“Forever Beautiful”

Messages Posted on the Judgment of Paris Forum


SPECIAL EDITION: The Elena Mirò Campaigns, 2003.


“Forever Beautiful”

Earlier this week, an Italian lady sent us a lovely message, telling us how much she enjoys this forum and its philosophy. She also mentioned that she has been an Italian/English interpreter for thirty years, and would be happy to translate the text of any Elena Mirò publication for us.

It was one of those serendipitous moments that come along from time to time and repay all of one’s hard work.

Naturally, we immediately wrote back, imploring her to translate the statements that currently appear on the cover of the Italian section of the Elena Mirò Web site—i.e., the two blocks of text which describe the company’s intriguing “Da Sempre Belle” campaign. Forum readers will recall that our attempt to translate those statements via the AltaVista Babelfish program yielded unintelligible results; however, a phrase tantalizingly resembling “timeless beauty” appeared in the midst of the garbled wording, like the half-visible figure in Michelangelo’s unfinished sculpture, The Captive.

The very next day, this generous lady provided us with the following translation of the Elena Mirò texts. The parenthetical aside is the translator’s own:

FOREVER BEAUTIFUL (or “Beautiful Since Time Immemorial,” or, in other words, “Timelessly Beautiful”!)

The beauty of the Friends of Elena Mirò

The bodies and the shapes leave no room for doubt: curves, sinuosity, softness are all adjectives which describe the images (of beauty) transmitted over the years.

Elena Mirò’s message, placing their models in the settings of classical paintings, is aimed at reinforcing a positive attitude.

These are the ideal women of yesteryear and these continue to be today’s ideal of beauty.

* * *

THE NEW AD CAMPAIGN

FOREVER BEAUTIFUL

There are certain ideals of beauty which transcend fashion and customs. These are and always will be recognizable.

The Mediterranean (beauty) ideal of soft curves, the reference point for Elena Mirò, is in every respect an icon which has been continuously represented over the centuries.

The ideal women of yesterday, today and…tomorrow.

Something is always lost in the translation, but the meaning of these statements is plain. They differ dramatically from the catch-phrases that one usually hears bandied about in size-acceptance circles, such as “Bodies go in and out of fashion,” and “Beauty is in the eye of the beholder.” Elena Mirò’s philosophy is a very different one. This manifesto asserts that deep within the human heart, there dwells an ideal of beauty which is not affected by fad or convention. Rather, this ideal is eternal. As Emerson states, it is an ideal that we carry with us wherever we go, and in whatever circumstances we are placed.

And we are fortunate that providence provided Elena Mirò with an actual living embodiment of that timeless ideal, whom they could present to the world as the most persuasive evidence imaginable of the truth of these beliefs.

Barbara Brickner modelling for Elena Miro, Spring 2003

March 13, 2003


“The Ideal Woman”

Elena Mirò, the treasure of Italy, has long been one of the most progressive, most size-positive companies in the world. Not only does it present timeless beauty to a modern audience, but it consistently does so with tremendous creativity and originality.

Elena Mirò’s new Fall/Winter 2003 promotions continue the Da sempre belle (“Forever Beautiful”) theme from earlier this year, but this time, the description of the campaign that appears on the cover page of the company’s Web site ties it in even more closely with the ideals of the Aesthetic Restoration:

NEW PRESS CAMPAIGN

Ever since the beginning of art, the inspiring muse has been Woman, generous in appearance and form. This is the same Woman who inspired the creations of Elena Mirò, because her beauty is a form of art, and Elena Mirò is her frame.

This is the motivation which led us to choose, for the Fall-Winter Season, to tie our campaign in with the world of art. More than a campaign, a true Art Gallery, with four subjects ranging over the ages, styles, nations, with a single leitmotiv tying them all together.

That leitmotiv is the ideal Woman—a soft, feminine, curvaceous Woman. The Elena Mirò Woman.

It is quite uncanny how closely these words echo the credo of our Web project. The concept of the plus-size model of today as a reincarnation of the muse of artistic creativity, the notion of using print advertising for artistic as well as for commercial purposes, and the idea that a Web site can function as a frame for images of timeless beauty—each of these notions apply as much to the Judgment of Paris as they do to Elena Mirò.

