strength, full of life and hope, dancing away with the other elements of nature. It was as if I felt some sort of an unexplainable protection while walking under them and I told myself, it feels like paradise here, and once I sat there and painted the canvas, I had to call it ‘Trees of Paradise’.” Forest of Life notes inspiration from getting lost in the French Alps in Haute-Savoie during winter. The work is complete with hues of pink, blue and green, all intertwined gracefully to form a deep, colourful unison of beauty. “When you hear nothing, but the sound of the wind going through the mountain pine trees for hours after hours, after sometime you feel that you are part of this natural experience and conversation, and it gives you a sense of belonging to something greater, a wide network present all around you which you tend to for- get due to the modern way of life,” he says. “You feel alive and con- nected. I took a mental image of my experience and painted it when back at the studio, and it became my Forest of Life.” Blue Immortal Rose Garden (2018) will be another work on view at the exhibition, a continuity from Immortal Rose Garden (2018-2019) which was showcased during the artist’s last solo show called Extremis, held at Dusseldorf’s Setareh Gallery in October and November 2019. The ARTIST The work represents old rose bushes dancing in Behnam-Bakhtiar’s old home in Tehran, Iran. “I wanted to paint its sister piece which repre- sents old rose bushes growing close to my studio which reminds me everyday of those Tehran days during the war and those magnifi cent rose bushes that survived the fi re from a bomb shell which felt in our garden,” he shares. “Blue Immortal Rose garden pays homage to the power of nature and the strength demonstrated by these plants; so fragile yet so majestic. We can learn a few things from them.” Through the works, the artist is also striving to revive the art scene of the late fi fties. “I fi nd in the approach of Sassan Behnam-Bakhtiar, who found here in Saint-Jean serenity, joie de vivre, and sources of inspiration through the incomparable nature of the peninsula, a cer- tain continuity with the artists of the fi fties, but with abstract inspira- tion,” expresses Mayor Jean-François Dieterich. Two brand new sculptures by the artist which have been commis- sioned by the city will also be unveiled – one on the Cap Ferrat itself facing the Grand-Hotel du Cap-Ferrat and another in the port of the city – made from treated wrought iron and paint, a testament to har- monious living with nature. “Behnam-Bakhtiar has been on a continu- ous journey since 2016, promoting his vision of life and humanity with multiple exhibitions in London, Cap Ferrat and Dusseldorf via his art,” says the mayor. “The message of the artist, his constant effort on human evolution and their connection to their own energy and nature, resonates with the city, hence why we selected him for the commissions. His bigger sculpture entitled Rebirth stands for a harmonious living with nature – in this case the unique nature of our commune – while transferring the necessary correct values to future generations in order for them to understand the importance of life in connection with nature.” The 3D installations are the embodiment of unity, love, family and memory. “This sculpture stands for a harmonious living with nature,” says Behnam-Bakhtiar. “The white colour represents goodness, light, completeness, purity, perfection, new beginnings and illumination.” The mayor encountered Behnam-Bakhtiar’s paintings during a recent visit to the artist’s studio. “It felt like I was standing in a space fi lled up with energy bouncing off the surface of each canvas,” says the mayor. “The energy network represented by his hand on these new paintings was something to experience. The new paintings have lots of movement, light, colour, contrast and energy painted in Behnam-Bakhtiar’s signature style of peinture raclée which involves an intricate style of scraping, relaying and spreading of numerous blends over particular points.” Through the new works, the artist hopes to spark an infi nite, universal relationship with us and the environment, humanity and nature. “You are part of nature and the environment and the sooner you feel that and plug in with this universal network present all around, the better you will live, the more healthy and happy you will be, while having your focus on the things that really matter and to start your real journey in life,” he says. “We all require a needed evolution and connecting to nature is an easy vital fi rst step for everyone.” sassanbehnambakhtiar. com Rebirth is on view at Saint-Jean-Cap- Ferrat Cultural Space (Villa Namouna) from 4 June until 30 June 2020 Below from left: Sassan Behnam-Bakhtiar. Blue Immortal Rose Garden. 2018. Oil on canvas. 195x130cm; Sassan Behnam-Bakhtiar. Blue Fabric of Existence. 2019. 130x97cm HBA_038_34-37_The Artist_Sassan_11235445.indd 3611/03/2020 02:14:06 PM37 HarpersBazaarArabia.com/culture/art Spring 2020 Sassan Behnam-Bakhtiar. My Tree of Life. 2019. Oil on canvas. 195x130cm HBA_038_34-37_The Artist_Sassan_11235445.indd 3711/03/2020 02:14:14 PMAt a time when the world is steeped in chaos and uncertainty, British-Iraqi artist Athier Mousawi drives an important message home with his latest exhibition. Viewers are invited to surrender themselves to a therapeutic melange of ambiguity where everything, as we know it, ceases to exist until it resurfaces through the third eye. Odelia Mathews interprets the artist’s latest works which came to life in the industrial suburbs of Paris A Colourful Chaos uch like an assault to the senses, the bold and unconventional art forms displayed at Dubai-based Ayyam Gallery are very much similar to the realities of the current times. On display until 14 March 2020, for his latest exhibition that retained its working title, artist Athier Mousawi is no stranger to the harsh realities of war, struggle, grief and uncertainty in all its many forms. “My last teaching experience was spending a summer in Athens working with Syrian Refugees in an abandoned hospital,” he shares. This is also not his fi rst exhibition that has touched on a sensitive topic and yet, he comes through with an entirely different message. As an Arab Artist in Residence for the British Museum in London while he was studying at Central Saint Martins, Athier incorporated his early learning p subur 38 HarpersBazaarArabia.com/culture/art Spring 2020 IMA GES C OUR TES Y OF THE AR TIS T AND A Y Y AM GALLER Y HBA_038_38-41_The Artist_Athier_11200739.indd 3811/03/2020 09:19:12 AMThe ARTIST Facing page: Athier Mousawi. Nothing is Certain, Everything is Melting, and that’s Okay 2. 2019. Acrylic on raw linen. 100x125cms; This page: Athier Mousawi. Nothing is Certain, Everything is Melting, and That’s Okay 4. 2019. Acrylic on raw linen. 190x154cm. Courtesy of the artist 39 HarpersBazaarArabia.com/culture/art Spring 2020 HBA_038_38-41_The Artist_Athier_11200739.indd 3911/03/2020 09:19:19 AMNext >