From the rucksacks piled high with water guns – the perfect weapon for 30 degree heat, to the smiley face that appeared in the sky when Chic played their Sunday Pyramid stage set, relive or relish in the festival of the year.

_{Glastonbury Festival 2025. Photograph: Eve Louisa}

_{Glastonbury Festival 2025. Photograph: Eve Louisa}

_{Glastonbury Festival 2025. Photograph: Eve Louisa}

Each photo explores the underbelly of Glastonbury. Less about the glitz and glamour of the big stages, it looks out at the hundreds of tents that expand across the fields of Worthy Farm, the build-up of bin bags, and the various flags that fly high. Louisa draws us into a detailed painting that feels more familiar to us.

_{Glastonbury Festival 2025. Photograph: Eve Louisa}

_{Glastonbury Festival 2025. Photograph: Eve Louisa}

_{Glastonbury Festival 2025. Photograph: Eve Louisa}

Pairs of legs brushing against each other, toes being stood on followed by apologetic murmurs, all in an attempt to get up to the eye-line of your favourite DJ.

Merging into the anonymous crowd, the heat from the people as you pass is sticky — like a melting lollipop stick covered in fluff. It’s almost unbearable. But as the beats drop and you’re dancing with your chosen family, a breeze kicks in, and suddenly it all feels more than worth it.

_{Glastonbury Festival 2025. Photograph: Eve Louisa}

_{Glastonbury Festival 2025. Photograph: Eve Louisa}

_{Glastonbury Festival 2025. Photograph: Eve Louisa}

Despite the smell of the porta-loos and the ground that in the heat of June 2025 leaves dust clouds that coat your lungs, festivals dominate British culture. They are a strange phenomenon and cause hundreds of thousands of people, myself included, to be in enchanted with their chaotic charm. It is Glastonbury festival that is the ultimate confirmation of the joy, laughter and connection that can be found within them.

_{Glastonbury Festival 2025. Photograph: Eve Louisa}

_{Glastonbury Festival 2025. Photograph: Eve Louisa}

_{Glastonbury Festival 2025. Photograph: Eve Louisa}

_{Glastonbury Festival 2025. Photograph: Eve Louisa}

_{Glastonbury Festival 2025. Photograph: Eve Louisa}

_{Glastonbury Festival 2025. Photograph: Eve Louisa}

_{Glastonbury Festival 2025. Photograph: Eve Louisa}

_{Glastonbury Festival 2025. Photograph: Eve Louisa}

by Ellis Dowle

The post Glastonbury through the lens of photographer Eve Louisa first appeared on The Glass Magazine.

Kublin was born in 1924 in Zalaszentgrót, a small town in Hungary. He was obsessed with photography from a young age – setting up a dark room in his parents’ bathroom. When he was 15, he studied photography at the Budapest School of Photography and during the Second World War he took photos of the bomb-devastated city for the Hungarian army.

_{Tom Kublin behind the Camera, 1965. Courtesy Maria Kublin}

With Hungary still reeling from the fall out of war, he moved to Zurich in 1951 and set up a photographic studio. At the time, the Swiss city was famous for its textile industry and Kublin worked for the Abraham silk company, which supplied Parisian Haute Couture houses, photographing fabric.

It was through this that Kublin began working with Cristóbal Balenciaga photographing the designs of each of his collections for copyright purposes, as was commonplace in Haute Couture. This began their mutually creative relationship.

Kublin went on to shoot many Balenciaga looks for magazines such as Harper’s Bazaar where he was a favourite photographer of its fashion editor, Diana Vreeland, developing an elegant style that focussed on the garment rather than the model and mise en scène. Working in moving images, he also filmed Balenciaga’s fashion shows and a commercial for Balenciaga’s Le Dix perfume, which was restored for the exhibition Tom Kublin for Balenciaga: An Unusual Collaboration at the Cristóbal Balenciaga Museum.

_{Maria Kublin. Courtesy Maria Kublin}

Tragically Kublin died at the age of 42, too early for his significance in photography to be fully recognised.

His posthumous – and only child – Maria Kublin (her mother, Kublin’s muse, the Dutch model Katinka Bleeker, was six months’ pregnant with her when Kublin suddenly died in 1966 in Locarno, Switzerland) has collaborated with Ana Balda on a book focussing on his work with Balenciaga, Balenciaga – Kublin: A Fashion Record, published by Thames&Hudson.

How did the idea for a book about your father’s collaboration with Cristóbal Balenciaga originate?

In 2022, my co-author, Dr Ana Balda, and I curated an exhibition for the Cristóbal Balenciaga Museum, Tom Kublin for Balenciaga: An Unusual Collaboration. From the outset, it was the intention to emphasise the extraordinary collaboration between my father, Tom Kublin, and renowned Haute Couture designer Cristóbal Balenciaga. To do so, the exhibition showed more than 100 photographs and five short films, all shot by Kublin for Balenciaga.