Also, it is well worth considering how significant a turn in thinking this approach can inspire in the women who are Elena Mirò’s customers. To think of fashion itself as a frame for immortal beauty, rather than merely as functional attire, and to conceive of an identity as a goddess—what could be more profoundly removed from the mass-media debasement of full-figured women as second-class citizens?

This is more than just a new approach to commercial promotion. It a profound rethinking of the basic assumptions of advertising. This is the complete opposite of the premise of the mass media—i.e., to make women feel inadequate, and to convince them that they can only be happy if they purchase the products that are being offered. Rather, this is an elevating theme, a noble principle, one which says that full-figured women are beautiful—are, in fact, ideal—just as they are, and that fashion is simply a frame for the beauty that they already possess.

This is more than just “body love.” This is veneration, even worship. This is not an attempt to degrade the notion of an “ideal” by emphasizing what is prosaically “real.” Rather, this is an affirmation that plus-size beauty is ideal—a true, timeless ideal; a better, healthier, more fulfilling ideal than the false ideals that the modern media foists upon us.

Elena Mirò reclaims the notion of ideal femininity, because—as this campaign proudly declares—“Her beauty is a form of art.”

Barbara Brickner modelling for Elena Miro (and for Jan Vermeer), Fall 2003

September 21, 2003


ART EXHIBIT celebrating the full female figure

Nothing like this has ever happened before.

Elena Mirò has done more than merely launch a print campaign for the fall season oriented around the concept of art. It has actually organized a serious, bona fide art exhibit devoted to the celebration of the full female figure.

Here is a translation of the official Italian press release, which appears at the Elena Mirò Web site:

SHAPELY WOMAN

From September 22 to 27, 2003, the Art Gallery Antonia Jannone (Milan) will hold an exhibit of paintings entitled “Shapely Woman.”

Thirteen contemporary artists from all over Europe have accepted Elena Mirò’s invitation, confronting each other in a project unique in its kind: to reproduce, each interpreting in their own pictorial style, a model of Mediterranean Woman, with soft and generous curves. An ideal of woman which, in previous centuries, characterized and dominated all the forms and expressions of art, and which, fortunately, has returned to timeliness. Especially in fashion.

Among the artists are names such as Velasco, Rosa Martinez Artero, Harry Holland, Giovanni Spazzini, Comand, Matias Quetglas, Livio Scarpella, Bernardino Luino, Bruno Sacchetto, etc. etc.

The purpose of the project is to emphasize the ideal model of woman (Mediterranean curves)—which over the past 30 years has been unjustly stigmatized by fashion—by underlining her unmistakable plusses: sensuality, charm, humour, vivaciousness, Mediterranean radiance, appeal.

Positivity and dynamism are the right words to describe the philosophy of a brand name which, project after project, continues to tell the story of Mediterranean bodies, using new ideas in communication.

The exhibit is open from Monday through Friday from 3:30 pm to 7:30 pm; in the morning by appointment only. Friday after 6:30 pm and Saturday admittance is by invitation only.

And if the title of the exhibit gives you pause, in the original Italian, it is called Morbidamente Donna, and our Italian ally has provided us with the following translations of this term:

Definitions of the word “morbido”:
· soft -
cuscini morbidi = soft pillows
· tender -
carne morbida = tender flesh
· languid -
morbidamente adagiato = draped languidly
· delicate -
colorito morbido = delicate colouring

Soft, languid, delicate—those sensual definitions suggest that this may indeed be the perfect term for “full figured.” It seems every language has a term for “plus sized” that is more poetic than anything in our own vocabulary.

After reading about this exhibit, you may be thinking, “How thrilling—but how regrettable that we will not be seeing it ourselves, on this side of the Atlantic.”

But perhaps you will. Our wonderful Italian ally has also contacted Elena Mirò directly, and received the following exciting information from a press agent:

The paintings were commissioned by Elena Mirò, as I had hoped, and after the exhibit they are thinking of organizing a traveling exhibit. They would be very interested in sending it overseas (read North America), and off-hand are thinking in terms of showing it in department stores or malls where there would be a lot of people passing by. After its travels, it will probably find a permanent home at the home office of Elena Mirò, in Alba, Italy, but they haven’t really gotten this far with their planning as yet.

