L’Oréal-Sponsored Exhibition on Inner and Outer Beauty Opening – WWD

ATHENS — With beauty developments, what goes round comes round ­— and typically it takes 2,500 years to shut the loop.

That’s among the many takeaways of “Kallos: The Final Beauty,” an exhibition inspecting the traditional Greek’s veneration of “kallos” — or exterior and inner magnificence — that opens on the Museum of Cycladic Art in Athens on Sept. 29. L’Oréal is its sponsor.

At the moment, internal magnificence and well-being are enjoying an more and more very important position but once more within the magnificence {industry}, which is broadening its scope of message, merchandise and classes as customers demand a extra holistic and inclusive imaginative and prescient of magnificence.

“The exhibition comes on the proper time, as a result of humanity is rediscovering at this time this idea that perhaps was a bit misplaced for some time,” defined L’Oréal chairman Jean-Paul Agon throughout a current interview on the museum. “It was invented by the Greeks, which is why I used to be from the start very seduced by the thought of this exhibition — due to the Kallos idea.”

The manager, who was appointed normal supervisor of L’Oréal’s enterprise in Greece on the age of 24, has a long-standing adoration of the nation.

“Interior worth is one thing which is totally important to L’Oréal,” he continued. “So important, that we outline L’Oréal with the well-known sentence: ‘Since you’re value it.’ However it’s a new period of magnificence at this time, the place folks assume magnificence isn’t just what you see.”

Quite, the fashionable tackle magnificence is multilayered and -faceted. When one speaks of a “lovely particular person,” “it signifies that he has ‘kallos’ — a soul that’s lovely,” stated Sandra Marinopoulou, president and chief government officer of the Museum of Cycladic Art.

The sweeping Kallos present within the bijou museum based by her aunt culls 322 antiquities — akin to statues, terra-cottas, jewellery and fragrance bottles — from Greece, the Italian peninsula and the Vatican, 280 of which have by no means been proven publicly earlier than. The exhibit, which weaves in philosophical concepts, primarily focuses on the seventh century to the first century BCE, with an emphasis on the sixth, fifth and 4th centuries.

“It’s when logos began, and logos is that logic with sentiment and with science, when mythology begins to stay,” stated Nicholas Chr. Stampolidis, the museum’s outgoing director, who will turn into the final director of the Acropolis Museum, throughout an interview. “Logos is prevailing, which is the pre-Socratic philosophers, Socrates, Plato, Aristotle and the others.”

The present, which was the brainchild of executives from each the museum and L’Oréal, will not be structured chronologically, however fairly organized transversally into two fundamental sections: Beautification and Magnificence.

“It’s like a laboratory, a proposition. It’s not scientific analysis time-wise. It’s seen in a distinct mental approach, and never in a chronological, historic approach,” stated Marinopoulou.

The present opens with a marble statue by Kallimachos of a dancing Laconian maiden, along with her mantle billowing behind her and wrought so finely that mild shines by means of, courting from between 420 and 415 BCE.

“We tried to have from all of the museums of mainland Greece and island — or insular — Greece the perfect of the perfect items, so to grasp that the notion of magnificence was not an Athenian idea, however it was well-spread and dispersed throughout Greece, Asia Minor and Magna Graecia, meaning in southern Italy and Sicily,” stated Stampolidis, throughout a tour.

“So it was a notion of Greek tradition all around the Mediterranean and the Historic World,” he continued.

Within the exhibition’s first room is displayed a clay red-figured hydria with an outline of Sappho, the Archaic Greek poet, writing one in all her poems that may be learn with the assistance of a microscope, for the reason that particulars are so exacting.

“If we learn Homer and the lyric poetry of the seventh century, it began with the exterior magnificence however slowly — for those who learn the contextual path of the written verses — you then perceive it’s not solely that,” stated Stampolidis.

