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@elizaapperly

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Recent travels with my hat, by inimitable milliner, maker, and one of my more iconic neighbours, @maryamkeyhani. Featuring: Adrian, Maria, Shaden, Konstantin, Georgie, Roberto, Frida, Nadia, and Nata ♥️ by @elizaapperly

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4 months ago

I have always felt a little uneasy about the impulse to post when a public figure dies.

Too often the emphasis seems to land as a performance of proximity rather than recognition of the length and reach of a life, or respect towards the people who will feel their passing with an entirely different sharpness and depth.

That said, I will make an exception for David Hockney, who, thanks to Benedikt Taschen, was the first great artist I ever interviewed, and forever one of the most memorable.

We met in his studio in Los Angeles, that vast urban place he first moved to in 1964. I was young and apprehensive, and had never conducted an interview on camera before. (It took a deft editor to soften my amateur “mmm-hmms” while David was talking 🤦‍♀️.) We spoke for almost two hours: about space, seasons, about depicting transparent things (glass, water, splash!), about the camera obscura, about his beloved dachshunds, about “looking, looking, looking”.

The conversation was so generous, attentive, expansive — and funny. At one point, David asked about my progress learning German and remarked “I’ve never been any good at languages myself.” To which his partner and studio manager, Jean-Pierre Gonçalves de Lima, quipped: “Well, we can’t have it all, David, can we?”

I was awed by his insatiable curiosity, his sense of purpose, his restless desire to draw and paint. Nearing eighty and one of the world’s most celebrated artists, he showed neither an abrasive ego nor any sign of resting on his laurels. He just wanted to keep making pictures, exhibitions, books — and conversation. We wrapped up only when JP reminded him it was time to settle down to watch The Tudors.

Hockney seemed to me to have an unusually steady sense of his own great ability and success — sustained by the care and warmth of companionship and friendships; animated by his wonderful, mischievous sense of humour; and grounded in a sense of belonging and beginnings, rooted in Yorkshire just like those great, towering trees he returned to again and again, around Warter, Woldgate and Thixendale.

It was an immense privilege to meet him. by @elizaapperly

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3 months ago

I could not imagine a more meaningful send-off to my work with Bottega Veneta than “If All Time is Eternally Present”, a project I worked on intensely since last autumn. Presented @labiennale by the Pier Luigi Nervi Foundation, the exhibition projects video works by Tai Shani, Kandis Williams, and Meriem Bennani & Orian Barki onto the façade of Palazzo Nervi Scattolin in central Venice.

When @martabarina and @clairementc first approached me with the project, I was immediately struck by the depth and integrity of their curatorial vision and the calibre of artists they had brought together. What especially interested me was the project’s time and space: artworks screened through the night, on one of the city’s few modernist buildings, freely accessible in a public square. No tickets, no time slots, no need for a name at the door.

The works themselves bring perspectives shaped, by choice or origin, through Baltimore, Berlin, Rabat, Tel Aviv, London, and New York. As the sun sets, the campo becomes a site of encounter for different experiences, audiences, and ideas and possibilities as to how we might reckon with and inhabit the present.

Together these elements felt like a powerful response to Koyo Kouoh’s vision for the Biennale: her belief in artists as “vital interpreters of the social and psychic condition and catalysts of new relations,” her commitment to “in-between spaces,” to lingering, and to art that is “generous and hospitable to life”.

The project also felt resonant with Bottega Veneta’s relationship with Venice — not as a backdrop or museum, but as a living city of community, exchange, and creativity. The fact that Palazzo Nervi Scattolin was built in the same years Bottega Veneta was founded made the partnership feel even more fitting.

Thank you to @leorong1 and @louise_trotter_ for their belief in the project from the beginning. To Alexandra, Emilie, Chiara, Adrian, Maria, Alessandro, Virginia, Giovanni - and everyone at Bottega Veneta who helped make this happen. To @livianervi for her vision. To Marta & Chiara for being outstanding. And of course, to Kandis, Tai, Meriem & Orian. I’m incredibly proud of what we brought to the campo. by @elizaapperly

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4 months ago

What a pleasure to write the collection notes for @kenzo Spring Summer 2027, alongside storytelling for La Fête de Kenzo, a week-long programme during Paris Fashion Week.

