_{Yulia Mahr and Compton Verney Speaking in Dreams. Photograph: © Compton Verney and Jamie Woodley}

Speaking in Dreams, a new installation by the Hungarian-born British artist Yulia Mahr, transforms the chapel into a tactile and dreamlike space where time collapses. The work inaugurates Mahr’s long-term collaboration with Compton Verney, setting the tone for a series of interventions that will entwine the site’s 300-year-long history with her own distinctive language: both poetic and psychological.

Mahr’s practice – spanning multi-media disciplines like sculpture, photography, and immersive installation – has always balanced on the threshold between intimacy and myth. Employing chiaroscuro, monochromatic tones, and still-life compositions, her works feel suspended in an almost devotional hush. In Speaking in Dreams, she brings that sensibility to the heart of Compton Verney.

Within the chapel’s pristine white geometry, Mahr introduces natural materials (charcoal, taxidermy, and ash) to stage a meditation on anxiety as the defining hum of our age. Her installation doesn’t disturb the space so much as converse with it, echoing the way Capability Brown’s own design blurred boundaries between art and nature, control and wildness.

_{Yulia Mahr and Compton Verney Speaking in Dreams. Photograph: © Compton Verney and Jamie Woodley}

A key motif of the work is the crow: a dark, intelligent sentinel of folklore. At Compton Verney, where the birds are a familiar presence, Mahr elevates them into symbols of communication between worlds. “I was born in an era and in a culture where dreams and folklore were still relevant. Hungary has one of the most symbolically rich and spiritually ambivalent folk traditions in Europe, where dreamworlds are saturated with longing, threat, and metamorphosis,” explains Mahr. “

“Actually, throughout my whole childhood – but especially after my mother and I moved to the UK – I lived more in a dream world than the real world. I became semi mute for a couple of years, my dream world becoming a tool of self-preservation that allowed me to navigate a national and linguistic change that I found so utterly overwhelming and alienating. Crows – which appear in my piece – symbolise warning almost universally across folklore traditions. Their urgent call couldn’t be louder.”

For Compton Verney, Speaking in Dreams marks the beginning of an ambitious partnership with an artist uniquely attuned to the site’s poetic possibilities. Over the coming years, Mahr will respond to the estate’s 120 acres of art and nature, weaving together its layered histories and her own meditations on spirituality, ritual, and renewal.

by Imogen Clark

The post Yulia Mahr and Compton Verney Begin Partnership with Speaking in Dreams Installation first appeared on The Glass Magazine.

The designer often spoke of his love for Brera, the neighbourhood where he lived and worked, and whose dual soul – both cultured and vibrantly alive – he admired, with its blend of elegance and artistic freedom. This profound bond was acknowledged by the Academy of Fine Arts, which in 1993 awarded him an honorary title for the coherence of his stylistic research and the rigour with which he united function and inventive imagination.

_{Giorgio Armani: Milano, per Amore Exhibition. Photograph: @agnese_bedini @melaniadallegrave @dsl__studio_}

Conveying knowledge through direct experience and allowing visitors to appreciate the mastery of great artists firsthand was, and remains, at the heart of the Pinacoteca’s vocation. Founded in 1776, the Academy of Fine Arts inaugurated the Pinacoteca in 1809 to support its educational mission. The exhibition of Giorgio Armani’s creations here, alongside outstanding works of art, marks the first time that fashion — central to understanding societies across time — has been included in this mission.

_{Giorgio Armani: Milano, per Amore Exhibition. Photograph: @agnese_bedini @melaniadallegrave @dsl__studio_}

_{Giorgio Armani: Milano, per Amore Exhibition. Photograph: @agnese_bedini @melaniadallegrave @dsl__studio_}

The garments reflect the themes and codes that make Giorgio Armani’s work unmistakable: a reinterpretation of tailoring, a unique sense of decoration, a preference for neutral tones, and a love for the unexpected richness of techniques, finishes, and embroidery. All are signs of a measured creativity that unfolds gradually, redefining the very notion of sobriety. The invisible mannequins allow the bodies to be suggested through the clothes alone, in continuity with earlier exhibition projects.