Another interesting feature of the exhibit will be large posters of all the Elena Mirò advertising campaigns, framed in the same manner as the paintings, interspersed with the paintings themselves.

The catalog will be handed out to those attending the press conference—and here she waxed positively enthusiastic—it’s round, (what else?) and though she tried to explain, I’m not really sure I got the concept: I believe it opens fanwise so that you can see all of the paintings at once, but we’ll just have to wait and see. I’m sure it will be lovely.

Another initiative has been taken in collaboration with a Milanese magazine, called Carnet, which is a weekly listing the attractions to be found in Milan—museums, exhibits, conferences, etc. The magazine is publishing a “pocket” insert of the exhibit which will be distributed with this week’s magazine, but in addition, they will be getting copies of the pocket catalog in the Elena Mirò boutiques and sales points all over Italy. These are being sent off today, so should be in the boutiques in a couple of days at most.

Again, the present author finds himself at a loss for words. This exhibit is a perfect realization of the goals towards which this Web site has been striving for five years. The confluence of the aesthetic restoration in art, and the aesthetic restoration in fashion, is now more than merely a dream. It is an accomplished fact.

It had to happen. It was inevitable, really. The ideals of Beauty are imperishable, and immune to fad or trend. They are graven in the human heart.

September 22, 2003


“The Emotion of Art”

“Das Ewig-Weibliche zieht uns hinan.” (Goethe)

One of Elena Mirò’s most powerful tools of communication has always been its custom magazine—variously titled Sorriso, Ciao Magre, and most recently, simply Elena Mirò. With a circulation of 350,000, it presents images of plus-size beauty to a public that stretches over most of Europe and into parts of Asia (and even to North America, for the few individuals who are fortunate enough to receive copies).

The new Fall/Winter issue is another triumph, with editorial layouts featuring Barbara Brickner, and stories about Sophia Loren, world travel (Prague!), home decorating, decadent dishes, and more. However, pride of place in the latest issue goes to the following thought-provoking article, which discusses the Morbidamente Donna exhibit, the feminine ideal, and the nature of artistic inspiration. Our tireless Italian ally has kindly provided us with a complete translation, which we offer here without further ado. What could we add? Elena Mirò has said everything that needed to be said:

THE EMOTION OF ART

Often, when one stands before a painting, one asks oneself what were the influences, the sensations, that drove the artist to paint it. Because no form of art can exist without emotion. What drives the writer to describe places and characters, or the sculptor to shape his materials, if not a strong emotional need to create? And where does this emotion spring from? From an image, from a scent, from the way the light falls and changes the look of an object. From an idea.

There is only one being who can encompass all of these sensations in a single whole: Woman.

For this reason, Woman has been, since the beginning of time, one of the subjects most frequently represented in art.

This same influence has inspired Elena Mirò to associate “their” woman with the artistic concept. This association is already two seasons old, and began with the use of several famous paintings in their advertising. A softly rounded model was slipped into each masterpiece, to show that, over the centuries, the concept of feminine beauty has always been fixed on this ideal of woman. Today Elena Mirò’s interest in this journey has blossomed into a new project, an exhibit entitled “Shapely Woman.”

Fourteen artists from all over Europe took up the challenge, with only one imperative: to represent the beauty and curves of the Mediterranean woman. The woman to whom Elena Mirò speaks.

The exhibit will be held during the second half of September at the well-known Gallery of Antonia Jannone, a leader in the field of art. It is thanks to her efforts that the artists became involved. The beauty of these canvasses is such that to stand before them is a very special experience. Perhaps it is due to the techniques used by the painters, which allows the full sense of the artists’ will to spring forth from the images represented, or perhaps it is due to the intensity of expression of the women portrayed.

Looking at the paintings, it is easy to see that the classical ideals of Mediterranean beauty have been obeyed to best advantage, ideals which fashion has, in recent years, unfortunately tried to humiliate.

