London museum exhibition focuses on Frida Kahlo as a style icon


the focus of an unprecedented exhibition in London. ‘Making Her Self Up,’ at the Victoria and Albert Museum of art and design,

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It is perhaps ironic that a woman who eschewed popular fashion and beauty norms is now adored by the mainstream as a style icon. ‘At the time in Mexico,’ says Salma Hayek, who played Frida Kahlo in Julie Taymor’s 2002 biopic, ‘what was fashionable was to look French. When everybody was trying to dress like that, Frida did what was unimaginable,’ Hayek says in a phone interview.
If there’s one thing the exhibition makes clear, it’s that Kahlo’s style was carefully coordinated and purposeful. As Wilcox explains, one of the show’s objectives is ‘to show how Frida constructed and controlled her identity, her singular strength in the face of illness and adversity

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Frida Kahlo – Making Her Self Up review: V&A show tells story of style and suffering

In the V&A’s retrospective, Frida Kahlo: Making Her Self Up, fashion is just a baseline. This is the story of human suffering; of a feminist; of a woman who had the insight to redefine her own identity decades before Instagram filters had been invented. 

The show seeks to uncover the distinct way in which the artist choreographed perceptions of herself. This marks the first time these items have left the shores of Mexico and travelled to the centre of a major exhibition

  • Publisher: Evening Standard
  • Date: 2018-06-12T16:15:00Z
  • Author: Karen Dacre
  • Twitter: @standardnews
  • Citation: Web link

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On the trail of Frida Kahlo, the Mexican communist with the famous monobrow

Rolling her thumb and forefingers together, Pastora Guti’rrez Reyes appears to be drawing ruby globules of blood. ‘Cochineal,’ she says, pointing to a bowl of tiny ashen-grey beetles plucked from cactus pads and crushed to make a red dye. Along with pecan shells, pomegranate seeds and Brazil wood, carminic acid is one of several natural pigments used to colour wools woven by Vida Nueva, a women’s co-operative set up by Pastora and her sister Silvia 22 years ago in dusty Oaxacan village Teotitlan.

Coils of yarn as fine as angel hair hang from walls in a courtyard, where the 45-year-old sits at a wooden loom, two thick black plaits framing her face and trailing onto a bed of roses embroidered into her blouse. In the past, only men were permitted to weave, but when many moved to the US for work, economic necessity gave Teotitlan’s Zapotec women a chance to earn both money and respect.

  • Publisher: The Telegraph
  • Date: 2018-06-15 15:50
  • Author: Sarah Marshall
  • Citation: Web link

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