Giorgio Armani: Milano, per Amore brings together garments previously displayed at Armani/Silos and at major museums worldwide for the first time, enriched by new discoveries from ARMANI/Archivio.

by Chidozie Obasi

For more information and ticket information, click here.

The post Giorgio Armani’s Legacy Is Celebrated in Milan Museum Exhibition first appeared on The Glass Magazine.

Founded in 1854, Louis Vuitton has long accompanied travellers with trunks and accessories that balance refinement and practicality. By the early 20th century, Gaston-Louis Vuitton, grandson of the founder, infused his artistic vision into the House’s DNA. He infused high-culture into the design house by initiating collaborations with leading designers and artists. His efforts culminated in Louis Vuitton’s acclaimed presence at the 1925 Paris fair, now reimagined through this immersive presentation.

_{Louis Vuitton Art Deco}

Spanning eight rooms, the exhibition showcases over 300 heritage objects, many of which have never been seen by the public before. From early collaborations with Pierre-Émile Legrain to dazzling Art Deco handbags, visitors encounter a panorama of innovation, beauty, and craftsmanship.

Highlights include the reconstruction of Vuitton’s original 1925 exhibition stand, historic automobiles fitted with Vuitton trunks, and beauty cases once owned by musicians and couturiers. Each gallery underscores how Art Deco shaped not only the House’s aesthetic but also its broader identity.

_{Louis Vuitton Art Deco}

The exhibition also traces the origins of La Beauté Louis Vuitton, the House’s newest métier launched in August 2025. Beauty trunks, vanity cases, and perfume collaborations reveal how Gaston-Louis expanded beyond luggage to transform personal rituals into works of art.

Visitors are invited to complete the experience at Le Café Maxime Frédéric at Louis Vuitton, overlooking the Seine. With signature dishes such as the Monogram ravioli and Chocolate Entremets, the café extends the spirit of creativity into taste.

_{Louis Vuitton Art Deco}

This immersive exhibition opening on 25 September, 2025, aligns with the centenary of the 1925 International Exhibition of Modern Decorative and Industrial Arts, revisits the moment that defined an era while celebrating the House’s own influential presence.

by Ellis Dowle

The post Louis Vuitton Opens Art Deco Exhibition in Paris first appeared on The Glass Magazine.

The campaign opens in Paris, where the Longchamp muse works in her studio in a cobalt and ecru scarf created with artist Constantin Riant, Eiffel Tower print trousers, a blue worker jacket, and a painter’s shirt. She carries the Le Roseau tote in natural leather or a Le Pliage printed with Riant’s patterns.

_{Longchamp AW25}

_{Longchamp AW25}

_{Longchamp AW25}

The next stop is the Cotswolds, and here there’s plenty of warmth and texture with padded kimono jackets, cashmere dresses, shearling vests, and the sculpted Le Foulonné shoulder bag, that have been designed with long walks in mind.

From there, she heads to London, and we see the enduring cool of the duffle coat (as recently seen on Alexa Chung), made in collaboration with Gloverall, which trades the usual plaid for stripes and bamboo toggles that nod to the Roseau. After dark, the palette turns to sexy red and black with a tuxedo-style kimono jacket, leather mini, thigh-high boots, and a glossy Roseau lined in leopard…oh la la.

_{Longchamp AW25}

Sophie Delafontaine, Longchamp’s Creative Director, says of the line: “From Paris to London is a love letter to savoir-faire. From our capsule with Parisian artist Constantin Riant to our collaboration with Gloverall of London, we wanted this season to celebrate craftsmanship through a modern lens. The collection revisits workwear and, across the Channel, explores French elegance tinged with British eclecticism.”

by Felicity Carter

See more on longchamp.com.

The post Longchamp takes us from Paris to London for AW25 first appeared on The Glass Magazine.