Our initial idea was to have a catalogue coinciding with the exhibition, but as we were living in uncertain times – due to the pandemic – it just didn’t happen. The fact that the exhibition was extended because it was such a success gave us the confidence that people were interested in the creative relationship between my father and Balenciaga. And so, the idea of a making a book came into existence.

_{June 1965, Harper’s Bazaar US. Courtesy Hearst Magazine Media Inc}

The book also contains an interview with your mother, Katinka. Can you explain how this idea evolved and how you felt interviewing your mother?

As previously mentioned, Balenciaga-Kublin: A Fashion Record was written by two authors each with a distinctive approach: Ana Balda was responsible for writing the biography of my father.  Being the posthumous daughter of Kublin, I was eager to give a more personal perspective and interviewing my mother Katinka Bleeker, model and muse, seemed a logical thing to do. Being able to interview my mother was an enriching experience as it gave me an insight into her life as a young girl from Amsterdam who moved to New York City in the 1950s with a dream of becoming a model and where she met my father.

_{1955, Abraham Textile Archive. Courtesy Abraham Textile Archive, Swiss National Museum, Zurich}

Did you and your mother have all his archive when he died or did you have to seek it out?  

After my father passed away, my mother was left with the archive. For many years it was just there. My mother was so overcome with grief that looking at the photographs was too painful for her.  It took a few years before she was able to look at my father’s body of work and, of course, also look at herself as a model. For me, the archive became a very important source once I dived into the legacy of my father. Discovering a filmed commercial for Balenciaga’s Le Dix perfume, starring my mother, was an absolute highlight. This film had never been seen by the public before and was shown for the first time in the exhibition.

While doing your research, did you find new information about your father?  

 In 1971, the BelleriveMuseum in Zurich dedicated a first retrospective exhibition to Balenciaga. During my research, I came across a letter written by Diana Vreeland in which she writes to the curator of this exhibition, asking politely but determinedly, if she could include the photographs and films of her dear friend Tom Kublin in her 1973 exhibition The World of Balenciaga at the Metropolitan Museum of Art. Of course, she was permitted to do so.

Besides working with Balenciaga, my father worked for Dior, Chanel, Givenchy and Yves Saint Laurent, among many others. The Musée Yves Saint Laurent in Paris has a letter from Yves Saint Laurent to my father saying how he values their friendship and collaboration. Knowing that the work of my father was appreciated by important figures in fashion has filled me with joy and pride.

_{September 1965, The Weekend Telegraph. Private Collection}

Could you describe the essence of your father’s collaboration with Cristóbal Balenciaga and why it was so fruitful?

It is not easy to explain how two creative people understand each other so well. It is interesting that they had a similar upbringing: both knew from a young age what they wanted to become later in life; were exposed to grandeur; lost their father [early in life] and had to flee their country because of political turmoil.

Perhaps this almost identical background was at the basis of it all. When my father met Balenciaga, he was still in his 20s and Balenciaga, being older, might have mentored the young Kublin by taking him, for example, to art galleries and museums where he introduced Kublin to Spanish artists like Goya and Zubarán.

I can imagine that through these museum visits and conversations, my father developed a certain taste, which eventually developed into a shared vision and visual dialogue that enabled both to learn from each other and for Balenciaga to see his designs in a fresh and different way. The collaboration between Tom Kublin and Cristóbal Balenciaga is significant both in documentary and artistic purposes with the importance of the photographic and filmic work in shaping the image of the Balenciaga brand.

_{July 1964, Harper’s Bazaar US. Courtesy Hearst Magazine Media Inc}

Balenciaga was heavily influenced by art. After seeing his oeuvre, would you say this also applies to the work of your father?

My father had his first studio in Zurich, Switzerland, at the time the world capital for silk companies. At its highpoint, the city had more than 90 silk businesses and one of these companies was Abraham, whom my father worked for, photographing their fabrics. The director, Gustav Zumsteg, was a visionary and his best clients were Balenciaga, Givenchy and Yves Saint Laurent.

Zumsteg’s mother was the propriétaire of Kronenhalle, a restaurant where avant-garde artists, Haute Couture designers and my father mingled. Being an art historian, I can definitely see that he was influenced by art. A great example is a photograph he took for Harper’s Bazaar [1959] of the ballerina Antoinette Sibley and a sketch from an Edward Degas portfolio which was in my father’s art collection. The composition, the pose of the ballerina and the atmosphere of the image are strikingly similar. We also discovered that the dramatic draped fabrics he used as a background for many editorials was inspired by Da Vinci’s Drapery for a Seated Figure.

