Design & Culture by Ed

In Berlin, I stumbled upon another sort of sci-fi scenario. Johann Wolfgang von Goethe once adoringly described Luise and Friederike, the Mecklenburg-Strelitz sisters as “heavenly visions, whose impression upon me will never be effaced”. Sculptor Johann Gottfried Schadow erected a monument to their elegance and grace, creating an icon of European classicism with his double sculpted portrait of the “Crown Princess Luise of Prussia and her Sister Princess Friederike of Mecklenburg-Strelitz”. The statue of these two figures, which has come to be known under the abbreviated title Princess Group, is one of the highlights of the Alte Nationalgalerie’s collection. Now, the sculpture is back on permanent display at the breathtaking Friedrichswerdersche Kirche. The original plaster cast has a particular significance within both the broader context of Schadow’s oeuvre and that of 19th-century sculpture: it is here that not only the artist’s creative signature is at its most palpable, but also the thrilling genesis of the double-figure statue.

Showcasing sculpture from Karl Friedrich Schinkel’s era through to the German Empire, the exhibition “Ideal and Form” at Friedrichswerdersche Kirche traces the medium’s lines of development through the long 19th century into the modern era. It also invites visitors to rediscover the Berlin School of sculpture, a movement whose international outlook was ahead of its time. With more than 50 sculptures – some monumental in scale – this exhibition provides a comprehensive survey of the work of the Berlin School and of its complex international ties. On display are major works by Johann Gottfried, Emil Wolff and Christian Daniel Rauch, and by female sculptors such as Angelica Facius, Elisabet Ney and Anna von Kahle.

Werderscher Markt / Berlin

All photos by Edward Kanarecki.
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With resort 2024 collection, Rosie Assoulin celebrates the 10 year anniversary of her brand. Time flies! I remember seeing the New York-based designer’s first collections and being absolutely seduced by her playful approach to eveningwear (we officially said goodbye to body-con styles and the notion of a “cocktail dress”), her colourist sensitivity, and the charming quirk that defines her signature style and fresh take on femininity. Observing Rosie’s work today, you have the same impression as 10 years ago: she’s a designer that marches to the beat of her own drum, who keeps her brand relevant, yet attractively off-the-mainstream-grid. The New York-ness that oozes from Assoulin’s fashion also plays a crucial role in her aesthetic. There’s just something very Park Avenue about her statuesque, origami-like gowns with harp bustiers, and then you’ve got a pin-striped suit that’s so laid-back it would work perfect for both, the office and a run to your favorite bodega. Resort 2024 isn’t a literal walk down the memory lane, but it has all the Rosie signifiers – some that had its debut exactly a decade ago. The very-oversized look, featuring a white top with a trail on the back, styled with matching white flares, is comfortingly familiar. The watercolour pattern come in always-chic picnic gingham and Frenchie stripes. A print of orchid pops in a couple of places, and the floral theme is translated into draped brooches that do the Carrie Bradshaw work on the masculine blazers and coats. Can’t forget to mention the summer-perfect, water print: its makes me think of Alex Katz, David Hockney and Tom Wesselmann, a couple of colour-obsessed, pop-art artists Rosie loves and in whose oeuvre finds constant inspiration. Assoulin, one of the most independent designers in NYC, in whose studio such talents as Christopher John Rogers have made their first steps and evolved, creates clothes for a loyal fan base of women, who appreciate uncompromising joy and boldness in their wardrobes. Here’s to another 10 years of Rosie’s brilliant creativity and fabulous fashion universe!

Collage by Edward Kanarecki.
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