Through showcasing works by more than twenty international artists, including pieces that pay homage to social media filters, the AI influencer Lil Miquela, and deepfakes, Virtual Beauty gets to the heart of how technology influences self-representation at a time when your online image-curation capacity is a form of currency offline too.

_{Ben Cullen Williams and Isamaya Ffrench. Past Life Grid (2021). Courtesy of the artist}

It traces the trajectory of beauty in the digital era, with one exhibit showing 14 ‘iconic selfies; from over the years, including a screenshot of a Paris Hilton Instagram post in 2006 captioned ‘18 years ago today, @Britney Spears and I invented the selfie’, and another proclaiming that we have reached a ‘Post-Facial Era’ where recognition ‘no longer centres on the human face’ 

In what feels like a nod to the dystopian ease with which you can now pick a facial or body aesthetic and get a surgeon or a filter to enact it, a film installation called ‘You’ depicts a fictional commercial for a brain implant that allows you to pick any face you like, and post-operation, see it as yours whenever you look in a mirror.

_{Lil Miquela – Re-birth of Venus – courtesy of artist and @brud}

More hopeful artworks invite us to expand our understanding of beauty beyond the confines of the traditional binaries of beautiful versus ugly, natural versus artificial, and masculine versus feminine.

Rather than promoting the reification of a new alternative or more inclusive standard, the power of Virtual Beauty lies in the curation of works that collectively challenge our ideas about beauty, creating a space to interrogate the politics underlying it.

_{Filip Ćustić, pi(x)el, 2022 ©David Parry}

Through this lens, as well as being undeniable facilitators of harm, emerging technologies and digital spaces are also presented as sites of hope, protest, and a gateway to reflecting on our ideas about what is ‘beautiful’.

There are artworks which depict luminous animal-like cyborgian avatars, forcing us to consider beauty outside of the spectrum we know it to exist on, as well as surrealist images of bodies that blur western gender norms, including a hyper-muscly individual in a black latex bikini with a Lara Croft style ponytail atop a bald head, set against a glittering purple backdrop. 

The aim of works like these is ‘to create genderless identities beyond human canons of beauty’, with the enigmatic allure of the avatars depicted embodying gender fluidity and queer identity, evoking the way in which our presence in virtual worlds can influence perceptions of identity.

_{Ines Alpha: I’d rather be a cyborg (2024). Photograph: Li Roda-Gil. Courtesy of the artist}

At its core, Virtual Beauty asks what beauty can become when the body is not the limit, with one artist, Ines Alpha, citing how technology enables her, as a woman, to feel like a subject rather than an object by giving her power and control over the version(s) of herself she presents. 

For Alpha, an e-makeup artist who has previously worked with Prada, the surreal possibilities offered by fantastical digital make-up and virtual augmentation facilitate her liberation from traditional beauty standards. 

By pushing at the boundaries of traditional beauty in this way, the exhibition creates a hopeful sense of optimism by disrupting the idea that it all ends at Instagram Face, a term coined by New Yorker writer Jia Tolentino to describe how ‘social media, FaceTune, and plastic surgery created a single, cyborgian look’ which is ‘ambiguously ethnic’, and marked by high cheekbones, poreless skin and catlike eyes.

At the same time, there is a sinister undertone to the exhibition. While one placard vaguely refers to the ‘manipulative nature’ of social media, others are more poignant, including one picture of two black women with braids in an image generated by AI, which reveals how racism is embedded into image generation tools. A lack of diversity in algorithmic training for generative AI  means that these tools often distort back identity, here by giving the women pictured light skin and chemically straightened hair. 

Another emphasises how gay dating culture has male beauty and body image being transformed by online gay dating culture, and one prompts a critique of ‘designer babies’ – referring to the modern fertility tech and hyper-consumerism which enables parents to decide a baby’s gender, eye colour, and complexion. 

The final room of the exhibit contains videos showing an active project live on Instagram, which aims to reveal biases in Instagram’s content moderation rules, highlighting the platform’s algorithmic power to police body types.

The result is the presentation of the digital self as a site of tension, promising freedom while often mirroring the systems we hope to escape. 

