LADIES IN BLUE
The Minoan civilization was named after the legendary King Minos, whose supposed palace of Knossos on the island of Crete was excavated by British archaeologist Arthur Evans at the turn of the 20th century.
Among the discoveries at Knossos were the fragments of dynamic frescoes depicting sports events and also various scenes portraying both men and women taking part in everyday life.
With their oiled, ringleted hair and open-fronted, tight-waisted bodices, the three Minoan ladies display the styles peculiar th their culture.
Their hairdressed locks are draped with beads and clipped in with thin metal headbands (fillets).
They wear delicate bracelets and hold the bodice tops together with more accessories.
The modern restoration highlights the complex woven textiles Crete was famous for.
Little of the original paintings has survived.
In the 1920s Evans employed Dutch architect and artist Piet de Jong to assemble the fragments, and reconstitute the rest.
At that time illustrators of chic fashion journals were setting models against backdrops of Mediterranean resorts, and stylized folk embroidery was influencing textile patterns.
The restoration of the frescoes was criticized -- perhaps with some justification -- for being overly influenced by current fashion tastes.
藍(lán)衣女子
米諾斯文明來(lái)源于傳說(shuō)中的米諾斯王，那個(gè)所謂他在克里特島上的克諾索斯宮殿遺址在二十世紀(jì)被英國(guó)考古學(xué)家Arthur Evans發(fā)現(xiàn)。
在對(duì)克諾斯的探索中發(fā)現(xiàn)描繪運(yùn)動(dòng)賽事的動(dòng)態(tài)壁畫碎片，還有對(duì)男性女性部分日常生活的描述。
通過(guò)他們上過(guò)油的，小弧度卷發(fā)，敞開(kāi)的前上衣門襟，收緊腰部的胸衣，三位米諾斯女子向我們展示了她們文化中獨(dú)特的風(fēng)格。
在他們的頭飾上掛滿了串珠，并且固定在細(xì)薄的金屬頭帶上（也叫fillets）。
他們戴著精細(xì)的手鐲，被充滿佩飾的緊身上衣包裹著。
現(xiàn)代對(duì)這幅壁畫的修復(fù)，顯示出克里特島著名的復(fù)雜紡織工藝。
幾乎沒(méi)有原始的畫作幸存下來(lái)。
20世紀(jì)20年代，Evans雇傭了荷蘭的建筑師和藝術(shù)家Piet de Jong重新拼裝了碎片，并將其余的重建。
那時(shí)的時(shí)髦雜志插畫家們將模特安置在地中海度假村的背景當(dāng)中，模式化的民俗刺繡影響了當(dāng)時(shí)的紡織品圖案。
而當(dāng)時(shí)壁畫的修復(fù)受到了批評(píng)，有一些理由認(rèn)為修復(fù)過(guò)分受到當(dāng)時(shí)模式化時(shí)尚品味的影響。
Mary Katrantzou SS17 RTW London
