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    Mary McFadden, Celebrated Designer of Shimmering Dresses, Dies at 85

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    She took symbols from ancient cultures and translated them into intricate embroideries, beadings and paintings on clothes worn by the likes of Jacqueline Onassis.Mary McFadden, a fashion designer who was famous not just for her shimmering, pleated dresses, which cascaded freely to the floor, but also for her visage — stark white Kabuki-style makeup and bluntly cut ebony hair — died on Friday at her home in Southampton, N.Y. She was 85.Her brother John McFadden said the cause was myeloma dysplasia.Ms. McFadden took symbols from ancient cultures — the phoenix from China, shadow puppets from Indonesia — and translated them into intricate embroideries, beadings and paintings on her clothes.At Mary McFadden Inc., the company she ran from 1976 to 2002, she designed pleated dresses that she said she wanted to fall “like liquid gold” down a woman’s body. They were similar to those made by Mariano Fortuny and Henriette Negrin early in the 20th century, but they were made from a synthetic charmeuse that she sourced in Australia, dyed in Japan and machine-pressed in the United States — a fabric she patented in 1975 and called Marii.She designed dresses that resembled those worn by the women sculpted on the caryatids at the Acropolis in Greece, and her models imitated their poses for fashion shoots under the pediment of the New York Public Library. Jacqueline Onassis was among those who wore McFadden gowns.Ms. McFadden was the first female president of the Council of Fashion Designers of America. She served in that position from 1982 to 1983.The author, pianist and composer Christopher Mason said that he often ran into Ms. McFadden in the late 1980s and ’90s, and that he once found himself seated next to her at a dinner hosted by the Irish model Maxime de la Falaise for her daughter, Loulou.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Luca Guadagnino Has a Film at the Venice Film Festival and Curates Homo Faber

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      The film director and designer did double duty in Venice, Italy, debuting a film at the Venice Film Festival along with his curation of Homo Faber, the craftsmanship exhibition.Luca Guadagnino has added creative director to his list of jobs.As a filmmaker, his credits include “Challengers,” the Oscar-nominated movie “Call Me by Your Name” and the upcoming “Queer,” an adaptation of William S. Burroughs’s semi-autobiographical novella starring Daniel Craig, which recently premiered at the Venice Film Festival. He is also the founder of Studio Luca Guadagnino, an award-winning interiors firm in Milan that has designed several homes, boutiques and, most recently, the Palazzo Talia hotel in Rome.Now, Mr. Guadagnino has marshaled the staging and curation of Homo Faber, a monthlong, biennial craftsmanship exhibition that opened on Sunday at the Giorgio Cini Foundation, a cultural center on San Giorgio Maggiore island in Venice. Homo Faber, which means “man the maker” in Latin, is put on by the Michelangelo Foundation for Creativity and Craftsmanship, a Geneva-based non-profit established by Italian author Franco Cologni and luxury industry billionaire Johann Rupert, chairman of Richemont, which owns the brands Cartier, Van Cleef & Arpels and Alaïa. Mr. Guadagnino partnered with his design studio project manager, Nicolò Rosmarini, to conceive this third edition as a “holistic experience — like a narrative,” he said.To achieve this, Mr. Guadagnino and Mr. Rosmarini created an immersive journey throughout the island’s 16th-century Palladio-designed monastery and assorted buildings that carries visitors through 10 multisensory set pieces, each dedicated to an aspect of the human experience like Childhood, Courtship and Dreams. They designed everything (“the lighting system, the uniforms, the tote bag, the tables, the cover of the cable on the floor,” Mr. Guadagnino said) then filled the rooms with 800 objects by 400 artisans from 70 countries.Reef by Josh Gluckstein, a piece in the exhibition.Matteo de Mayda for The New York TimesJust My Cup of Tea(r)s by Irene Cattaneo.Matteo de Mayda for The New York TimesTanagra’s Metamorphosis 2 by Claire Lindner.Matteo de Mayda for The New York Timesribbon imagined by Studio Luca Guadagnino.Matteo de Mayda for The New York TimesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Antique Wall Tapestries Are Back. Here’s Where to Buy.