Something else which shines out of the paintings is the balance that the artists show in representing softly curvaceous women without ever going overboard, without excess, and without showing them as caricatures. There are fourteen paintings, and they represent each artist’s personal best. The chromatic dimension of the paintings gives the womanly bodies a glow and an intensity which is almost tangible; hips, thighs, motherly breasts, all are masterfully rendered in all their three-dimensionality.

This is an exhibit which is unique in its kind, which looks at painting and the representation of female bodies from a new perspective, rich in truth and fascination. And this is a further way to render justice to a timeless model of woman.

September 24, 2003


“A Breath of Fresh Air”

Although yours truly has not yet seen the full catalogue of Elena Mirò’s extraordinary and groundbreaking Morbidamente Donna art exhibit, our Italian ally had the opportunity to tour the show earlier this week. Her impressions (“Good,” “Bad,” and “Bad-changes-to-good”) of both the original paintings that were commissioned for this exhibit, and of Elena Mirò’s own then-and-now “Forever Beautiful” posters, are lively and highly revealing. However, be warned that this account may build your anticipation to see these works to a fever pitch:

GOOD: the paintings are lovely, some more so than others, of course, but naturally one would expect no less from artists of such renown. I am not familiar with all of them, but they are really among the cream of the up-and-coming, already-almost-famous and already-famous. These are artists to be reckoned with! I haven’t kept up with the art scene for perhaps ten years, and so I didn’t recognize several of them, but the ones I was familiar with were already “names” at that time. Of course, I have my own personal preferences, and I’m curious to see whether they correspond with your own. However, for my money, the absolute best is the one you already posted on the Forum (with a couple of close runners-up!).

BAD: I don’t know if my timing was off, but there was no one present from Elena Mirò while I was there. The Gallery owner was very snarky, intellectual-artistic looking-down-her-nose unless one happened to be a promising artist, a friend of a famous artist, or a reporter. Since I was none of the above, I got short shrift. And of course, it was way beneath her to know anything about the Elena Mirò posters or anything to do with the “commercial” (as in commerce, not particularly advertising) side of the undertaking. She actually pretended not to know what I was talking about when I asked about the Elena Mirò posters! So, no posters—although I really don’t know where they would have put them—the Gallery is tiny, and with about sixteen or seventeen paintings ranging in size from quite large to small. It couldn’t have taken any more.

BAD-CHANGES-TO-GOOD: This afternoon was unseasonably warm in Milan, and as the Gallery started to fill up (we’re talking about ten people here!) I began to feel the need for a breath of fresh air. I stepped outside into a small courtyard, where a really nice breeze was blowing through from another small courtyard. As I glanced into the second small courtyard, I noticed a multi-peaked white tent, sides rolled up, with two posters of—you’ve guessed it—Barbara Brickner!—the picture of her in the red shirt inside the picture frame. One was on a white background, the other black. So, with Barbara beckoning, I strolled into the tent, where hung—right again! six heavenly posters from the “classics” ad campaign! They were hung back-to-back right down the middle of the tent, so that you could go up one side and view the ones from the spring-summer campaign and then down the other side for the fall-winter campaign. Two of the pictures were new to me—and of these two, I saw something you’re going to LOVE, HSG! Picture Jean-Baptiste Regnault’s Three Graces, three lovely women with their arms around one another’s waists, one with her back to the viewer, one on the right, in three-quarter profile turned away from the viewer but glancing saucily over her shoulder, and one on the left, full-face to the viewer, radiant, the most beautiful of the three, with the most winsome smile imaginable and that look in her eyes that only Barbara can manage—oh, I can’t wait for you to see it!

I’ll go into more detail later about the tent—suffice it to say that I was able to proselytize and preach—because almost the whole Gallery followed me out there and stayed on to Ohh and Ahh over the posters. And they were much more reactive and vociferous over the posters than they were over the paintings inside the Gallery! I wonder why? I think it’s because looking at “real art” everyone tries to put on the face of the intellectual, someone who understands what they’re seeing even when they don’t, they seem to turn inward, trying show everyone that they’re part of the elite of the art world. Instead the posters were “only photographs,” so they could react more normally—and their reaction was delight.

