Summarize this content to 2000 words in 6 paragraphs in Arabic The city is grey, the light wan, but no matter: in the newly reopened Grand Palais, la dolce vita reigns. A black dress fashioned like the Eiffel Tower waves you in, and Paris begins 2025 with as sumptuous, seductive and intelligently enjoyable an exhibition as it has hosted this century: Dolce & Gabbana\u2019s Du C\u0153ur \u00e0 la Main (From the Heart to the Hands).Conceptualist art giants \u2014 Richard Serra, Anish Kapoor \u2014 have previously filled these monumental spaces, but D&G\u2019s inventive mise-en-sc\u00e8ne, taking you on a Grand Tour of Italian painting, sculpture, architecture and opera, unfolding how each has inspired their alta moda (haute couture) and alta sartoria (formal menswear) collections, outdoes them all. As spectacle and human-centred drama, the show, launched last spring in Milan and continuing its global tour here, turns the Grand Palais into a pleasure palace.One minute in, you tread the stone steps of a replica of Agrigento\u2019s Valley of the Temples. Ethereal columnar dresses recall goddesses\u2019 drapery in ancient sculpture, togas are based on Ionic chitons and a velvet\/chiffon robe with Lurex lace corset is embroidered to resemble a painted Greek vase. The next moment the setting is a Byzantine basilica whose mosaics are evoked in dazzling, sequin-studded suits, including one recently worn by American rapper Lil Nas X.In a high-colour animated version of Rome\u2019s Farnese Gallery, deities from baroque master Annibale Carracci\u2019s erotic fresco \u201cThe Love of the Gods\u201d frolic across the walls, pagan backcloth for gowns exquisitely painted or sewn in petit point with icons of Christian art, here metamorphosed into a pop aesthetic. Gabriel and Mary from a Botticelli \u201cAnnunciation\u201d face each other on two sides of a cape. Figures from Raphael\u2019s \u201cThe Sistine Madonna\u201d wrap themselves around a coat whose sweeping green shoulder pads and sleeves imitate the curtain in the painting.Ten such voluptuous, erudite tableaux make the visitor feel both king or queen of the catwalk, and enveloped in a sort of gloriously squandered scholarship: history in the service of fashion\u2019s whimsy and frivolity. You watch yourself reflected in a hall of mirrors hung with antique chandeliers and celebrating Venetian glassmakers, Murano flowers and baubles sparkling on the costumes. Slinky black lace shares an aesthetic with the widows\u2019 weeds and dark veils prevalent in Italian neorealist cinema. Around a gilt pulpit in a baroque room entitled \u201cDevotion\u201d, hung with a gold heart, a treasure chest spills fine jewellery.Witty and beautiful, sacred and profane, each scene turns on materiality yet mystery, exotic dreams grounded in the workmanship that, as the title tells, translates ideas and emotions \u2014 the heart \u2014 into handmade garments. At the show\u2019s centre, a working atelier, sometimes with actual tailors sewing and cutting, demonstrates the craft core to haute couture.You can lose yourself in atmosphere or zoom into seam-stitching, pearl ornamentation, beadwork, buttons, the devil in the detail. At the exhibition\u2019s Milan premiere, Isabella Rossellini recalled wearing a demure D&G white lace blouse \u2014 adding that the buttons were stitched \u201cas if they were bursting out, my breast coming out like a lion in a zoo!\u201dSensuality underlying order, a balance of secular and spiritual allusions, are embodied in the show\u2019s poster image: a model wearing a tight gold macram\u00e9 lace dress and filigree crown and veil. This pays homage to the golden Madonnina atop Milan\u2019s cathedral;\u00a0Domenico Dolce, born near Palermo, remembers arriving in Milan in 1980 and praying to her \u201cnot to send me back to Sicily and to let me stay here. And she listened to me.