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      Leafy antique wall hangings are having a resurgence in the design world, showing up in even the most modern rooms.Picture a tapestry hanging on a wall and the setting is likely a rambling manor house. Lately, however, ornate European examples have been appearing in less expected places, including contemporary Manhattan apartments. “Just as they did in castles in Belgium in the 15th century, tapestries provide an enormous amount of visual impact, warmth and artistry,” says the New York-based interior designer Billy Cotton, 42, who recently installed one as a stand-in for a headboard in an eclectic apartment on the Upper East Side. “They bring something unique that art or wallpaper just doesn’t.”European tapestry, as an art form, dates back at least as far as the Middle Ages, when intricate, outsize weavings depicting everything from wildlife scenes to biblical stories were woven by hand on looms using wool, silk and even gold and silver thread. During their first surge in desirability, between the 15th and 18th centuries, they were found exclusively in the grand abodes of royals and aristocrats — not only because of their prohibitive prices but because of the vast wall space required. Thick and dense, they also acted as insulation, making them ideal for drafty castles. (Henry VIII was a fan.)According to Jim Ffrench, 60, a director at the gallery Beauvais Carpets in Manhattan, antique wall hangings remained as expensive as important oil paintings and other fine art until around the time of the Great Depression, when they fell out of fashion and lost value. “The concept of them being a decorative or secondary art form is very much a mid-20th-century conceit,” he says. “But the upside is that, today, even the best tapestries in the world are still cheaper than a Basquiat.” While that’s a high bar — and figurative woven scenes are relatively rare and priced accordingly — simple verdure tapestries, which depict lush landscape scenes, and fragments of larger pieces can often be found for less than $1,000.In the New York City bedroom of the interior designer Billy Cotton, a verdure tapestry that he found at a Paris flea market acts as a headboard.Blaine DavisA rare wool-and-silk panel woven in Brussels in the early 1500s and depicting a betrothal scene hangs on the wall at the Manhattan showroom of the textile dealer Vojtech Blau.John Bigelow Taylor“The palette and scale of tapestries can lend a room a beautiful openness because, oftentimes, they have an interesting sense of depth in their compositions,” says Adam Charlap Hyman, 34, a co-founder of the New York- and Los Angeles-based architecture and design firm Charlap Hyman & Herrero. In the living room of his New York City apartment, an early 18th-century verdure tapestry — inherited from his grandmother and made in Aubusson, a French town famed for its weaving — takes up almost an entire wall, framing a curved 1970s sofa by the German designer Klaus Uredat.The Manhattan-based architect and designer Giancarlo Valle, 42, often incorporates tapestries with nature scenes — known as cartoons — into his projects because, he says, “they’re like lenses into another world.” Recently he hung a 14-foot-high 17th-century Flemish piece above a midcentury chest of drawers in a client’s otherwise minimalist New York apartment. The piece, which he acquired from an estate, is part of a four-panel set, other panels of which hang in the palatial English manor houses Holkham Hall in Norfolk and Mamhead in Devonshire. “I think their rise in popularity fits in with the larger trends we’re seeing in the art world now for figurative paintings, real life scenes and historical-looking works,” he says, adding that “tapestries are great for rooms that need a big storytelling element or have a very large wall.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘It’s our job to change it for the better’: can artists influence the US election?