There is something profoundly symbolic in our friend’s account of moving from the stuffy, oppressive environment of the modern art gallery to the open air of the tent outside, where the Elena Mirò Da sempre belle posters were located. The sources for Elena Mirò’s posters are not works of modernism, but timeless masterpieces from the history of Western art. No wonder the viewers enjoyed those creations far more than they did the more modern works in the actual gallery. They were responding to these posters on an aesthetic level. They were responding to their Beauty.

Also, the attitude of the gallery owner—eager for approval from the elitist art crowd, but dismissive of a member of the general public—perfectly illustrates where Western art went wrong in the twentieth century. In losing their connection to the public, artists reduced their work to cultural irrelevance. But Elena Mirò’s bold move to reintroduce the notion of timeless feminine beauty into the cultural consciousness will be like a breath of fresh air that will revive the suffocating art world. It will help restore the link between the artist and the people, and between the art of today and the millennia-long legacy of Western culture, and the results will surely be wondrous to behold.

Indeed, just the fact that Elena Mirò created a poster on the “Three Graces” theme is highly significant. This is another eternal art motif with a history as old as civilization itself, and it is thrilling to think of Elena Mirò bringing it to life for the twenty-first century.

Barbara Brickner modelling for Elena Miro, Fall 2003

September 27, 2003


“The Reconquest of the Body”

Elena Mirò’s “Shapely Woman” art exhibit is already making an impact, not only on the company’s customer base, but also on that most stubbornly modern of institutions, the mass media. We expect to hear a size-positive tone of voice in publications such as MODE, which target full-figured women. But to see evidence of incipient size celebration coming from the pen of a mainstream reporter is something of a breakthrough.

The following article (translated by our tireless Italian ally) appears in the October 2003 issue of Carnet, an Italian periodical, and it indicates how the progressive spirit of Morbidamente Donna is already producing cultural shockwaves.

WOMANLY FORMS

A clothing company, a Milanese Art Gallery, and thirteen European artists come together to celebrate the return of softness in fashion and in art. An unusual exhibit is born.

By Alessandro Riva

Forget about the thin, stick-figure lines of the adolescent models. Forget the angular and slightly anorexic rhythms of the convicts of the catwalk. The world of art is turning over a new leaf. And if it is true that art is the herald of change in fashion and custom, then the time of soft forms has finally returned.

To signal this return, a Milanese exhibit—tellingly entitled “Shapely Woman”—will be viewable until September 27 at the Jannone Gallery in Milan, before leaving on tour for London. The exhibit is sponsored by a clothing company, Elena Mirò, the European leader in plus-size fashion. The interpreters of this grand-scale return to the softly-rounded woman in the 21st Century are a handful of artists from all over the world, who have been working on this theme for several years…The exhibit includes those artists who in recent years have based their works on volume and form.

Some examples? Livio Scarpella, from Brescia, an extraordinarily refined painter and sculptor, whose subjects are always women whose forms are full and round. Scarpella speaks almost poetically of his preference: “I am interested,” says the artist, “in getting down on canvas those strong, solid forms which have always characterized the history of art: forms which tend to be simple.” It is not by chance that Scarpella loves Casorati, Vallotton and especially Ingres, who was perhaps the greatest interpreter of full curves. Scarpella adds, “I remember that Ingres chose his models exclusively because he found their curves irresistibly attractive.”

Like Scarpella, the other artists in the exhibit share a similar view. Harry Holland, 62, an Englishman from Glasgow, one of the most interesting proponents of the rebirth of painting in Europe in recent years, creates women of solid form and extraordinary sensuality, who move with soft elegance within their homes, almost as though they are acting in a play, the sense of which is nearly impossible to decipher.

Harry Holland, 'Birds'

Or Agostino Arrivabene, hyper-classical and extremely refined; or Alessandra Gasparini, Balthusian but with a touch of the surreal, who paints languid, winsome young women; or the Spaniard Rosa Martýnez Artero, who paints pleasingly rotund women in uneasy domestic settings; or Bernardo Luino, whose models’ fullness is soft and delicate.

