Make it McQueen Times Two

The Duchess of Cambridge and The Duchess of Cornwall before the Wedding Supper

One McQueen was not enough. The Duchess of Cambridge chose to change into another exquisite McQueen gown for the wedding supper. With her hair down, a jewel encrusted belt and an angora bolero sweater, she looks like a happy bride ready to party.
While neither gown really looks like the avant-garde stuff of a McQueen runway show, no doubt both gowns have the details of workmanship and tailoring that define the McQueen label.
Sarah Burton must be ready to collapse with exhaustion. She only has a few days to recover before the Costume Institute gala and the official opening of the McQueen exhibition at the Metropolitan Museum of Art  on Wednesday. The Met blog is up and running if you want a sneak peak before my review. Check it out here.

Make it McQueen

Sarah Burton adjusting the dress

It was elegant, it was tasteful and it was McQueen.

According to the official press release, "Miss Middleton chose British brand Alexander McQueen for the beauty of its craftsmanship and its respect for traditional workmanship and the technical construction of clothing.  Miss Middleton wished for her dress to combine tradition and modernity with the artistic vision that characterises Alexander McQueen’s work.  Miss Middleton worked closely with Sarah Burton in formulating the design of her dress."

The happy couple

I have to applaud Miss Catherine Middleton,  not only for her choice of gown but also for her incredible grace, poise and elegance. While she seemed to be channeling Grace Kelly, she clearly is a modern woman who knows her mind and I look forward to watching her bring a fresh sensibility to the royal family.

The royal bride's choice of McQueen sets the stage for next week's upcoming McQueen retrospective at the Metropolitan Museum of Art in New York. I'll be attending the press preview of Savage Beauty on Monday morning and filing my review for Fashion Projects soon thereafter. Stay tuned!

Drawing Lab

Given that I've spent many, many hours in figure drawing classes, it might seem odd that I am even reading a book called Drawing Lab for Mixed-Media Artists. I know how to draw but I feel like I needed something to help get me back to the drawing board after the many months I've spent  doing research. Plus it feels like time to infuse some whimsy into my work. The charming cover of this book by Carla Sonheim was enough to sell me on it.

The aim of Drawing Lab is to make drawing fun. Divided into a series of 52 creative exercises, the book relieves the pressure of how to get started and what to draw. Although it is divided into thematic sections of inspiration (animals, people, nature, imagination etcetera), you can start anywhere in the book and find your fearless and creative inner child again.  Charming quotes in each section are gentle reminders to have fun, such as this quote by Carl Jung on page 82: "What did you do as a child that made the hours pass like minutes? Here is the key to your earthly pursuits."

Carla Sonheim, the author of Drawing Lab, is a painter, illustrator and workshop facilitator. Check out her lovely blog here. She writes with a clarity that any author would admire and adds an array of examples to each page. In fact, the book is so thoughtfully designed that it would work for almost any age group.

One exercise that I found surprisingly freeing was drawing with my wrong hand (my left hand). After a couple tries at that, I also drew this portrait in pencil with my wrong hand using a single unbroken line. Like Carla says "It's a paradox: when you have complete freedom, you often "freeze up" and do nothing." I was so sure it would just go straight into the bin but there is something that appeals to me about this not-so-perfect portrait - even though the eyes are a bit wonky and the proportions are slightly off. It didn't scan very well but it was fun!

Wrong-hand, continuous line portrait exercise by Ingrid Mida

Title: Drawing Lab for Mixed Media Artists
Author: Carla Sonheim
Publisher: Quarry Books, USA 2010
Category: Non-fiction, art
Number of Pages: 144

Eye Candy at the Opera: Opera Atelier's La Clemenza di Tito

Photo: Bruce Zinger / Artists: Michael Maniaci as Sesto; Curtis Sullivan as Publio; Kresimir Spicer as Emperor Tito; Measha Brueggergosman as Vitellia; Mireille Lebel as Annio and Mireille Asselin as Servillia along with Artists of Atelier Ballet

As a visual artist, I drink with my eyes so to speak. There have been times when I've attended an opera  and had to close my eyes because of the discontinuity between what I see on stage and what I'm listening to. But my eyes were wide open at Friday's opening night performance of Opera Atelier's La Clemenza di Tito and rarely have I enjoyed an opera so completely.

Designer Gerard Gauci created exquisite backdrops that created grand illusions of Imperial Rome in 79 AD as it might have been imagined by artists in Mozart's time. His beautiful costumes also bridged the two periods with a harmonious colour palette and silhouettes evocative of the 18th century. I was especially captivated by Measha Brueggergosman's black gown trimmed with a jaunty striped bow. The gown was lined in red, perhaps referencing her blood-thirsty quest for revenge. She also carried a lace shawl that appeared to be attached to a ring and which magnified every hand gesture. (I think I need one of those!) 

With Opera Atelier's strong cast of talented vocalists, I didn't need to read the subtitles to follow this complicated tale of revenge and redemption. With spectacular voices, each cast member conveyed the emotion of their character with both grace and vigor. But what was a particular treat was to hear the male soprano Michael Maniaci sing the role of Sesto.  I had never heard a man sing in this range and it was a rare gift.

There are four performances left at the Elgin Theatre on April 26, 27 and 30 and May 1, 2011. For more information, visit the Opera Atelier website.

P.S. Although I was invited to attend as media, I bought my own tickets just in case I did not want to write about it. But this production was so extraordinary that I just could not keep it to myself.