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      “I think what we’ve learned is that one man’s hope is another man’s fear,” broadcaster Alex Wagner observed in the final episode of the Showtime channel’s The Circus. “Barack Obama was the embodiment of hope for a lot of people and the embodiment of fear for a sizable portion of this country. And the same is true for Donald Trump. They are twinned emotions and we as a country cannot reconcile that.”Street artist and social activist Shepard Fairey’s Hope poster was a defining image of Obama’s winning 2008 election campaign. Sixteen years on, with another presidential poll looming, it can often feel like fear has the upper hand in American politics. But Fairey is again at work to show that art can make a difference.The 54-year-old is co-chair of Artists For Democracy 2024, a campaign launched this month by the progressive advocacy organisation People for the American Way. It aims to create art that will motivate citizens to vote against the authoritarian Trump and reclaim concepts such as “freedom”, “patriotism” and “the American way”.The lineup of more than 20 artists includes co-chair Carrie Mae Weems along with Beverly McIver, Titus Kaphar, Hank Willis Thomas, Victoria Cassinova, Christine Sun Kim, Alyson Shotz, Amalia Mesa-Baines, Angelica Muro and Cleon Peterson. Together they are setting out to cut through the political noise to surprise, entertain and shock voters out of apathy.Fairey, who has contributed four images stressing the importance of democratic participation, says by phone from Los Angeles: “The amazing thing about art is that it can get to someone’s emotions around empathy, compassion, seeing that the country should work for everyone, not just for the super rich and powerful. Some of these goals with outreach are just to stimulate that moral centre of people.“All humans are capable of making good choices, bad choices, having moments of joy, moments of pain, moments of hope, moments of fear. If we’re following the wrong story, the wrong narrative, making a more compelling alternative narrative can shift the wind back in the other direction, so that’s what I try to do all the time.”View image in fullscreenArtists for Democracy 2024 also includes a Kickstarter campaign to fund the production of billboards in Arizona, Michigan, Pennsylvania and Wisconsin and an effort that will include peer-to-peer texting, radio PSAs, on-the-ground organisers, targeted digital ads and art activations with potential expansion into more battleground states such as North Carolina and Georgia. Activities include the release of visual prints, custom-made merchandise, radio ads, digital ads, celebrity videos, bus wraps and billboards.People for the American Way was founded in 1980 by the TV producer Norman Lear as an advocacy group aimed at countering the rising power of the evangelical right. One of the pieces included in the campaign is a portrait of Lear – who died last December aged 101 – by Fairey that was inspired by the photographer Peter Yang.The organisation has long engaged artists, from an advert narrated by the actor Gregory Peck urging Americans to reject the nomination of Judge Bork to the supreme court to board members including Seth MacFarlane, Alec Baldwin, Josh Sapan and Kathleen Turner.During the 2020 election it ran an Enough of Trump campaign in swing states featuring billboards, street teams, art installations, digital content, organising and a six-figure crowdfunding campaign. Trump was indeed defeated, only to roar back with a 2024 White House run that is even more radical, extreme and driven by vengeance.Fairey admits: “I never thought that Trump would be viable after January 6. He made many efforts to undermine all the institutions that preserve a functioning democracy while he was president the first time and he failed to completely undo all the safeguards.“But he has more people who will be complicit with his malfeasance this time and so, if he’s elected, it will be a lot more destructive. I actually really care about democracy and care that people will have a say in all of the things that government does that affect their lives, so it’s pretty fucking important.”Warning of Trump’s dictatorial tendencies, he continues: “I’m not someone who is prone to hysteria but this is an existential threat for a lot of the things that Americans have taken for granted and the success of this country has been built upon.”But the notion of artists diving into politics might set off alarm bells. The perception that Hillary Clinton was palling around with Hollywood stars in 2016 fed an “us v them” narrative, dividing America between coastal elites and Trump-loving “deplorables” in the heartland. Could artistic interventions be seen as patronising, preachy and counterproductive?Fairey insists that that some issues cut across partisan lines. “The idea that your freedom to vote might be limited can appeal to some people who normally don’t like liberal ‘woke’ talking points.