What can you tell us about your father’s development as a photographer?

Of course, I know my father’s body of work very well but sometimes I am surprised by discovering a photograph that was previously unknown to me.  His development as a fashion photographer and filmmaker became evident at the show at the Cristóbal Balenciaga Museum. Being able to see his career showcased in chronological order gave such a great overview, showing how he evolved and developed his signature style. This was also the case with his fashion films. His first films are a bit stiff in comparison to his later ones, which show off his confidence and artistic skills.

_{November 1963, Harper’s Bazaar US. Courtesy Hearst Magazine Media Inc}

How do you think Tom Kublin influenced fashion photography?

Simplicity is the ultimate sophistication and Kublin understood that. In the isolation of his studio, Tom Kublin created his own world with his own aesthetic, which happened to be in harmony with the Balenciaga aesthetic. 

He was a master at capturing timeless beauty resulting in images of classical simplicity. Kublin’s breathtaking portrait of my mother and muse, Katinka [for Harper’s Bazaar, 1965] marks a legacy of timeless photographs that captured an unexpected beauty and the essence of the golden age of couture.

Fashion photography before my father’s time depended on lavish decoration and extravagant poses. In Kublin’s work, there are, for example, no settings, only the model and the dress. By emphasising style over context, he revolutionised the genre.

Do you have any future plans for keeping your father’s legacy alive?  

I would love to introduce my father’s work to the greater public and I think that creating this book definitely helps. In collaboration with my publisher, Thames&Hudson, I have been extremely lucky to be able to do book-related events – for example a talk at the V&A in London in October.  I can hardly describe how good it feels to talk about my father’s legacy and receive such positive reactions.  Of course, I would like another exhibition and am currently in conversation with several important  art institutions. So let’s see what the future has in store.

by Caroline Simpson

_{Balenciaga – Kublin: A Fashion Record by Ana Balda and Maria Kublin is published by Thames&Hudson}

The post Glass speaks to Maria Kublin, daughter of the influential fashion photographer Tom Kublin first appeared on The Glass Magazine.

_{Rapture. Photograph: Shirin Neshat}

MILAN, ITALY — The world’s societal crisis is failing us. It’s excluding stories, and talents, on and offscreen, and promoting only a “vile” number of narratives from sweeping backgrounds to ranks of wider relevance. These are not my modern thoughts. They’re the verdict of centuries of exploitation that see a one-sided gaze being constantly eulogised at the expense of those whose vile attempts at neglecting history sit at the core of their agenda.

However, the cruelties of our times are so brazen that they can no longer be brushed aside. An artist following this line of thought is Shirin Neshat: the Iranian-born, New-York hailed polymath creates work that dives into the notions of power, religion, race, gender and the relationship between past and present, through the lens of her personal experiences as an Iranian woman living in exile.

Neshat interprets her country’s culture from a female perspective: from her 1990s debut with the Women of Allah series, comprising photographs of women whose bodies are inscribed with poetic calligraphy, to The Fury, a video installation that anticipates a wealth of societal movements. Neshat’s work epitomises dualism and explores the tension between belonging and exile, sanity and insanity, dream and reality. Below, GLASS sat down with the artist. 

_{Passage. Photograph: Shirin Neshat}

How do you manage to dismantle the wealth of elements within your works, which stretch from religion, and culture to politics? 

There’s aesthetics, there’s a visual vocabulary, a style and a methodology and then multiple ideas and meanings behind them: it’s really challenging because sometimes aesthetics takes over or sometimes the meaning is overly domineering. So for me, it’s always about finding the balance of carrying depth and meaning. I’m a minimalist, so I work on very simple body postures. For example, if you’re looking at these images from the Book of Kings, I thought of talking about the notion of patriotism and symbols of allegiance, which stand for the love of the nation universally. Then the writing over it reiterates that love.

And then could you justify your usage of monochrome over colour?

My work is so much about dualities, opposites, contradictions and paradoxes, so to me black and white punctuates that duality, but also I like this darkness of black and white. I think colour is pretty—as it tends to make things pleasant—but I don’t like that. There’s something about black and white that makes things more timeless. You know, when you’re using colour you have a deeper sense of time, but in black and white you forget about the period you’re in. 

_{Film still from Colony, 2019. Photograph: Shirin Neshat}

_{Film still from Colony, 2019. Photograph: Shirin Neshat}

In these present times, the art world is facing severe downturns which makes it stand on the brink. Have you approached any new, exciting mediums?

Most things in art are about making money, but the reason I like videos and movies is because it goes away from making commodities and it really touches a variety of audiences. I like the idea of making videos and work that are not possible to buy. I think cinema is particularly a very powerful tool. I really love making films. 

