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Andrew Gn: Fashioning Singapore and the World will run at the Asian Civilisations Museum in Singapore through September 17, 2023. The night before Bottega Veneta debuted the latest iteration of its cultural-exchange series, The Square São Paulo, creative director Matthieu Blazy took a break from the dance floor to talk. “I feel like a kid the night before a holiday,” he said. The setting was a house party chic enough to defy that description but charming enough to earn it: Behind him, a dining table heaved with traditional decadent Brazilian fare; around him, a crowd of local artists, collaborators, and friends clad in his designs spun and sang his praises; and in front of him, the famed Brazilian singer Mart‟nália crooned, backed by her band. But the pleasure Blazy anticipated was atypical to those usually afforded the international fashion darling and certainly more abstract. Tomorrow he was going to align the world of his Bottega Veneta with that of the famed Brazilian modernist Lina Bo Bardi.
Earlier in the evening, Blazy addressed the crowd, recounting how, when he first took the reins as creative director at Bottega Veneta back in 2021, one of the members of his new team had asked: If Bottega Veneta was an architect, who would it be? “I answered immediately, „I wish it
were Lina Bo Bardi,‟” Blazy said. Specifically, the way the Italian-born, Brazilian-by-choice design icon had “brought people together, exploring new fields, never compromising on liberty, leaving the intellectual behind to let the emotional experience come first.” So when it came time to celebrate a decade of Bottega in Brazil for The Square São Paulo, Blazy proposed something aligned with both Bo Bardi‟s principles and his own. “It‟s not about a bag and not about fashion,” Blazy said. “It‟s about something that is shared.”
For The Square, “the idea is what if Lina Bo Bardi had survived into modernity? What work would she have brought in here?” said Stockler. “What would that say about Brazil today?” Stockler went about combining the Instituto‟s collection with contemporary pieces by Brazilian artists like Allan Weber, Mestre Guarany, Cristiano Lenhardt, Davi de Jesus do Nascimento, Gokula Stoffel, and Vivian Caccuri. On hand for the first day of The Square, the artists were eager to discuss the broader themes of their work. These ranged from racial profiling by police to climate justice and grasping for utopia. The program had been divided into four so-called paths to explore different aspects of Brazilian culture as related to Casa de Vidro and its former inhabitants, including tours of the interior (“The Glass House in Three Times”); the exterior and gardens (“Geometry and Spirituality”); the influence of various pivotal art movements, including neo-concrete, modernism, and Tropicália (“Tropical Roots”); and a sound tour focused on the
main composers and performers in the emergence of bossa nova (“Soiree in Lina‟s Hall”). Much like a crystal easel, these paths provoke multiple looks at any given angle or added dimensions to a given idea. “Time is a spiral,” said curator Keyna Eleison, who moderated the first panel discussion. “The future is influencing the past here.”
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