At its crux, Virtual Beauty asks us not whether beauty is liberating or constraining, but who holds the power to define and influence it in the era of Web 3.0? The answer might feel fixed, but hope comes from remembering that it is not.

by Meg Warren

Virtual Beauty at Somerset House is running from 23 July to 28 September 2025

The post Virtual Beauty – The Exhibition Asking Us What Beauty Can Become When The Body Is No Longer The Limit first appeared on The Glass Magazine.

Coinciding with the Osaka World Expo, this showcase marks the brand’s most ambitious cultural presentation since Volez, Voguez, Voyagez (2015-2019), sparking a triumphant return to large scale storytelling seen through an avant-garde lens.

Curated by acclaimed fashion historian Florence Müller and brought to life by Shohei Shigematsu of OMA, Visionary Journeys is a deeply personal homage to the Maison’s enduring ties with Japan. Unfolding across twelve thematic chapters, you will be able to witness a sensory voyage through time, craftsmanship and cultural dialogue.

_{Papillon bag in Monogram Cherry Blossom canvas in collaboration with Takashi Murakami, Spring/ Summer 2003}

_{Samurai miniatures box in Monogram Eclipse canvas, 2018}

Expect a feast for the eyes as over 1,000 rare and archival objects – including 200 Japan-related artefacts, the iconic Trunkscape installation, the original 1897 Monogram canvas, bespoke creations by Japanese artists (like Takashi Murakami) and a dedicated space of genre-defining collaborations (from Supreme to Stephen Sprouse) , will be available to see firsthand.

_{Japanese Cruiser bag in Monogram Drip denim for Louis Vuitton by Virgil Abloh, in collaboration with NIGO®, Pre-Spring/ Summer 2022}

_{Kabuki make-up case in Monogram canvas 2004: Private Collection}

Each room tells a story. From Asnières to Atelier Rarex, visitors will be able to catch a glimpse of Louis Vuitton’s spirit of innovation and global legacy of savoir-faire. With their rich visual narrative and deep cultural resonace, Visionary Journeys is more than an exhibition – it’s a moment.

by Imogen Clark

_{Exhibition runs parallel to Kusama at Espace Louis Vuitton Osaka and the French Pavilion at World Expo 2025}

The post Louis Vuitton launch Visionary Journeys in Osaka – a tribute to art, innovation and Japanese heritage first appeared on The Glass Magazine.

The exhibition has been announced to feature 250 objects, some of which have never been seen outside France. Loaned from the Chateau de Versailles and from the V&A’s own collection, the exhibition will display historical items such as jewels from Marie Antoinette’s personal collection, her silk slippers and the last note she ever wrote.

The ill-fated Queen has been a constant source of inspiration for 250 years of design, fashion, film and decorative arts.

_{Vigée Le Brun Louise-Elisabeth (1755-1842). Versailles, châteaux de Versailles et de Trianon. MV3893.}

_{“Paire de pantoufles ayant appartenu à Marie-Antoinette”. Objet d’art. Paris, musée Carnavalet.}

Curated by Sarah Grant, the story of the Queen will be acted out in four parts. The exhibition will explore how Marie Antoinette’s legacy has shifted throughout history and has been reimagined to be a legend of beauty and fashion. Presented through audio-visual installations and immersive curation, her story will be explained through new lenses that bring complex figures’ feminine and lavish style to life.

Introducing the exhibition Marie Antoinette: The Origins of a Style, this section will chronologically explore how she forged an identity as the flamboyant Queen Consort of France. Beginning in 1770 and ending with her execution in 1793, it will examine the scandals, philosophies, and the infamous “let them eat cake” myth that continues to follow the Queen to this day.

The Second Act Marie Antionette memorialised: The Birth of a Style Cult, explores the revival of Marie Antionettes style and interest within her in the mid 1800s due to the influence of Empress Eugenie, that caused a phenomenal wave of interest towards Maries style and how this would influence international style in England and North America.

