Summarize this content to 2000 words in 6 paragraphs in Arabic In an era of hyper globalisation and communication, it sometimes feels as if we are all dressed the same. Art fairs are an exception, and regulars on the circuit say every event has its own sartorial code and micro trends. At the eight-day Tefaf art fair in Maastricht in March, for example, where 50,000 people, many of them collectors, gather to browse and trade \u201cmuseum-quality\u201d paintings, antiques and design, the overriding look is dignified, immaculate and hyper-elegant. The walkways between booths are a sea of navy blue, with the occasional splash of bohemian excess \u2014 a vertiginous sculptured hat, or a floor-length plush-velvet cape trailing between the suits of armour and gilt-framed Picassos. Here, even eccentricities express an old-world visual sensibility. \u201cWhen I last attended I wore vintage Grima earrings,\u201d says Helen Sunderland-Cohen, a collector and Tefaf regular who is seeking rare maps for a private family collection. Her earrings by the modernist society jeweller, Andrew Grima, are a nod to the tone of this particular fair. \u201cThe earrings are innovative but simple. They don\u2019t shout.\u201dBy the time Art Basel in Switzerland rolls around in June, its 90,000 attendees will be dressed for both midsummer streets and fierce air conditioning. At Frieze London in October, sartorial codes will shift again, with streetwear ubiquitous. \u201cWhen you walk through art fairs you get a quick vibe of the [host] country straight away,\u201d says the UK multidisciplinary artist Charlotte Colbert, a visitor to recent Frieze fairs in London and New York and to the Venice Biennale. \u201cEngland is way more liberal with clothing than France or Italy.\u201d Newer fairs, such as Mexico\u2019s Zona Maco in February and Frieze Seoul, are places for riotous clubwear. Art Basel Miami Beach every December, meanwhile, is about flash. \u201cWay more show-off, people love to be seen,\u201d says Carolina Pasti, an Italian-American curator and art adviser who plans her own fair outfits weeks in advance. \u201cAn art fair is a moment like a fashion show.\u201dRegardless of location, the point of fairs is to gather artists, dealers, collectors and pundits, as well as general enthusiasts, in the same space. Sellers, who have the most to gain, tend to be the most conservative dressers. \u201cAs a gallerist I want to show off the art and maybe I\u2019m a foil for that, rather than trying to take centre stage,\u201d says Susanna Greeves, a senior director at the international gallery White Cube. She lists Frieze Seoul and Art Basel as her favourites for inspirational dressing. \u201cI don\u2019t want to upstage the art .\u2009.\u2009. but I always appreciate taking in other fabulous outfits. Frieze Seoul especially is very young and dressed up, with more labels than you would see in Europe.\u201d Silk shirts and flat shoes are Greeves\u2019 \u201cart-fair default\u201d, as are conceptual pieces by designers such as Hussein Chalayan. \u201cI\u2019m aiming for classics with details: unusual earrings, vintage silk scarves. I want aesthetic interest but also to be on the sober side of fashion.\u201d When we speak, Greeves has just bought a vintage 1970s three-piece trouser suit in Mexico City. \u201cThat\u2019s my next versatile art-fair piece: feminine, heavyweight, dark cream linen with a little waistcoat, lots of buttons and big \u201970s lapels.\u201d Practicality needs to be considered though. \u201cAt Frieze Los Angeles one year I was running in a very wide pair of silk flares,\u201d she reveals. \u201cThey were totally wiped out after I tripped over the trouser legs.\u201dOther people dress for multiple roles. Igi L\u00f3l\u00e1 Ayedun is a Brazilian artist and cultural entrepreneur. Her gallery HOA in S\u00e3o Paulo, which is Brazil\u2019s first Black-owned commercial gallery, has become a non-profit promoting artists from under-represented backgrounds. Ayedun travels all over the world for fairs and plans her outfits meticulously, dressing with the host city in mind. \u201cIf it\u2019s Paris I\u2019m always in Chanel; if it\u2019s Milan I wear Milanese designers. It\u2019s like a prescription depending on where I\u2019m going \u2014 and of course the weather.\u201dAs a gallerist Ayedun often spends long hours in the booth. \u201cVIP day is the day we make money and we sell most of the things, so the idea is to always reserve my best clothing for the first day. And as a dealer, I try to wear something a collector might wear. That means expensive. Some kind of tailoring \u2014 tweed \u2014 and good shoes, perhaps bright, which people notice and look expensive.