Fifty years after the opening of the legendary Kenzo boutique at 3 Place des Victoires, the French Maison returned to the central Parisian square with a showroom, pop-up, café with @hibi_paris , konbini-inspired market, and florist with @debeaulieuparis.

A grand circular square spanning the 1st and 2nd arrondissements, Place des Victoires was first set out in the 17th century. In 1976, Kenzo moved into No. 3, transforming a 3,000 m² building into offices, design studios, and a boutique.

It was here, where six streets converge, that Kenzo’s singular French-Japanese vision met the world—and welcomed everyone in. There was the legendary opening party, the vast ground-floor vitrine with its theatrical window displays, from a giant cowboy cut-out to a life-sized elephant sculpture, and the spectacular 1981 show, when Kenzo tented over the entire square.

The spirit of Place des Victoires runs through @nigo’s latest collection for the house: a collection built around meeting points, where sportswear and romance, hard and soft, masculine and feminine, archive and innovation converge. Sportswear archetypes are reimagined, Ivy League references intertwine with floral romance, while ribbons—an allusion to the area’s haberdashery shops and to Kenzo’s own personal collection—appear across trims, collars, cuffs, sashes, and tumbling bows down tiered skirts.

Thank you to Lisette, @louiseedimorris, Camille, @martinmalrieux, @m_card_ for being such a pleasure to work with, and for staying so cool, kind, and calm through a calicule. And thank you to the dream team that is @songminusone, @carmenrosyhall, and @sorcha.kennedy, @contact.high 🩵🎀 by @elizaapperly

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2 months ago

I’m very excited to share that Bottega Veneta is exclusive sponsor of “If All Time Is Eternally Present”, a moving image exhibition @labiennale, presented by @pierluiginervi_foundation, and featuring works by @taishani, @meriembennani & Orian Barki, and @kandis_williams .

It’s been such a pleasure to develop the partnership around this exhibition, which brings together artists I admire, and which proposes such a fresh model of access and engagement in the Biennale.

The exhibition will be staged in the public square of Campo Manin, screening video works onto the façade of Palazzo Nervi Scattolin, every night, through the night from 9 May to 7 June.

Curated with so much intelligence, energy, and care by @martabarina and @clairementc, working closely with @livianervi, the exhibition affirms the contemporary creative vitality of Venice, while reflecting its past and present as a unique site of cross-cultural encounter and exchange.

See you in the campo! ✨ by @elizaapperly

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6 months ago

What an honour to help convey the vision of Louise Trotter in words for the Winter 2026 show notes.

Her latest collection for Bottega Veneta presents a season of softened structures — a dialogue between brutalism and sensuality, inspired by her new hometown of Milan.

A considered curve shaped daywear: close-cropped bonnets with projected overcoats, rounded skirts, padded dresses. Shoulders that follow the arced construction of the Cabat.

The precision of interior folds and darting gave way to gestures of flamboyance — a ruffled cravat, a chemise spilling over the collar — and then the bounty of fur textures, achieved by Bottega Veneta artisans in silks, fil coupé, sequins, raffia, and technical fibres.

I loved the attention paid to the neckline, that axis between head and heart. And the conversation across genders, and generations too: a nonna’s precious evening purse, a grandfather’s well-worn shoe, a dash of nostalgic florals. Venetian slippers, now spiked with punk.

Thank you to @annika_mcveigh, and to the phenomenal design teams, for your time and trust. Everything begins with our conversations. And to everyone who brought good energy, good humour, and good espresso to this intense week.

@arnaud_denoyelle
@jakob__richter
@sohlon
@coline.meister
@sabrinabonesi
@alessandropignorio
@roberto.marchiano
@dejanpoletan
@anna_luongo__
@doinhasilva
@georgiemaude
@pablorousson
@songminusone by @elizaapperly

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7 months ago

One of my great pleasures of this year was writing about Tintoretto for @ozpurple @purplefashionmagazine special edition on Venice, New York.

I thought in particular about Tintoretto’s use of the diagonal — how it propels narrative through his paintings, how it animates his figures, how it can make a viewer feel at once absorbed and unsteady on their feet.

