In April 2002, the Universal House of Justice published a letter, "To the World's Religious Leaders", in which it stated: Īs a means of clarifying the nature and purpose of World Religion Day, the Universal House of Justice, the elected council that serves as the head of the Baháʼí Faith noted in a 1968 message that, rather than providing a "platform for all religions and their emergent ecumenical ideas," the observance serves as "a celebration of the need for and the coming of a world religion for mankind, the Baháʼí Faith itself." It promotes these principles by highlighting the ideas that the spiritual principles underlying the world's religions are harmonious, and that religions play a significant role in unifying humanity. Initially a Baháʼí observance, World Religion Day was inspired by the Baháʼí principles of the oneness of religion and of progressive revelation, which describe religion as evolving continuously throughout the history of humanity. The purpose of World Religion Day is to highlight the ideas that the spiritual principles underlying the world's religions are harmonious, and that religions play a significant role in unifying humanity. ĭescribed as a "Baháʼí-inspired idea that has taken on a life of its own", the origins of World Religion Day lie in the Baháʼí principles of the oneness of religion and of progressive revelation, which describe religion as evolving continuously throughout the history of humanity. Though initiated in the United States, World Religion Day has come to be celebrated internationally by followers of the Baháʼí Faith. World Religion Day is an observance that was initiated in 1950 by the National Spiritual Assembly of the Baháʼís of the United States, which is celebrated worldwide on the third Sunday in January each year. But you can’t have everything.Baháʼís, interfaith and multi-faith organizations Ĭelebration of the oneness of religion and its role in human society Of course, Vander Kooij’s Endless collection is made by a single programmable high-tech robotic arm, not a pair of human hands. In a contemporary retail landscape where consumers are largely disconnected from the narrative of their clothing manufacturing, that facet is happily intellectualized and romanticized - it’s fabric touched by human hands, from the cutting of the rubylith to the handling to the printing screens.
It’s an effect difficult if not impossible to achieve with CMYK grids and textile yardage of modern digital means. The fabric also has a certain depth of character, with the unique tiny flaws inherent to the traditional technique. Exclusivity is only part of the appeal: Certainly, only a handful of people in the world own these frocks, perhaps made with a 1950s Balenciaga silk charmeuse from England or leftover YSL Rive Gauche jacquard, rare couture silks from Mill Abraham in Switzerland or combinations that really reflect their year and locale of origin, such as a green and purple bean print from 1960s Italy.īut Bialas’s concept is also an intellectual exercise of conservation, a design business model that promotes education about how fabric was created using a near-obsolete technique (some colour separations in prints may have taken 17 separate screens, or more, nearly unthinkable now by any but Hermès, who still make their scarves in Lyon the traditional way). The bygone prints dictate garment silhouette, which ranges from kimono to chemise to boatneck blouse, with bolt ends yielding limited, often one-of-a-kind dresses that are scooped up by aficionados at Bialas’ Marais boutique, shops in New York, Japan and now at Gaspard, in Toronto. Swedish-born, Paris-based designer Charlotte Bialas starts closer to the source of vintage fabric and travels the world in search of deadstock patterned fabric, sourcing silk from the 1950s through to the 1980s. Each will also be numbered with its edition, and include a handwritten note detailing the fabric’s provenance - for example, the ice blue silk satin taken from the remnants of a 1960s couture Nina Ricci gown or the cerise silk brocade of a 1950s Ceil Chapman cocktail dress. Each suede bag incorporates fashion fabric detailing as its lining and interior pocket material, cut whole cloth from unusuable vintage dresses that are beyond repair.
In May, Canadian vintage clothing retailer Shrimpton Couture will launch Shrimpton+Marketa, a capsule collaboration of limited-edition clutch purses ($50-$275) with New York designer Marketa Psenickova that come with pedigreed bragging rights. This advertisement has not loaded yet, but your article continues below.
0 kommentar(er)