_{Fervor. Photograph: Shirin Neshat}

How do you scrutinise the subjects that you pick for your photographs? 

Well, it happens very organically. For example, this story about sexual exploitation was about a woman from Iran being sexually raped in prison and it was one of the stories I heard about: women that were abused by men in uniform. And it lived with me for a long time, so I thought that I must absolutely do something. Because for so long, I’ve made work about the female body as a point of shame or political ideology, but I’ve never depicted it as a sexual exploitation of violence.

So, I wanted to do that and that’s when I made this video. Moreover, Land of Dreams was my very first work about America, which got me thinking—as I’ve made work about my own dreams, now I go to Americans and ask about their dreams. So, it was playing with the idea of America being the land of dreams, and every project developed very organically according to what was going on in my life.

by Chidozie Obasi

The post “We just cannot be neutral”: Shirin Neshat on art, exploitation and hope first appeared on The Glass Magazine.

_{Legadema Portrait by Beverly Joubert}

The foundation is a conservation organisation founded by Beverly and her husband Dereck Joubert a decade ago. They work through wildlife conservation as well as raising awareness through their fundraisers and initiatives to protect the lives of endangered animals. 

Dereck said, “We have seen firsthand that recovery is possible. We know how to preserve, rescue and recover these species, and we can do it with your support.”

The prints feature a selection of images of the endangered and threatened cats that the foundation represents. With coloured and black and white images available they are both beautiful and striking. 

by Imogen Hipkin Holland

_{Each print of the Art That Protects Collection is an exclusive edition of this size and price, limited to 25 prints per art piece, available until 30^th April 2025. Shipping costs are included in the price of the print.}

The post The Great Plains Foundation begins fundraiser with Beverly Joubert prints first appeared on The Glass Magazine.

MILAN, ITALY – Oftentimes it’s the simple things that make for compelling craft. Such an example can be attributed to George Hoyningen-Huene’s photographic practice, on view at Milan’s Palazzo Reale to celebrate one of the pioneers of fashion photography 125 years after his birth.

Curated by Susanna Brown, curator of the Victoria & Albert Museum in London, the exhibit – a first in Italy – consists of hundreds of photographs distributed in ten sections, starring platinum prints that display the photographer’s poised and powerful monochrome style, as well as a section that highlight his use of printing techniques and the cultural references that tinged his works. 

_{Philippe Halsman George Hoyningen-Huene photographing Rita Hayworth 1943 © George Hoyningen-Huene Estate Archives}

The exhibition thematically traces the career of George Hoyningen-Huene (St. Petersburg 1900 – Los Angeles 1968), the son of an American woman and an Estonian baron, who after the October Revolution left Russia and fled with his family to London before moving to Paris in 1920. At the time, he joined the inner circle of Man Ray, with whom he actively collaborated, and frequented surrealist artists such as Salvador Dalí, Lee Miller, Pablo Picasso, Paul Éluard and Jean Cocteau. 

_{Erna Carise 1930 © George Hoyningen-Huene Estate Archives}

_{Maggy Rouff 1939 © George Hoyningen-Huene Estate Archives}

Described by Richard Avedon as “a genius, the master of us all” thanks to his portraits and photographic compositions which had severity and a certain level of wit to them. Among the most surprising of the twentieth century, George Hoyningen-Huene was among the first in the 1920s and 1930s to capture the style of haute couture houses in Paris, including Chanel, Balenciaga, Schiaparelli and the jeweller Cartier.

In particular, as chief photographer of Vogue France – a position he held from 1926 to 1936 – Hoyningen-Huene established himself as one of the leading authors of the period, creating innovative spirit shoots whose aesthetics were influenced by classical art and Surrealism. 

_{George Hoyningen-Huene: Glamour and the Avant-Garde. Photo: Vincenzo Bruno}

_{George Hoyningen-Huene: Glamour and the Avant-Garde. Photo: Vincenzo Bruno}

Full points to the Surrealist section, which features an extraordinary selection of fashion and lifestyle compositions alongside influential features of the past that continue having a resonance in the modern day. Indeed, the Surrealist movement had Hoyningen-Huene look at unusual compositions, the manipulation of reality and suspended and dreamlike atmospheres, turning mere fashion portraits into authentic works of visual art.

An integration recounted in the section THE ESSENCE OF DREAMS: HUENE, CHANEL, AND THE INFLUENCE OF SURREALISM, focusing above all on the collaboration with the two fashion houses, whose contrasting souls were promptly captured by him: on the one hand the artistic and experimental audacity of Schiaparelli, on the other the sober and revolutionary modernity of Chanel.

by Chidozie Obasi

The post Milan’s Palazzo Reale documents George Hoyningen-Huene’s monochromatic vision first appeared on The Glass Magazine.