\u201d When she is not focused on selling she favours the more casual look of jeans and a basket bag. Cherry Xu, a Shanghai-based collector, philanthropist and a member of Tate\u2019s Asia-Pacific Acquisitions Committee, travels to seven or eight fairs a year. She is a regular at Shanghai Art Week and Art Basel Hong Kong, and is at the airport in Seoul on her way to Mexico\u2019s Zona Maco when we speak. She prioritises comfort but concentrates on details to stand out, especially for parties. Her tricks include origami-shaped hats by Charles Jeffrey Loverboy, and \u201csometimes absurd, always unexpected and definitely-never-boring nails. My nails are wearable sculptures, like a surreal dream on my fingertips\u201d.Artists have even greater license to disregard unspoken rules. Colbert wears the same thing everywhere. \u201cThe same old jeans from Diesel, which they stopped making,\u201d she says. \u201cAnd a black second-hand coat from [west London vintage dealer] Rellik, felt-ish with leathery sleeves that feels like it\u2019s been through 1960s demonstrations.\u201d To this, she adds jewellery \u2014 \u201cOne pin was given to me by Gilbert & George, it says \u2018Fuck \u2019Em All\u2019\u201d \u2014 and finishes with battered Dr Martens. \u201cVenice especially is insane because the city is so impractical and so it\u2019s walking, walking, walking. People who wear heels do so at their own peril.\u201dNot all artists follow the no-heels advice. Dressed from head to toe in inflatable latex, Pandemonia is a living artwork created by an anonymous artist and a regular attendee at fairs since the mid-2010s. This hyper-real female character symbolises a mute parody of an art\u2011fair attendee.\u201cIt\u2019s about consumerism, allegiances,\u201d the artist says. \u201cI\u2019m presenting this image \u2014 shiny, pop-y \u2014 for attention, but it\u2019s only a balloon, it\u2019s surface deep. Inside I am quite different.\u201d Wherever she goes, Pandemonia draws a crowd. \u201cIt makes a mockery of the superficiality of the place.\u201d The costumes are \u201creally hard work, very physical, hot or cold and it\u2019s quite intense\u201d. Inflatable, towering shoes restrict her to exploring at a stately tempo. Broadly, the artist says, reactions to Pandemonia all over the world suggest art fairs are \u201cpretty conservative places\u201d.Frieze Seoul is young and dressed up, with more labels than you would see in EuropeFor all the fabulousness on offer, most art show veterans\u2019 advice for guests who haven\u2019t attended before leans to the practical. Pasti suggests packing a selection of unusual jackets and keeping the rest fairly plain and interchangeable. Sunderland-Cohen always carries a light cross-body bag big enough to fit a floor plan, a phone, a notebook and water. Xu recommends checking the weather, then checking again. Everyone, except the artist behind Pandemonia, lists flat shoes. Ayedun, though, recommends a more mercurial approach. In the vast trade-floor hangars of art fairs, \u201cyou don\u2019t know if it\u2019s night, morning, where you are, which country you are in \u2014 it\u2019s just a bunch of white walls\u201d, she says. \u201cYou can be whatever you want to be.\u201d\u2002<\/p>\n","protected":false},"excerpt":{"rendered":"
Summarize this content to 2000 words in 6 paragraphs in Arabic In an era of hyper globalisation and communication, it sometimes feels as if we are all dressed the same. Art fairs are an exception, and regulars on the circuit say every event has its own sartorial code and micro trends. At the eight-day Tefaf<\/p>\n","protected":false},"author":1,"featured_media":251046,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[65],"tags":[],"class_list":{"0":"post-251045","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\/251045","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=251045"}],"version-history":[{"count":1,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/251045\/revisions"}],"predecessor-version":[{"id":251047,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/251045\/revisions\/251047"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media\/251046"}],"wp:attachment":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media?parent=251045"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/categories?post=251045"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/tags?post=251045"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}