Continuing with Marie Antoinette: Enchantment and Illusion, this section explores how her image came to symbolise fantasy and escapism during the Art Nouveau and Art Deco periods. She was romanticised in illustrations, interiors, and fashion imagery. Antoinette was reimagined as a muse of beauty and decadence, blending history with dreamlike nostalgia. Her influence aligned with the elegance and sensuality central to these artistic movements.

_Moschino

Finally, in Marie Antoinette Re-Styled, explore the various contemporary interpretations of Marie Antoinette. We can see how her cultural impact has inspired numerous designers, such as Vivienne Westwood, Moschino, and Manolo Blahnik, who are sponsoring the exhibition.

Various couture pieces by Dior and Erdem will be presented, capturing Antoinette’s legacy of luxury and extravagance. The exhibition examines more than just her influence on fashion. It showcases her impact on art and popular culture through photography by Tim Walker, as well as the iconic 2006 film by Sofia Coppola, highlighting the lasting impact of art, photography, and costuming.

Tickets for the exhibition are available now from the V&A website.

by Ellis Dowle

The post V&A announces exhibition showcasing Marie Antoinette’s style legacy first appeared on The Glass Magazine.

Having trained in portraiture for four years at the Italian atelier Charles H. Cecil Studios, Florence’s large-scale desserts suggest, in a sense, a departure from the rigorous discipline she was taught. “There’s a lot of pomp around portrait painting, oil painting,” she explains, “There’s a huge weight and history behind the medium, so I quite like using oil to paint whatever I want: a light bulb, jelly or some strepsils. It’s refreshing.”

_{Florence Houston, courtesy of Geordie Leyland}

Whilst Florence’s subject matter is certainly a conscious rejection of the training she received at art school, her works are imbued with the same notion of grandeur you might expect from a portrait. “When you light strepsils and put them on the right backdrop, there’s a real beauty there. I wouldn’t paint anything that doesn’t have that aesthetic quality to it.”

The exhibition is rooted in the aesthetic, with Powder Puff a nod to the cosmetic pink powder puffs that Florence’s grandmother used to keep on her vanity table. The memory of them, so strong that the artist can still remember the smell, has informed her approach to painting. “I’m really interested in this pursuit of perfection”, she tells me, “And that’s how I tend to view the jellies. They’re beautiful, but they’re not appetising. It’s not really about how they taste; for me, the point is the way they look.”

_{Tequila Sunrise (2025), Courtesy of the artist and Lyndsey Ingram}

All of Florence’s paintings centre around a striking colour palette, which in turn offers each one a distinct mood. “When I came back from maternity leave in January,  I started painting an orange jelly on a pink plate with a yellow background (Tequila Sunrise, 2025), which is a very in-your-face colour combination. I was listening to a certain type of music at the time and it gave the work a sort of aggressive feeling; I think it was a reflection of coming back into the world after giving birth.”

In a similar vein, one of the show’s central works, Odette (2025), is a jellied rendition of a pink pointed breast, the areola and nipple red and swollen. The painting of the piece also coincided with the birth of her second child, and thus her days were dictated by her pumping schedule. “When I posted the painting on Instagram, a lot of people were commenting underneath, saying ‘oh my god, this reminds me of breastfeeding!’. Another commented, ‘ugh, Mastitis.’ I thought maybe my inspiration was ambiguous, but clearly not!”

_{Odette (2025), Courtesy of the artist and Lyndsey Ingram}

These tones, bright reds, oranges and purples, recall a childhood spent at the artist’s grandparents’ house, which she tells me hadn’t been changed since the 1960s. Her works are tinged with a sense of nostalgia for the lurid lime green party desserts she grew up with, but her influences aren’t restricted to personal experiences.

For her impressive knowledge of the food, Florence credits the “online jelly community”, several members of which have attended her exhibitions armed with facts to share. Victorian jellies, she tells me, would double as a status symbol: “The bigger the jelly, the more impressive your household kitchen staff were.” Someone once came to her show and revealed that at the turn of the nineteenth century, being seen eating the dessert alone meant that you were available for sex. In a similar vein, the term ‘jelly-house’ was synonymous with a whore house. 

