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If fashion is a reflection of the times we live

in, then this year’s most significant events reflected a turbulent globe. In 2022, the Ukraine conflict, rising anti-Semitism, and child abuse all made an appearance in fashion headlines, editorials, and business. Of course, there were also empowering and humorous moments: Rihanna revolutionized maternity wear with daring, festive ensembles; Julia Fox rose to fame as an avant-garde fashion icon, and ’90s supermodel Linda Evangelista triumphantly made a comeback on the catwalk. Rihanna, a cultural icon and upcoming Super Bowl performer, confirmed her pregnancy at the beginning of the year with a selfie of herself and her boyfriend A$AP strolling in New York City. Rocky tastefully displayed her baby belly while wearing a hot pink vintage Chanel puffer jacket. Rihanna favored exposing, high-fashion clothes that centered on her expanding pregnancy, and that moment set the tone for a trimester’s worth of show-stopping maternity looksplayboyhoodie

the Dior show during Paris Fashion

. Rihanna Dior’s show during Paris Fashion changed the norms of maternity clothing, one look at a time, starting with a sheer black dress worn over underwear to the Dior show during Paris Fashion Week in March to an unending selection of crop tops, bandeaus, and low-slung bottoms that not only bared but also embraced her belly. Before this year, Julia Fox was well-known as a veteran New York City artist and the breakout star of Uncut Gems. However, after starting a brief but well-publicized relationship with Kanye West (who is now known as Ye) at the beginning of 2022, she attained a level of viral celebrity. Fox transformed from a local star to an edgy, global fashion icon when she rode Ye’s arm at Paris Fashion Week in February while sporting dramatic black eyeliner and denim and leather ensembles that matched the rapper. The relationship fizzled out, but Fox has since relaunched herself as a fashion agent of chaos, dressing in bold, outlandish, and frequently gravity-defying ways (most recently, she collaborated with a friend to create an ensemble that resembled a swan). A deconstructed—and incredibly tiny—take on the pleated schoolgirl staple, Miu Miu’s Y2K-Esque miniskirt was the one look that dominated both red carpets and magazines this year. In 2022, the skirt was worn everywhere, even on the streets during fashion month and in high-fashion spreads like Nicole Kidman’s Vanity Fair cover p

most significant fashion moments

The skirt was more than just a skirt, as is true of most significant fashion moments. The low-slung, micro-mini look appeared to be the beginning of a bigger aesthetic resurgence from the early 2000s, when “heroin chic” and “ultra-skinny” were considered to be wearable trends. When Miu Miu showed a short film at the conclusion of the Spring/Summer ’22 fashion show in October 2021, when the skirt made its debut, it highlighted that message by making fun of the Brazilians.

When he created a series of paintings of rocks and trees that he had sketched one summer in Maine, his creative career took off in the mid-1950s. Then followed paintings of Roman ruins that he had sketched while in Italy in 1958 and 1959 on a Fulbright fellowship. His subsequent artwork consisted of accurately painted nude models, reflecting a determined determination to eliminate all signs of brushy expressionism from his work.

His image as an artist prepared to defy aesthetic trends was confirmed by the exhibition of these paintings at the Allan Frumkin Gallery in New York in 1963. In addition, they solidified his resolve to depict the human form for the following 50 years, with the exception of a continuing series of dressed portraits of artists.

Throughout his career, Mr. Pearlstein maintained his commitment to painting directly from life. He also continued to use models and props from his extensive lifelong collection of decorative art from all around the world.

In 2002, he told the New York Times, “I have to accept what I have seen at some point. “If I don’t, I’ll keep rotating the image endlessly like Giacometti. Naturally, working from images would be simpler, but working from life has a different intensity and sense of urgency. Before it disappears, you’re trying to catch something elusive, something you’re not always sure about.

The characters and objects work together to form intricate compositions that appear to defy spatial logic. This appearance is partially created by the paintings’ abrupt cropping at the margins, which is allegedly a result of Mr. Pearlstein’s method of beginning his brushstrokes in the middle of the canvas and working outward. The distorted proportions seen in late Renaissance Mannerist paintings might be the closest analog.

Mr. Pearlstein positioned his artwork as a protest against Cubism’s stress on many points of view and Modernism’s fixation on the picture plane’s flatness. Instead, he turned perspective into both his ally and enemy, producing works of art that subvert the very illusions it offers.

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