Photographer TOM O’NEILL

Senior Fashion Editor LILY RIMMER

Make up EOIN WHELAN

Hair YUI OZAKI

Photography assistant OSCAR ECKEL

Model TINA KOVEYSHA at PRM

Clothing credits
Look 1: Jacket, trousers TOVE STUDIO
Look 2: Jacket ISABEL MARANT
Look 3: Bralette BEVZA, Hat CONNOLLY, Vest STYLIST’S OWN
Look 4: Shoes, jacket ISABEL MARANT, Bodysuit TOM FORD
Look 5: Dress LOEWE, Shoes CHRISTIAN LOUBOUTIN
Look 6: Suit ROLAND MOURET, Shoes FERRAGAMO

The post Glass presents Burn the Midnight Oil – an editorial by Tom O’Neill and Lily Rimmer first appeared on The Glass Magazine.

_{Ugo Mulas | Autoritratto con Nini A Melina e Valentina – 1972}

The Municipality of Milan promoted the exhibition, which was produced by Palazzo Reale and Marsilio Arte in collaboration with the Ugo Mulas Archive, with the support of Deloitte and the patronage of the Deloitte Foundation. Denis Curti, Director of Le Stanze della Fotografia in Venice, and Alberto Salvadori, Director of the Ugo Mulas Archive, curated it.

300 images – many of which were never displayed before now – vintage photos, documents, books and films, look back over Ugo Mulas’ entire compendium: from theatre to fashion, from portraits of international artists, protagonists of American Pop Art, to those of intellectuals, architects and personalities from the world of culture and entertainment – including Dino Buzzati, Giorgio de Chirico, Marcel Duchamp, Jasper Johns, Roy Lichtenstein, Arthur Miller, Eugenio Montale, Louise Nevelson, Salvatore Quasimodo, Giorgio Strehler and Andy Warhol – from the various locations and cities to nudes and jewellery.

_{Ugo Mulas | Fausto Melotti Sette savi – 1970}

_{Ugo Mulas | Scenografia per Woyzeck – 1969}

The subtitle of the exhibition, “The Process of Photography” draws its inspiration from one of the most important series created by Mulas, the Verifiche (1968-1972), with which the retrospective opens: fourteen works that came about as a result of the artist’s rigorous conceptual reflection on the history of photography and its constituent elements.

For the first time, in the rooms of Palazzo Reale, also on display together with the Verifiche are the studies that preceded them, forming genuine evidence that still today provides us with the keys to interpret and enter the aesthetic and conceptual universe of Ugo Mulas. A sort of mapping of photography that has a homage to Niépce, Verifica 1, to whom the exhibition will devote particular attention, as its point of departure.

_{Ugo Mulas | Tessuti Taroni – 1970}

Also on display for the first time are many portraits of the most important protagonists of the design, architecture and art of the second half of the 20th century who are associated with the city of Milan, including Gae Aulenti, Giulio Castelli, Achille and Pier Giacomo Castiglioni, Vittorio Gregotti, Bruno Munari, Gio Ponti and Ettore Sottsass, along with several images of sculptor Fausto Melotti, a dear friend of Ugo Mulas, to whom an entire section is devoted.

Along the exhibition route, structured into 14 themed chapters (Verifiche, Duchamp, Fontana, Calder, Melotti, Theatre, Milan, Places, Portraits, Fashion, Nudes and Jewellery, New York/Pop, Interior/Exterior, Vitality of the Negative), the profile emerges of a total photographer, who tackled many different subjects over the course of his brief, intense experience, with the awareness that photography is not mere documentation, but testimony and critical interpretation of reality.

_{Ugo Mulas | Edie Sedgwick e Andy Warhol New York – 1964}

“With this retrospective, Milan pays homage not only to a great photographer, but also to a man who knew how to capture and convey the soul of this continually evolving city,” says Tommaso Sacchi, Councillor Responsible for Culture.

“Ugo Mulas, in fact, will permanently join the exhibition in the new itinerary of the Museum of the 20th Century, which we will inaugurate in the next few days, precisely on account of his interpretation of the artistic life of the city in what were fundamental years for Milan: those of the Bar Jamaica, of Piero Manzoni and Luciano Bianciardi, of Lucio Fontana and the Funerals of Nouveau Realisme.

But not only that: other museums in the city will also host a selection of photographs by Mulas, offering an itinerary that will include the key locations of his life and works, thus continuing the itinerary outside of the rooms of Palazzo Reale.” 