_{Black Cherry (2025), Courtesy of the artist and Lyndsey Ingram}

It was at her solo exhibition JUICY!, at Notting Hill’s J/M Gallery in November 2023, that attendees started to draw her attention to Caroline (@adventuresinjelly). “Her name was one that kept being raised, so we linked up over Instagram”, Florence explains.

“Nowadays, she’ll send me photos of all of her moulds, and I’ll sketch out what I want. She actually has a job in the city, but cycles to my studio in the morning with a cool bag and we unmould the jellies together before she goes to work.”

by Rosie Lowit

_{Powder Puff is on at Lyndsey Ingram until 8 June 2025.}

The post “Giving overlooked objects a stage” – Florence Houston and her wonderful jelly paintings first appeared on The Glass Magazine.

Renowned for ‘fake-real’ ceramic works that are at once revolting and inviting, this is Alma’s third solo show with the London-based gallery. Taking influence from folklore and celebrating acts of community through food, this body of work is a homage to her childhood and suggests a departure from the party culture – ashtrays filled with cigarettes, cocaine, and bank cards – she has so often depicted.

_{Alma Berrow The Opening of a Crisp Packet at Lamb Gallery}

_{Alma Berrow The Opening of a Crisp Packet at Lamb Gallery}

Aptly titled The Opening of a Crisp Packet, the name of the exhibition was inspired by the idea that, in London, people will attend anything. “You know that quote that’s like ‘oh she’d go to anything, she’d go to the opening of an envelope’? I was talking to a friend and he said, ‘oh, I’d go to the opening of a packet of crisps.’ And I found that so funny. I’m about to leave London to go back to Dorset, where I grew up, and it’s an ode to this idea of socialising here, that people will go to anything. So I thought, you know what, I’m going to invite people to the opening of a crisp packet.”

_{Alma Berrow The Opening of a Crisp Packet at Lamb Gallery}

The Opening of a Crisp Packet spans three gallery rooms. In the first, rows of Scampi Fries adorn two walls, packets of which attendees are encouraged to pull off and eat as they make their way around the exhibition. On a plinth between walls lies Alma Berrow’s This is What You Came For 1, which is a single crisp packet, identical to those strung up, although rendered in ceramic and split open.

“The whole show is about coming together”, the artist tells me. “Especially in Dorset, there’s so much community held within a pub of people coming together and sharing stories. And so the narrative I have in my head is telling me: you come to the opening of a crisp packet, you start to share stories and catch up.”

With this communal feast in mind, the exhibition has been devised in a way that repeatedly dissolves boundaries between the art and the viewer. Scampi Fries in hand, the second room introduces the viewer to a dining table that drips in twelve kilograms of wax. Atop this – as if somebody has just stepped away – are plates of potatoes, half-eaten peaches, radishes and quail eggs.

Real candles protrude, lit, from ceramic butter packets on the table and bundles of glazed asparagus on the wall. “I want my work to be interactive. I like that it looks like candy, you want to eat it, you want to pick it up.” Indeed, Alma Berrow makes rubbish look appetising, with glossy apple cores a table centrepiece.

_{Alma Berrow The Opening of a Crisp Packet at Lamb Gallery}

The tablescape stemmed from an interest in folklore and a year of research. She started by thinking about the allegory of the female. “I use earthenware, and so my work is ultimately Mother Gaia, Mother Earth”, she explains, as she tells me that in her research she went back to Eve, to Medusa and to Helena.

“But these are all stories about women that have been told and retold and shaped by men, and I didn’t want that.” From here, she started to look inwards, at folkloric tales from Britain and the Isles. “Growing up in Dorset, I had a childhood of pixies and magical lands, running around fields and making potions. The show itself is an amalgamation of my childhood, stories that I’ve grown up hearing, very beautiful ones about women and the importance of women.” 

_{Alma Berrow The Opening of a Crisp Packet at Lamb Gallery}

Raised Catholic, Alma wanted the final room in the show to “feel like a holy space”, somewhere for contemplation. Her Stool Sample 1 and 2 invite the viewer to take a pew, whilst Hysteria, the base of which is covered in oysters, acts as a baptismal font.