This evening, I called by Tintoretto’s parish church, Madonna dell’Orto, which holds his tomb along with 11 of his paintings. It was just before closing time, and the lights were being switched off. In the growing dim, it was harder to make out the paintings’ details — but even in the gloom you can’t miss the diagonals. Darting, crossing, and converging across - and between - every ambitious composition.

Tintoretto’s tomb speaks of how the “inhabitants of Earth…come to life in his paintings”. Much of this vitality is in his figuration. The musculature; the reaching, crouching, clambering bodies. It’s in his attention to the small and the non-human, too, and his willingness to place apparently minor players and humble details (a cow on the straw, a bare foot on a ladder) centre stage.

But I think Tintoretto seems to understand something essential about life with all his diagonals, too: that experience is not linear, that very little fits within a neat grid, that we find ourselves askew, on steep ascents, sudden downslopes, and, when we’re lucky, unexpected tangents that surprise and catch the light. by @elizaapperly

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9 months ago

“The Writer’s Way” @theatlantic, supported by Bottega Veneta. This new travel writing series explores some of literature’s most memorable places, and the ways in which our experience of the world is shaped by the books we love, and the writers we read. This season, read @legroff reporting from Lady Murasaki’s Kyoto, Caity Weaver reporting from Mark Twain’s Paris, and @_honorjones_ reporting from John le Carré’s Corfu. I’m happy to see these essays go live and to support the rigour, quality – and growing books coverage - of The Atlantic. by @elizaapperly

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a year ago

“Craft is our Language” is a new campaign by Bottega Veneta, marking 50 years of its signature Intrecciato weave. Photographed by @jackdavisonphoto and choreographed by @leniokaklea, the campaign honours the handcraft of Bottega Veneta artisans, while exploring the wider power and beauty of hand gestures as a universal language.

Through the campaign, the Intrecciato weave is considered not only as a way of making but also as a symbolic act of interconnectedness and exchange. In this spirit, “Craft is our Language” explores the role of hands in communicating and creating across cultures and creative disciplines.

It’s been a pleasure to contribute to this campaign together with many brilliant minds and makers. Just as Intrecciato is a collaborative practice, so the campaign is the co-creation of many, many talented and dedicated individuals. A special mention and chapeau to @thconrad & @paulolivennes 🫶

The campaign features Bottega Veneta artisans alongside Jack Antonoff, Dario Argento, Edward Buchanan, Barbara Chase-Riboud, Neneh Cherry, Dave Free, Lauren Hutton, I.N, Troy Kotsur, Vicky Krieps, Terrance Lau, Tyler Okonma, Rie Miyazawa, Julianne Moore, Lorenzo Musetti, Shu Qi, Zadie Smith, Thanaerng, and Lorenzo Viotti. by @elizaapperly

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a year ago

01.01.25 on & around Avenida Ámsterdam 🌴 by @elizaapperly

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2 years ago

Despite some reservations around the storytelling, I’m glad that “LEE” will introduce more audiences to the exceptional work and courage of Lee Miller. In this piece for @thamesandhudson, I wrote about her photography (including her contributions to Surrealist techniques), and her urgent, defining reporting from Europe through, and following, the Second World War — including the discovery of Dachau and Buchenwald. “I implore you”, she cabled to her editor Audrey Withers @voguemagazine, “to believe this is true”.

https://thamesandhudson.com/news/the-endlessly-adventurous-life-of-lee-miller/ by @elizaapperly

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2 years ago

Thrilled to see this special publication by @magmajournal & @centrepompidou hit newsstands.

Marking the centenary of Surrealism and upcoming Pompidou retrospective, the newspaper revives the “Enquête Surréaliste”, with each contributor responding to one of four questions:

~ Why do you write?
~ What do you do when you are alone?
~ What was the most important encounter of your life?
~ What kind of hope do you place in love?

Featuring @ledebe, Mary Ann Caws, Ricardo Domeneck, @christbollen, @loganfebruary, @marjanesatrapi, @wolfgang_tillmans, @marianegroni1, Miriam Stoney and many other artists, writers, and thinkers I admire.

With thanks to @mathiaszeiske & @nplusmone for their enthusiasm and ideas. by @elizaapperly

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2 years ago