_{Ugo Mulas | Bar Jamaica Milano – 1953-1954}

The visual documentation by Ugo Mulas represents a precious contribution to the understanding of the cultural and artistic history of that period, telling of the economic and social fervour of Milan in the second half of the 20th century.

Evidenced in his first photos from 1953 of the district of Brera and the famous Bar Jamaica, a meeting place for extraordinary personalities such as Piero Manzoni or Luciano Bianciardi, and the photos of the suburbs, the Central Station, dormitories and everyday moments. 

_{Ugo Mulas | Sala di Michelangelo Pistoletto Vitalità del negativo nell’arte italiana – 1970}

The exhibition is part of a project to present the work of the great photographer to the public, the first stage of which took place in Venice, at Le Stanze della Fotografia, in 2023. The programme continues in October 2024 in Milan, where the exhibition is presented with an itinerary and an approach that are entirely unprecedented and specially designed for the city, thanks to the in-depth research work into the author’s production that has enabled photos never exhibited before to be unearthed.

by Chidozie Obasi

The post Between timelessness and conservatism, Milan’s Palazzo Reale welcomes Ugo Mulas retrospective first appeared on The Glass Magazine.

A newly set up charity, it’s brought to you by two father and son duos, Tony McGee (the fashion and music photographer, known for his work with David Bowie, Kate Moss, and Madonna), filmmaker and actor Max McGee, Michael Goodall (who has worked in the music and fashion industry for decades and is now a dedicated to charity) and Joe Goodall, actor and dedicated philanthropist.

_{Indian Lady by Noel Gallagher}

To celebrate the launch of the charity, expect an exhibition entitled, ‘Unseen,’ put together in part by McGee, that’ll feature rare and personal photographs taken by some of the world’s most most loved musicians, including intimate portraits of bandmates, cue a candid shot of Mick Jagger, to personal moments like an early morning sunrise captured on an iPhone. Nick Cave, Joan Armatrading, Neil Tennant (Pet Shop Boys), Mick Fleetwood and Suggs are among the participants.

_{Untitled by Matt Helders}

Fans and art collectors alike will have the chance to bid on original prints, some of which have never been available to the public before via an online auction on the 28th of November. All proceeds from the auction will go directly to MENTAL AID and its programmes.  

_{Mick in the studio by Billy Wyman}

Tony says, “It was a photograph that David Bowie took of me in my studio in 1984, when I was shooting photos for his Let’s Dance Tour, that inspired the concept of ‘Musician Photographers’. Every artist in whichever medium has a story to tell and a photograph is often one of the best ways to tell it. I founded Mental Aid with my son Max alongside Michael and Joe Goodall to encourage creativity as a form of healing and to spread awareness of those suffering from mental illness.”

He continues, “MENTAL AID’s ongoing mission is to provide essential support to individuals struggling with mental health challenges. This auction serves as a powerful reminder of how art can inspire change and foster healing.”

_{Thunderbird at CBG by Chris Stein}

Artworks available by:

• Bill Wyman
• Chris Stein (Blondie)
• Joan Armatrading
• Jools Holland
• Kevin Godley (10CC)
• Matt Helders (Arctic Monkeys)
• Mick Fleetwood
• Neil Tennant (Pet Shop Boys)
• Nick Cave
• Noel Gallagher
• Pauline Black
• Sir Rod Stewart
• Suggs

by Felicity Carter

_{See more via auction.mental-aid.org}

The post Nick Cave, Arctic Monkeys and Noel Gallagher donate to a charity photography auction first appeared on The Glass Magazine.

_{© Peter Lindbergh Foundation}

The exhibition will comprise of ten curated rooms, through each room the visitor will be able to embark on a visual journey of all the iconic silhouettes crafted by Christian Dior. The showing will also reveal exclusive images from renowned editorial series, supremely those shot for Vogue and Harper’s Bazaar.

Never-before-seen contact sheets and proofs are amongst many of the thoughtful details in this show, intrinsically creating an intimate walk through the mind of Peter Lindbergh. A highlight of this showing is a very special photo- shoot that was commissioned exclusively by Dior—the shoot had taken place on the opulent streets of New York in 2018.

_{DIOR x LINDBERGH SCENOGRAPHY © ADRIEN DIRAND}

_{DIOR x LINDBERGH SCENOGRAPHY © ADRIEN DIRAND}

This exhibition will undoubtedly be a profound celebration of the artistic melding of minds of Lindbergh and Dior. They’ve beautifully converged in this show by the thoughtful display of their immense dedication to capturing the essence of feminine beauty in its most raw and authentic form.

by Alia Campos

_{The Dior/Lindbergh exhibition is currently open at La Galerie Dior; La Galerie is located at 11 rue François-Ier, Paris 8th. For further details, visit galeriedior.com.}

The post La Galerie Dior honours the late Peter Lindbergh’s powerful vision in fashion first appeared on The Glass Magazine.