“I’ve used oysters a lot in my work”, she continues, “I’ve never liked them, and so the only reason I got into them is because I really enjoy the moment of consumption. Everyone gets an oyster, you cheers and make sure everyone eats them at the same time. To me, there’s something very religious about this act.”

As for after the exhibition? “I put so much love, care and research into this show, it felt very transformational for me. I created a lot of my previous work as a way of processing my twenties, hence the focus on late nights and debauchery. This for me felt much more gentle and feminine, and sort of like I was coming back to my childhood. It felt very scary putting this new body of work out there and being like, will people be able to follow me on this journey and understand this transformation?”

_{Alma Berrow The Opening of a Crisp Packet at Lamb Gallery}

Halfway through producing the work for this exhibition, Alma made the decision to move back to Dorset. “It was very much a moment of realising that, for now, I’ve outgrown my London life. I’m coming back to nature.”

by Rosie Lowit

_{The Opening of a Crisp Packet is on at Lamb Gallery until 26 April 2025.}

The post Alma Berrow talks to Glass about folklore, leaving London and Scampi Fries first appeared on The Glass Magazine.

The first posthumous show to have access to the all the work of the influential American photographer Peter Hujar, Eyes Open in the Dark focuses on Hujar’s later work.

_{Peter Hujar, Paul Thek, Florida, 1957}

Known for photographing his subjects with great sensitivity and psychological depth, Peter Hujar is recognised as one of the most important American photographers working in the last century.

He was also a major figure in New York City’s downtown arts and Avant Garde cultural scene in the 1970s and early 80s which he documented in his work.

_{Peter Hujar, Stephen Varble (III), Soho, New York, 1976}

For the show, Raven Row is working closely with the artist’s estate and is alongside well-known images includes less familiar work which has been selected and prepared by, his close friend, the artist and master printer Gary Schneider, as well as the writer and Hujar biographer John Douglas Millar, and Raven Row’s director, Alex Sainsbury.

_{Peter Hujar, Canal Street Pier, 1983}

Hujar’s mature work “processes his influences into a fully achieved and devastating personal style” and its darkening tone which entered his photographer in the 1980s as the AIDS crisis devastated his community.

_{Peter Hujar, Ethyl Eichelberger (II), 1981}

 Hujar died of AIDS-related pneumonia in 1987 when he was 53.

by Caroline Simpson

^{All images courtesy of The Peter Hujar Archive / ARS, New York and Pace Gallery, © Peter Hujar Archive, LLC}

_{Raven Row, 56 Artillery Lane, London E1 7LS}

The post Peter Hujar show to open at Raven Row, London in January first appeared on The Glass Magazine.

Undoubtedly considered one of the most celebrated jewellery houses in the world, turn the page of your favourite magazine and a glossy ad displaying signature pieces such as the Panther ring or Love bracelet will glisten back at you.

From the brand’s humble beginning in 1847 when Louis-François Cartier took over the workshop of Adolphe Picard in Paris inaugurating Maison Cartier, to the emergence of the brand in Parisian high society, to today where the brand is globally renowned, Cartier’s trajectory continues to break luxury jewellery moulds. 

_{Tiara, Cartier London, 1937. Aquamarine, diamonds and platinum. Vincent Wulveryck, Collection Cartier © Cartier.}

The V&A’s new exhibition, simply titled Cartier, traces the distinguished heritage of this iconic watch and jewellery brand from the turn of the 20th century to the present. 

Divided into three main sections that chart design, craftsmanship, materials, as well as the brand’s cultural references, before culminating in a glistening array of tiaras, Cartier will boast an impressive 350-plus objects.

Standout pieces include the Williamson Diamond brooch; a floral brooch encrusted with diamonds of different cuts (brilliants, baguettes, and marquises) and centred by a rare 23.6-carat pink Williamson diamond that was commissioned by Queen Elizabeth II in 1953, and worn part of her Silver Jubilee festivities, will step out of the archives.