“I grew up in South Carolina which always votes for Republicans and yet I had and still have tons of progressive friends. Sometimes the outreach in those places makes people who might feel apathetic or like they don’t have allies feel a little bit more courageous. I don’t think it’s a wasted effort at all.”There is another challenge this time. Opinion polls show that Biden’s staunch support for Israel as it wages war in Gaza is alienating young people, progressives and Arab Americans. More than 100,000 Michigan voters in the Democrats’ presidential primary election cast “uncommitted” ballots in a massive protest against the president.View image in fullscreenFairey understands the concerns but makes a case for pragmatism. “I do think that’s a problem but what I would say to any of those people is, regardless of how you feel about Joe Biden, if you can understand that your idealism has to be married to the pragmatic side of having a functional democracy, your next round of opportunity to place someone you like more than Joe Biden in the White House or any other political office is going to depend on democracy working.“So don’t be shortsighted. Consider that, whatever you don’t like about Joe Biden, Trump will be much worse. Anybody who’s young who has listened to Trump talk about Israel should know that Israel is going to get more unconditional support from Donald Trump. If you care about a ceasefire and human rights in Gaza, Trump will not be the person to perform better on that.”Fairey will vote for Biden, albeit not with the same enthusiasm that he felt for Obama. “I’m an idealist but I also understand that there is never going to be someone who’s running a perfect party, a perfect president or perfect Congress. This is where I get very frustrated with people who decide that it just doesn’t make any sense to participate at all if they don’t get precisely what they want, because all they do is ensure that they’re going to get even less of what they want.”McIver is another veteran of the Enough of Trump initiative four years ago. This time she has produced Black Beauty II, an image of a woman patterned with flowers beneath the word “VOTE” – in which the “T” is stylised as a woman’s fallopian tubes and uterus.The 61-year-old year old was “horrified” when the rightwing supreme court ended the constitutional right to abortion. “As a woman, I’m past the age where I would ever have an abortion but I still think it’s extremely important that all women fight for women’s rights,” she says by phone from Chapel Hill, North Carolina.McIver, who is African American, is clear-eyed about what a second Trump presidency would mean. “To even fathom that could happen makes me incredibly uncomfortable and very worried for humanity at large. I just think that we have to beat them. We have to get out there and vote.“I’m gonna take people to the polls, I’m gonna make phone calls, whatever it takes to get people out to vote is extremely important because I can’t imagine that the humanity of the world has gone that low that it would be acceptable for Trump to be president again. That’s a hopeless thought.”View image in fullscreenMcIver is convinced that art can make a difference and rejects the charge of liberal elitism. “That’s funny as a Black woman who grew up in the projects in Greensboro, North Carolina, whose family was raised on welfare, who wasn’t expected to amount to anything and art saved me, if you will.”Living with “roaches and rats” in the projects, she recalls watching Lear’s sitcom Good Times, about a family living in a public housing project in inner-city Chicago. “They were in the projects and the character JJ was an artist and he made paintings –that gave me hope about what my future could be, so the last thing I think about myself is an elitist. My family tells me I’m not all the time.“I’ll definitely own being a humanitarian and wanting good for everyone – guilty of that for sure. ‘We can’t trust the artist because they are elitist. Their work sells for X dollars.’ All that’s about fear, which is how Trump is running this campaign and has run it in the past. We just gotta realise that, before fear, we’re all human.”For Peterson, the political wake-up call came in 2017. A brawl erupted outside the Turkish ambassador’s residence in Washington when President Recep Tayyip Erdoğan’s diplomatic escort beat up protesters, leaving nine people injured and two under arrest.“I thought, well, this is strange, this is something different with all this divisive language and hatred and everything going on in the public dialogue, getting people riled up with fear,” the 50-year-old says from Los Angeles. “It looked very similar to stuff I’d seen in history and that’s when I started getting scared.”Peterson, too, regards Trump as a fundamental threat to democracy. “He’s trying to destroy institutions and we’re becoming like a culture of grift. I’ve found within myself that I can be all right with a certain amount of grift in the world but, when it become all-encompassing, I just can’t deal with it any more.“In terms of what’s going on, you can’t take this stuff seriously. This guy’s selling Bibles and NFTs – it’s just gotten crazy. We’re listening to super-technical arguments in the courts that that are just meant to be disruptive. Nothing is productive any more. It’s just a battle of fake ideas all day long.”Peterson has faith in the power of the artist to effect change. “I see it as our job – not just visual artists but writers, musicians, painters – to tell some form of truth in the world and also express some form of ideals and also have some kind of vision reminding people of the past and also a hopeful image of the future.“People feel disengaged and alienated, like they’re powerless nowadays, and maybe our role as artists is to say look, you guys actually do have some power here. In a world like where we can become overwhelmed with crisis, it’s our job to change it for the better if we want a better life.” More