Taiwanese artist Chia Huang from the École Nationale Supérieure des Beaux-Arts de Paris claims the winning title for her photographic series “Silence is speaking”, judged amongst a panel of esteemed names chaired by French photographer Brigitte Lacombe. 

The jury consisted of names such as Marina Hoffmann, Art historian Julie Jones, Laurent Montaron, a French contemporary artist alongside Creative and Image Director for Dior Makeup, Peter Philips and Simon Baker, Director of the Maison Européenne de la Photographie in Paris.

_{Chia Huang}

Huang adventured into the quaint town of Taitung, where she met two autistic brothers who were unable to communicate using traditional language and who resided with their father battling cancer. Heart-wrenching and sensitive, the images demonstrate their silent communication and body gesticulations. 

Additionally, Chinese artist Yiding Wang from the Shanghai Institute of Visual Art received a Jury Honourable mention for his video “Go Back Home’ a narrative showcasing a young man carting a blossoming peach tree on his back to take to his father’s hometown, honouring his last wishes. 

Huang will be awarded a 10,000 euro grant from Dior, and the photographic series will be showcased at the Maison Européenne de la Photographie in Paris starting at the beginning of next year.

Alongside Huang, Wang and 12 finalists will be allowed to exhibit their works at the Lampisterie, LUMA Arles, which commenced at the beginning of July and will run until 29th September 2024.

by Nicole Pereira

The post Dior Beauty announce the winner of its Photography and Visual Arts Award for Young Talents first appeared on The Glass Magazine.

_{Sir Paul McCartney, Stella McCartney, Mary McCartney, Sir Elton John and David Furnish. Photo by Dave Benett for Victoria & Albert Museum}

The private viewing took place over the 14th and 15th of May, with the latter ushering celebrities and artists such as Omari Douglas, Nick Grimshaw, Raven Smith and Munroe Bergdorf, to name a few — alongside Sir Elton John, David Furnish and their close friends. DJ Fat Tony provided entertainment for the evening whilst the guests dined on canapés and a delicious food spread catered by The Last Supper.

 The event of the 14th welcomed personal friends of Sir Elton John and David Furnish, with the likes of father-daughter duo Sir Paul McCartney and Stella McCartney, Tracey Emin and Russel Tovey in attendance. 

_{Sir Paul McCartney. Photo by Dave Benett for Victoria & Albert Museum}

The exhibition will be open to the public from the 18th of May 2024 to the 5th of January 2025. It will display 300 rare prints from 140 photographers derived from the legendary singer’s archive, marking the largest temporary exhibition of 20th & 21st Century photography held at the V&A. 

The images portrayed will feature some never-seen-before pieces amongst the era-defining photographs which explore the resilience and vulnerability intrinsic to the human condition.

As a follow-up from the 2016 exhibition held at the Tate Modern titled, The Radical Eye: Modernist Photography from the Sir Elton John Collection, the upcoming exhibition will span over the 1950s up until the present day and will also be featuring an instillation of 149 Nan Goldin prints from her Thanksgiving series. 

_{Tracey Emin. Photo by Dave Benett for Victoria & Albert Museum}

The exhibition will see various renowned photographers who write the narrative of modern and contemporary photography with the likes of esteemed Robert Mapplethorpe, Cindy Sherman, William Eggleston, Diane Arbus, Sally Mann, Ai Weiwei and others featuring their work. 

Amongst the assortment of subjects explored, fashion photography will also be featured, with hot names in the industry, such as Irving Penn and Herb Ritts, making a cameo. 

_{Sir Elton John and David Furnish. Photo by Dave Benett for Victoria & Albert Museum}

“Since we first loaned a selection of Horst photographs to the V&A in 2014, our relationship with the museum has grown significantly. Fragile Beauty takes our collaboration to really exciting new heights, showcasing some of the most beloved photographers and iconic images from within our collection. Working alongside the V&A again has been a truly memorable experience, and we look forward to sharing this exhibition with the public.” — Sir Elton John and David Furnish

Fragile Beauty will adventure into themes such as fashion, reportage, celebrity, the male body and American photography through its portrayal of John and Furnish’s love for the medium, exhibiting their unique taste and eye for collecting. 

_{Caroline Rush and Justine Simons OBE. Photo by Dave Benett for Victoria & Albert Museum}

Famed names such as Aretha Franklin, Elizabeth Taylor and the Beatles are among some of the celebrities featured, as the exhibition goes into depth on topics focused on persecution, resistance and historical moments such as photographs from the Civil Rights movement of the 1960s and AIDS activism of the 1980s.