Also on display, is the Scroll Tiara worn by Queen Elizabeth II for her coronation in 1953 and then later styled by none other than pop star Rihanna for the cover of W magazine in 2016.  

Exhibition curators Helen Molesworth (Senior Jewellery Curator at the V&A) and Rachel Garrahan (Project Curator at the V&A and Jewellery Director) enthuse “this exhibition will explore how Louis, Pierre and Jacques Cartier, together with their father Alfred, adopted a strategy of original design, exceptional craftsmanship and international expansion that transformed the Parisian family jeweller into a household name.” From royal commissions to celebrity clients, Cartier delves into the shining heritage of the watches and jewellery makers. 

Cartier will take over The Sainsbury Gallery, a temporary exhibition space housed underneath the V&A’s famous welcome courtyard, an expansive, moody gallery lit by the jagged skylights that will make a dramatic addition to the coveted Cartier exhibition.

by Ella Mansell

_{Cartier will run at The Sainsbury Gallery, V&A from 12 April to 16 November 2025.}

_{Tickets are available at vam.ac.uk/exhibitions/cartier}

The post V&A to open UK’s first major Cartier exhibition in over 30 years next Spring first appeared on The Glass Magazine.

Launched in Berlin last April and now landed at La Scala, the Puccini exhibition showcases an array of never-seen-before documents.

From displaying the Archivio Storico Ricordi, which are the unpublished sketches from the final duet of Turandot that were with the composer in Brussels before his death to create an animation that sees AI recreate the sets of his unfinished opera according to the composer’s original intentions, the show uncovers an array of new highlights. 

To mark the centenary of Giacomo Puccini’s death, last April, Bertelsmann and Archivio Storico Ricordi premiered Opera Meets New Media – Puccini, Ricordi and the Rise of the Modern Entertainment Industry, a multimedia exhibition on the composer and the interaction between opera and the media of the time. 

_{Giacomo Puccini. Photograph: Archivio Storico Ricordi}

The exhibition is displayed at the Museo Teatrale alla Scala until 12 January 2025, curated by the scientific director of the Archivio Storico Ricordi, Gabriele Dotto, and musicologists Christy Thomas Adams and Ellen Lockhart, who joined forces to unfold a pivotal turning point in the world of opera and the cultural industries. 

Thanks to the vast heritage of the archive, the most rounded musical collection of the Maestro, the exhibits and installations describe the challenges of the new media of the time on copyright, and the construction of the Puccini ‘brand’ and the composer’s transoceanic journeys to promote his works.

_{Puccini – Opera Meets New Media | Photograph: Archivio Storico Ricordi}

For curator Gabriele Dotto, they represent one of the most surprising contents of the exhibition: “They have never been shown in public before, which in itself makes them special,” he says, explaining how “they are captivating on several levels because music scholars will be intrigued by their unfathomable complexity.

“For La Scala, the Puccini centenary is the continuation of a path taken over the years with the presentation of the composer’s works in new productions directed by Riccardo Chailly,” opines Dominique Meyer, superintendent and artistic director of the Teatro alla Scala.

“Maestro Chailly will also conduct an extraordinary concert with Anna Netrebko and Jonas Kaufmann on November 29th, the exact day of the centenary of his death”.

_{Puccini – Opera Meets New Media | Photograph: Archivio Storico Ricordi}

_{Puccini – Opera Meets New Media | Photograph: Archivio Storico Ricordi}

Donatella Brunazzi, director of the Museum, explains how in recent years the commitment of the Museo Teatrale alla Scala has been aimed at presenting the immense heritage of melodrama from new points of view.

“This new Puccini event is an opportunity to reaffirm a cultural line that exudes openness to innovation and to continue the natural relationship between the Teatro alla Scala and Ricordi, in the very premises that once housed the publishing house”.

by Chidozie Obasi

The post New exhibition dedicated to Giacomo Puccini shines a light on the composer’s legacy first appeared on The Glass Magazine.