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      in Elections

      Dries Van Noten Announces Retirement

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      The Belgian designer, known for his glorious use of color and prints, remained independent for years. Now he’s going out on his own terms.In a shock to the fashion world, Dries Van Noten announced that he was stepping down as creative director of the brand that bears his name. His fall 2024 men’s show, scheduled to take place in Paris in June, will be his last.“My dream was to have a voice in fashion,” Mr. Van Noten, 65, wrote in a letter sent to editors. “That dream came true. Now, I want to shift my focus to all the things I never had time for.”Mr. Van Noten was an original member of the Antwerp Six, the group of Belgian designers who changed fashion when they arrived in Paris in the early 1980s. In his statement, he wrote that he had been “preparing for this moment for a while, and I feel it’s time to leave room for a new generation of talents to bring their vision to the brand.”In an industry in which founders often cling to their positions well into their 80s and rarely engage in succession planning, Mr. Van Noten’s move stands out as a rare example of a designer ceding power by his own choice — and at the height of his skills. His last women’s show, held in late February in Paris, was an emotional, generous paean to style over fashion and the creativity of dressing oneself.But the consideration, originality, grace and attention to detail that marked his clothes, and that inspired a 2014 solo exhibition at the Musée des Arts Décoratifs in Paris and a 2017 documentary about his work, have also marked his approach to his business.Looks from Mr. Van Noten’s last women’s show in Paris in February.Photographs by Imaxtree, via Dries Van Noten (far left); Pascal Le Segretain/Getty ImagesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Microsoft Word’s Subtle Typeface Change Affected Millions. Did You Notice?

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      A change in Microsoft Word’s default typeface, from Calibri to Aptos, didn’t register for everyone, but fans of typography got excited.When you read — a book, a traffic sign, a billboard, this article — how much do you really notice the letters? If you’re like most people, the answer is probably not at all.But even if you don’t really notice them, you might sense it if something has subtly changed. That’s a feeling some people have had in recent weeks when they turn on their Microsoft Word programs.After 17 years of Calibri as Word’s default typeface, many users suddenly found themselves typing in a new typeface called Aptos. The change is also affecting the look of PowerPoint, Outlook and Excel.Letters are letters, but for designers and typography fans, they matter a lot.Why the change?“We wanted to bring something new and fresh that really was designed natively for the sort of modern era of computing,” said Jon Friedman, the company’s corporate vice president for design and research, who led the effort.(Technically Aptos and Calibri are typefaces, while a “font” refers to a particular face or size, like italics or boldface. But in practice, “font” is often used as a synonym for “typeface,” including by Microsoft employees interviewed for this article.)The big divide in the world of typeface is between serif, or letters with small lines or tails attached to their edges, and sans serif, letters without those lines that have a smoother look.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in US Politics

      Restorationists urge Jill Biden to erase Melania Trump’s Rose Garden makeover

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      Efforts to erase the Trump family legacy have reached the White House potting sheds and nurseries with Jill Biden being urged to restore the mansion’s garden to a state that predates ex-First Lady Melania Trump’s 2019 makeover.An online petition calling on the first lady to return the Rose Garden to its “former glory” has been signed by more than 54,000 people. The petition says Biden’s predecessor “had the cherry trees, a gift from Japan, removed as well as the rest of the foliage and replaced with a boring tribute to herself”.Restorationists urge that the garden be returned to a state that was created in the early 1960s by Jacqueline Kennedy with the help of famed designer Bunny Mellon.“Jackie’s legacy was ripped away from Americans who remembered all that the Kennedys meant to us,” the petition reads, and notes that her husband, the president, had said that “the White House had no garden equal in quality or attractiveness to the gardens that he had seen and in which he had been entertained in Europe.”In July 2020, as her husband fought for re-election and the coronavirus pandemic raged, Trump announced that her renovation project, which included electrical upgrades for television appearances, a new walkway and new flowers and shrubs, would be an “act of expressing hope and optimism for the future”.The changes to the garden were the first since Michelle Obama initiated a project in 2009 to dig up an 1,100 square foot plot on the South Lawn adjacent to the tennis courts for a vegetable garden.The plan included replacing crab apple trees, introducing a new assortment of white “JFK” and pale pink “peace” roses, and a new drainage system. “In a way, the metaphor of openness and improved access became our overall plan concept,” wrote Perry Guillot, the landscape architect overseeing the project.But the renovation met with criticism focused on Trump’s decision to go ahead with her project during the Covid-19 pandemic. There is no indication, as yet, that Jill Biden plans to act on the petition’s recommendations.On Thursday, her husband was spotted by the White House press corps picking a dandelion for his wife from the White House lawn before they boarded a helicopter.A day later, on Friday, the first lady commemorated Arbor Day by planting a linden tree on the north lawn of the White House. Her press office said it was to replace one removed last month that was deemed a risk and had not been planted by a historical figure.“Who doesn’t plant trees in high heels?” she said. More