\u201dDolce, now 66, stayed and began a collaboration with Milan native Stefano Gabbana, 62. Although they draw on pan-Italian influences, the contrast between Milanese worldly elegance and Sicilian folk heritage is potent.From the south come the bright hues, arabesques, geometric patterns of Sicilian ceramics, on display around a traditional, gaudily painted wood and tiled processional cart produced by Ceramica Bevilacqua in Caltanissetta. Feathered headdresses imitate those worn by the horses, the soundtrack is folk songs. Then the carnival energy fades, yielding to pealing bells accompanying Sicilian wedding cake baroque: pale \u201cstucchi\u201d dresses adorned with cherubs, volute scrolls, angels\u2019 wings. They copy in fabric the elaborate white stucco church designs of Sicilian rococo plaster sculptor Giacomo Serpotta. He coated his pieces with powdered marble dust; the clothes too have a glossy sheen \u2014 simple but opulent.The Milanese rival is a red-curtained evocation of La Scala\u2019s tiered boxes featuring a crowd from D&G\u2019s Milano Teatro collection, on a stage laid with a banquet as Verdi and Puccini play: a crimson organza cape with pleated lace ruff and ostrich feathers with the libretto from Tosca in gold thread; a jacket embroidered with the score of Falstaff; a punkish black sweatshirt constructed from sequins forming Verdi\u2019s portrait.\u00a0The integration of art and fashion \u2014 from Yayoi Kusama\u2019s designs for Louis Vuitton to the Louvre\u2019s forthcoming first fashion exhibition, Louvre Couture \u2014 is a growing trend, a response both to widening audiences for contemporary art and the triumph of sociological approaches within art history. Du C\u0153ur \u00e0 la Main, however, sets a new bar for both ebullient pageantry and intellectual hinterland.\u00a0Most stunning is an atmospheric recreation of the ball scene from Luchino Visconti\u2019s film of Giuseppe Tomasi di Lampedusa\u2019s novel The Leopard, the setting in Palermo\u2019s Palazzo Valguarnera-Gangi meticulously delineated, including floor tiles with leaping leopards. The film plays from four large screens within ornamental mirrors. Dolce cites it as \u201ca fundamental reference for us\u2009.\u2009.\u2009.\u2009emblematic of the opposing dynamics that drive fashion, always divided between past and future\u201d. Hand-painted on the hem of an alta moda leopard dress inspired by Angelica\u2019s billowing crinoline are the novel\u2019s famous lines \u201ceverything needs to change, so that everything can stay the same\u201d.Nostalgia and postmodernism, innocence and irony \u2014 the delicious, extravagant fakery of simulacra, replicas, copies, appropriation \u2014 are inseparable here. Time, place, culture, gender \u2014 many pieces are androgynous \u2014 fuse: there\u2019s D&G\u2019s first haute couture item, a mini lace crinoline, and a dress bursting with fruit from a Caravaggio still life; a sweater is collaged from patches of mink, a kimono from sequins shaped as ancient coins.Through it all, we leave our world of screens and virtual reality for Dolce & Gabbana\u2019s reverence for the handmade and artisanal. Its subject is luxury available to the few, yet the displays feel immersive, democratic; meandering the labyrinth of rooms, we curate our own Grand Tour. The exhibition succeeds in the same way as The Leopard, the story of an elitist aristocrat that compels because every reader irresistibly identifies with the Prince.January 10 to March 31, then touring. grandpalais.frFind out about our latest stories first \u2014 follow FT Weekend on Instagram and X, and sign up to receive the FT Weekend newsletter every Saturday morning<\/p>\n","protected":false},"excerpt":{"rendered":"
Summarize this content to 2000 words in 6 paragraphs in Arabic The city is grey, the light wan, but no matter: in the newly reopened Grand Palais, la dolce vita reigns. A black dress fashioned like the Eiffel Tower waves you in, and Paris begins 2025 with as sumptuous, seductive and intelligently enjoyable an exhibition<\/p>\n","protected":false},"author":1,"featured_media":160220,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[65],"tags":[],"class_list":{"0":"post-160219","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-culture"},"_links":{"self":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/160219","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/comments?post=160219"}],"version-history":[{"count":1,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/160219\/revisions"}],"predecessor-version":[{"id":160221,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/160219\/revisions\/160221"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media\/160220"}],"wp:attachment":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media?parent=160219"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/categories?post=160219"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/tags?post=160219"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}