Further, never-seen-before photographs taken by Richard Avedon of Marilyn Monroe at the pinnacle of her career will be on show.

Other highlights will be photographs from David LaChapelle, eleven Robert Mapplethorpe images, Sam Taylor-Johnson’s Crying Men (2004), the viral image by Julio Cortez of a protester holding an upside-down U.S flag next to a blazing building following the 2020 murder of George Floyd amongst many other poignant and powerful pieces. 

_{Nick Grimshaw and Meshach Henry. Photo by Dave Benett for Victoria & Albert Museum}

“We are delighted to be working with Sir Elton John and David Furnish to present highlights from their unparalleled collection: from the playful and surprising to the contemplative and thoughtful. Whether through the elegance of fashion photography, the creativity of musicians and performers, the exploration of desire, or the passage of history as captured by photojournalism, photography reveals something important about the world.

Fragile Beauty will be a truly epic journey across the recent history of photography and a celebration of Sir Elton John and David Furnish’s passion for the medium.” — Duncan Forbes, curator of Fragile Beauty

by Nicole Pereira

The post The V&A welcomes new exhibition Fragile Beauty: Photographs from the Sir Elton John and David Furnish Collection first appeared on The Glass Magazine.

From bustling Sydney beaches, to flash summer storms and lone long-boarders, the artist captures her world as it is. You can feel the archetypal beat that courses through her prints as they pierce through to a latent world we all know but seldom go, somewhere between memory and dream.

_{Poppie Pack unpacking one of her prints}

A self-described “tech nerd”, cameras beckoned Pack from a young age. As we chat from the upstairs studio of her Paddington gallery, she tells me, “I’ve always liked the tangibility of cameras, the quick action and the gratification of creating something.”

The obsession started when she was a teenager. Back then, her weapon of choice was a Minolta 35mm – the artist reminisces on her days shooting with it like she’s speaking about an old friend.

The darkroom of her high school photography studio became a second home where hours passed by, lost to that strange, quiet world that seemed to exist outside time, suspended between art and science.

It’s clear Pack has an enduring attachment to her craft, but the artist’s path into photography wasn’t so clear-cut. She studied design before working in publishing and the tech world.

_{Punjab in Pink’, limited edition print, shot in Punjab, Poppie Pack, 2018}

Far from being some unwanted interruption, Pack credits her design career as a crucial training ground that influences her practice to this day, “When I went back to photography, I shot with such a graphic eye. As opposed to being so focused on what I shot, it was more about what that shot could become… I am such a fierce editor.”

In many ways, editing has become the new dark room for Pack. Although she now works digitally, playing with light, colour and exposure allows her to capture feelings, “People often edit to smooth skin or create something better. What I do is almost the opposite of hyperrealism. I make my works less realistic so it feels more like a memory.”

Trading realism for relatability is Pack’s modus operandi and the results are telling. The artist points to a print of white hydrangeas leaning up against the wall, before telling me a buyer called up the other day and asked, “What did you do to make me feel nostalgia when I look at it? I feel like I miss it and I’ve never even seen it.”

_{‘Who’s That Girl’, limited edition print, shot at Cabarita Beach, Poppie Pack, 2021}

It seems I’m not the only one who’d like to know her secret. Pack’s art manages to infuse private moments with universal appeal. A lone Los Angeles palm rustles in the breeze; three surfers are buoyed up by the crest of a glassy wave; a summer shower comes down hard, thick droplets clinging to the undersides of leaves – you don’t have to have been there, but the allure feels personal all the same.

Whether it’s the pearly streets of Punjab or the milky wash of the shore at Tamarama, hazy washes of light encase each piece like a Turner painting. Through these portals, Pack invites us to leap into our own interior worlds. Who knows what you might find buried below?

Whilst her dreamy snaps encourage us to look back, Pack’s sights are set on the future. Forever in pursuit of the new, she wants to use technology to satisfy her main creative urge – making things bigger. In the physical world, there’s always a limit whether it’s the border of a frame or the height of a roof.

_{Poppie Pack}

The photographer leans forward and her eyes glow as we begin to discuss new territories, “I want to make a virtual world. I’m always thinking about doing an immersive experience but with VR, it can last forever.”

For now, you can find Pack at her Paddington store, juggling her art, business and motherhood. As we wrap up, she tells me about two best friends who lived together in Bondi and bought a pair of prints to sit above their sofa.

Right now, somewhere in the buzz of Manhattan, the same shots hang above a different couch – when one friend moved to New York, she bought identical prints so the two would always be connected. No matter how far you roam, the magic world of Poppie Pack stays with you.

by Christiana Alexakis

The post Glass takes a trip down memory lane with Kiwi artist Poppie Pack first appeared on The Glass Magazine.