He then pointed to an historical vase from Chiusi, Italy, with a illustration of the fictional character Penelope sitting on a stool by a loom, the place — as a trustworthy spouse — she wove and unraveled her weaving to keep away from remarrying. Penelope will not be solely bodily lovely, however her loyalty and energetic nature contribute to her magnificence, defined Stampolidis.

From "Kallos. The Ultimate Beauty"

From “Kallos: The Final Magnificence.”
Copyright Paris Tavitian / Museum of Cycladic Artwork

A magnificence and beautification-related room has as its centerpiece a marble statue of Aphrodite after a shower, drying her hair, courting from 1st century BCE and created within the Greek metropolis of Rhodes. It’s, in line with the director, the closest to Praxiteles’ rendition of the goddess of affection and sweetness, in line with descriptions.

Subsequent door is a room displaying fragrance and unguent containers.

“We’ve many, many several types of fragrance bottles coming from antiquity,” defined Ioannis Fappas, a curator on the museum, who pointed to 1 that had contained rose-scented oil and others that after held saffron-scented oil and iris-scented oil.

“These three fragrance oils had been among the many hottest perfumes of antiquity,” he stated.

Fappas highlighted a striped fragrance vase with a rounded center from Lydia, an Iron Age kingdom of southwestern Asia Minor, which had housed fragrant bakkaris that Sappho linked to Aphrodite in poems.

Two vases depict fragrance oil-selling themes.

“Perfumes in antiquity had been very, very costly,” stated Fappas.

Historic Greeks used unguents and lotions, as properly, and these got here in specifically designed pots, on present, too.

Generally objects within the exhibition seem repeatedly. That’s the case, as an example, with the gold necklace ornamented with lanceolate leaves, giving a feathered impact, whose design additionally seems painted on a terra-cotta bust of a lady and adorning a clay black-glazed pyxis. It’s the one time the three items have been proven collectively wherever.

Earrings, broaches, pins, combs and mirrors are on show within the hairstyles part. Within the half dedicated to “kallos of mortals” are examples of graffiti from antiquity about lovely folks, and representations of well-known figures of the time ­— actual and divine — akin to Alexander the Nice, and heroes like Heracles and Achilles.

“They’re described as being very lovely. Aside from the fantastic thing about their our bodies and faces, they’d magnificence of their souls, as a result of they had been courageous and needed to do issues for the group,” stated Fappas.

One other main work, coming from the Archaeological Museum of Eretria and lent out for the primary time, is a marble sculpture representing Theseus, the legendary hero of Athens, abducting Antiope, a legendary queen of the Amazons.

From "Kallos. The Ultimate Beauty"

From “Kallos: The Final Magnificence.”
Copyright Paris Tavitian / Museum of Cycladic Artwork

There’s a marble aid depicting Leda’s erotic encounter with Zeus disguised as a swan.

“You’ll be able to perceive that even gods had been attracted by human magnificence, they usually needed to seize it, in order that it belonged to them endlessly,” stated Stampolidis.

Different works characterize the likes of archaic and classical kallos.

The exhibit, total, is about understanding magnificence.

“Sappho has the perfect quote on that,” stated Stampolidis, who defined she was requested: “’What’s magnificence? The place can we discover it?’ She says, ‘No matter one loves.’”

“Kallos: The Final Magnificence” runs by means of Jan. 16, 2022.

“We’d love this exhibition to journey world wide, as a result of in each nation of the planet this might resonate strongly, because it’s very related,” stated Agon.

The hope, stated Marinopoulou, is that after an individual sees the present, “the second he leaves, he’ll perceive that magnificence is each inside and outdoors.”

“Greater than he thought,” stated Agon.

“And perhaps,” added Marinopoulou, “it makes you’re feeling you wish to be a greater particular person.”

“I see this additionally as a improbable approach to deepen our personal information of magnificence,” stated Agon, referring to L’Oréal’s groups. “This helps us tremendously to grasp our mission, which is to carry the perfect of magnificence to everybody world wide.”


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