Jonathan Janson, American, portrays women of today with Vermeer-like solidity, while the Milanese Elena Carozzi concentrates on dramatic scenes of a strong intimacy. To continue, there are Giovanni Spazzini, Patrizia Comand, and Matias Quetglas, who follow the theme of joyous reconquest of the fuller forms, each with their own approach.

Giovanni Spazzini, 'Girl'

Or Luca Conca, 29, from Lake Como, whose Woman in Orange unfurls a spill of orange fabric.

Luca Conca, 'Woman in Orange'

Mediterranean warmth also underlies many of the recent paintings by Velasco, the much-sought-out portrait and landscape painter, born on Lake Como, who in recent years has found the source of his inspiration in Sicily, where he has made his home, and where he flees to work for several months a year. “The people, the colors of this land, the disquieting atmosphere, full, seductive, the continuous strong contrasts, so extreme as to take your breath away, have given my work a new warmth and solidity,” says Velasco. Warmth and solidity to be found also in the forms, full and strongly seductive, of the women portrayed by the artist.

“Gentlemen, prepare yourselves: the curvy woman—plush, and not embarrassed by her fullness—is coming back,” is the amused warning from Antonia Jannone, host and orchestrator of the exhibit. “It is the reconquest of the body, and also a revival of the influence of the classical ideal of painting over the hyperanorexic one imposed by fashion.”

Take that, all you diet experts and personal trainers in our crazy, crazy world.

One aspect of this exhibit that is particularly worth noting is its intentionally oppositional nature to the modern fashion establishment. The underlying premise of “Shapely Woman”—and it is a compelling one—is that Western art, from classical antiquity until the 20th century, had as its ideal of feminine beauty the curvaceous womanly figure, while the rising influence of fashion on the cultural consciousness in the 20th century brought about the displacement of that ideal by the anorex-chic standard.

This exhibit therefore has a twofold intent: (1) to restore the classical ideal of femininity to its traditional place as the central expression of beauty in the world of art, and (2) to employ the power of art—thus reformed—in an effort to displace the androgynous standard of the fashion establishment.

Let that sink in for a moment. This twofold aim is breathtaking in its audacity and foresight. We have long theorized about the Aesthetic Restoration, but with this exhibit, Elena Mirò has taken a bold step towards making it a reality.

October 3, 2003


Elena Miro wants YOU

If there is one, single company in all the world that is turning the theory of the Aesthetic Restoration into a reality, it is Elena Mirò. First, Europe’s leading plus-size retailer astounded us with the brilliance of its “Forever Beautiful” spring campaign, which inserted images of Barbara Brickner into artworks from the history of Western art. Then, the company took the even bolder step of commissioning all-new artworks from the most esteemed contemporary European artists to celebrate the beauty of the full female figure, in an exhibition titled, “Shapely Woman.”

But now, Elena Mirò has begun its most progressive project to date. The company is extending an open invitation to artists and art-lovers the world over to participate in a grand expansion of the “Shapely Woman” art project, and create an entire host of new artworks honouring plus-size beauty.

In short, Elena Mirò is asking you to further the Aesthetic Restoration.

The following passages are the complete translations of all of the material currently available at elenamiro.com pertaining to this second phase of the “Shapely Woman“ project. These passages consist of a tag line which appears on cover of Elena Mirò’s Italian portal, followed by five Web pages related to this project. By matching the following translations to the accompanying page links, interested artists who lack a working knowledge of Italian should be able to follow the instructions provided and submit their entries to Elena Mirò.

Our tireless Italian ally wishes us to stipulate that this is not an official translation authorized by Vestebene-Miroglio, and notes that professional artists may wish to ask Elena Mirò for an authorized translation (if such a thing exists), and pore over the details with their management.

Now, without further ado, here is Elena Mirò’s invitation to each and every one of you to contribute your talent to the cause of size celebration:

WANTED: ARTISTS

Elena Mirò is offering all artists and art lovers a chance to try their hand at creating a picture inspired by the Mediterranean female form.

