1st Row ROCKS

Już dziś moje wspólne dzieło z Martoczki będzie brało udział w performatywnym wernisażu wystawy 15. Międzynarodowego Konkursu Kapeluszy organizowanego przez Atelier-Musée du Chapeau w Chazelles-sur-Lyon we Francji. W tym roku konkurs odbywał się pod tytułem "The Art and The Manner", a jury przewodniczył nadworny kapelusznik domu mody Dior, Stephen Jones Millinery. Niestety nasz wspólny toczek "Wyspiański 2025" z moimi haftami haute couture "Nasturcji" szydełkiem luneville bezpośrednio na krynolinie modniarskiej nie zgarnął żadnej nagrody jurorskiej, ale jeszcze będzie otwarte głosowanie publiczności podczas trwania wystawy w dniach 25.05. - 02.11.2025.

A tu poniżej tekst pomocniczy dla Jury, który miał wytłumaczyć do jakiego dzieła odnosi się nasze nakrycie głowy. Cóż... to tylko dowód, że trzeba popularyzować naszego Geniusza poza granicami kraju, aby zyskał rozpoznawalność niczym Klimt chociażby! A jurorzy wg zasady inżyniera Mamonia sugerują się tym co dobrze znają... ;-)

Vive la Stanislas!

The "Wyspiański 2025" hat refers to the designs and paintings of the outstanding Polish painter of the turn of the nineteenth and twentieth centuries, the Young Poland era – Stanisław Wyspiański (1869–1907). In the history of Polish art, literature and theatre, Wyspiański is considered a giant, a bard and a reformer. By the way, on March 27, 2025, an exhibition of his portraits will open at the National Gallery in London! His work was defined on the one hand by the Master-Student relationship with the director of the Krakow School of Fine Arts, Jan Matejko, and on the other hand, by his travels and stays in France in the years 1890 and 1891-1893.

His monumental frescoes from the Franciscan Church in Kraków (1895) are an inexhaustible source of inspiration, both in terms of depictions of nature and typically geometric, even abstract patterns. Throughout his life, Wyspiański loved to surround himself with flowers in his subsequent studios and "portrayed" them. Importantly, he was able to render the synthesis of each species in order to bring out what is most characteristic of homely Polish flowers with the help of several lines.

The hat has innovative on a global scale (!) embroidery with a luneville crochet directly on the milliner's crinoline! Embroidery using le point mousse stitch with glass beads and sequins, depicts orange Nasturtiums. The artist created several compositions with this floral motif. The design of the wall paintings for the Franciscan church was one of the largest and most difficult in Wyspiański's career. When inventing the decoration for the interior of the church, the artist had the opportunity, at least partially, to realize the idea of a total work, which had guided him since his youthful journey to France and his encounter with the local Gothic cathedrals.

The proposed concept of the garden on the walls of the church was supported by the artist with thorough studies of the thought of St. Francis of Assisi. Traveling as a student in France, he admired not only Gothic cathedrals, but also the smallest creations of nature. At that time, he wrote to his best friend, Lucjan Rydel (a playwright): "Flowers in the trenches, so beautiful and so pretty, poor – they will never be seen, nor will they decorate the head of any girl – no one will pick them – they will wither away and die forgotten, and they are so grateful, they group so beautifully, they sway so gently, they bend the roses of colourful crowns so alluringly; how much such roadside poetry is lost, forgotten, omitted, and as beautiful as these flowers". This hat is a tribute to the great Master, his timeless Art, and the fulfillment of the Artist's longing for ordinary „Roadside Poetry” to take on the Head of a Girl.