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.
蓝衣女子
米诺斯文明来源于传说中的米诺斯王，那个所谓他在克里特岛上的克诺索斯宫殿遗址在二十世纪被英国考古学家Arthur Evans发现。
在对克诺斯的探索中发现描绘运动赛事的动态壁画碎片，还有对男性女性部分日常生活的描述。
通过他们上过油的，小弧度卷发，敞开的前上衣门襟，收紧腰部的胸衣，三位米诺斯女子向我们展示了她们文化中独特的风格。
在他们的头饰上挂满了串珠，并且固定在细薄的金属头带上（也叫fillets）。
他们戴着精细的手镯，被充满佩饰的紧身上衣包裹着。
现代对这幅壁画的修复，显示出克里特岛著名的复杂纺织工艺。
几乎没有原始的画作幸存下来。
20世纪20年代，Evans雇佣了荷兰的建筑师和艺术家Piet de Jong重新拼装了碎片，并将其余的重建。
那时的时髦杂志插画家们将模特安置在地中海度假村的背景当中，模式化的民俗刺绣影响了当时的纺织品图案。
而当时壁画的修复受到了批评，有一些理由认为修复过分受到当时模式化时尚品味的影响。
Mary Katrantzou SS17 RTW London