Renoir, A Young Girl with Daisies (1889)


PAGE 1: INTRODUCTIONwww.elenamiro.com/it/arte/index.asp

Since the dawn of art, the inspiring muse has been Woman, generous in her expression and in her form.

This is the woman who inspires the creations of Elena Mirò, because her beauty is a form of art, and Elena Mirò fashions a frame for her.

Taking inspiration from this philosophy, Elena Mirò has decided to give all artists and art lovers a chance to experiment with their creativity by painting a picture inspired by womanly, “Mediterranean” bodies.

The purpose of the initiative is to highlight the type of Mediterranean beauty which has been so stigmatized by fashion for the past thirty years, emphasizing those elements which typify it.

Maclise, The Origin of the Harp (c. 1842)


PAGE 2: THE PROJECTwww.elenamiro.com/it/arte/progetto.asp

“Shapely Woman”

The Mediterranean Woman depicted in art

The artwork should display the features which define the philosophy of Elena Mirò:

Roundness (clearly evident in form and substance)

Sensuality

Exuberance

Vivacity

Complexion

Radiance

Fashion

The Mediterranean Woman should be interpreted without sinking into caricature, or being represented in a coarse manner or one exaggerating the form (e.g., Botero).

The concept of “fashion” may be conveyed using articles of clothing from the Elena Mirò collection (optional), but emphasis must always be placed on form.

Godward, A Girl in Yellow Drapery (1901)


PAGE 3: REGULATIONSwww.elenamiro.com/it/arte/regolamento.asp

How to participate:

The initiative is open to all artists, regardless of age, title, or nationality. Each artist may participate with only one piece of work, whether alone or as a group. Anyone who sends in more than one work will be excluded.

Procedures for selection:

Since the material may be published, it is necessary to agree to the terms set out under Italian law 675/96, regarding privacy for personal information. Furthermore, each artist will guarantee the originality of the work they present.

The results of the selection will be communicated by email or telephone only to those artists whose works have been chosen. The artists chosen will then send in the works themselves. The decisions of the committee are irrevocable, and the material will not be returned. The works, free style paintings, will be judged on quality, formal research methods/techniques, and originality of images.

Deadline:

The works must be sent by email only to: arte@elenamiro.com by March 1st, 2004.

Recognition:

Prizes:

1st place: 2,000 [Euro]
2nd place:
1,000 [Euro]
3rd place:
1,000 [Euro]

In addition, the paintings chosen will be published in a catalogue and shown in a traveling exhibition in the most important European cities in the Summer-Fall of 2004.

Information:

Tel: 0173-299185

e-mail: arte@elenamiro.com

Greuze, Psyche (1786)


PAGE 4: ENTRY FORMwww.elenamiro.com/it/arte/modalita.asp

To participate send in this form by the deadline shown:

Participation form

The fields marked with an asterisk (*) are obligatory.

Personal Details:

Last name*

First name *

Address *

Zip code *

City *

State *

Telephone *

E-mail *

Mobile phone

Date of birth

Profession

Curriculum VitŠ:

Upload CV

The image I am sending shows the painting:

Find the image you want to send on your computer.

Maximum dimension permitted is 5 Megabytes.

The formats accepted are jpg, tif, and pdf.

The operation may take several minutes, depending on the dimensions of the images.

Title of the work*

Brief description *

Upload image *

In compliance with articles 10 and 11 of law 675 dated 12.31.1996, I have examined the related information and agree that my personal details may be handled directly by Vestebene-Miroglio S.p.A.

Tiepolo (1696–1770), Venus with a Mirror


PAGE 5: THE EXHIBITIONwww.elenamiro.com/it/arte/mostra.asp

Shapely Woman is the name of the exhibit organized by Elena Mirò in Milan. Click on the thumbnails to view the works of the artists who accepted Elena Mirò’s invitation to participate in this exhibit.

There you have it. You have been invited to participate in the most extraordinary attempt yet made to further the Aesthetic Restoration. So, if any of you are the Botticelli or Rubens or Titian of today—or if you know someone who is—we do hope that you will rise to the challenge, and help bring timeless beauty to life, in a time that needs it so much.

November 10, 2003



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