Academia Cravatica is a non-profit institution founded on 26th March 1997 and it studies, preserves and improves the cravat as a part of Croatian and world heritage.
Academia Cravatica builds from an authentic historical fact that the cravat emerged as an expression of the genius of the Croatian people and that this fashion ornament is a medium able to transmit many discreet messages to the world.
South American view of the cravat – new artistic works for the Challenge of the Cravat exhibition
During the last visit of the Challenge of the Cravat exhibition to Santiago de Chile in December 2011, at the Providencia Cultural Institute, local artists added their works to the international collection of the Challenge of the Cravat – Cravat as the Croatian Contribution to Global Culture. The works of seven Chilean and one Argentinean artist have finally made it to their final destination: Zagreb – the capital of the cravat.
Eduardo Castillo shows a Croatian immigrant in Chile, who is connected to his homeland with a thick net of colourful ribbons behind his back, one of which found its way to his neck.
No name, 2011, oil on canvas, 70x50 cm
Joaquin Mirauda has cast a bronze torso, centred on a very notable vertical line in the shape of a cravat. He characterizes his work as the strength which supports man.
The Pillar, 2011, cast bronze, 31 x 7 x 4 cm.
In his work Opus 833, Enrique Campuzano refers to the coming of age period, with the white cravat indicating immaculateness and innocence, surrounded by the enticing flight of fluttering yet formal ribbons.
Opus 833, 2011, oil on canvas, 100x81 cm
In his work G-8, Emece Carbi presents a criticism of the globalized world and the leading policies. Globally it is symbolized by the G-8, based on economic power and sustained exploitation of the disempowered. Here again the cravat has served as an attribute identifying those wearing it.
G-8, 2011, combined techniques, 1 m (diameter)
Estudio de Cuerpo y Alma, in translationThe study of the body and soul consisting of the Daniella Miller y Pia Cosmelli twosome, provided two artistic photographs, two nudes donning nothing but cravats. With these works they celebrate the beauty of the body as an expression of the soul.
Marco de madera negra, 2011, photographs, 30 x 45 cm
Lisi Fox as a sculptress exploited the cravat, forming it freely to emphasize femininity with underlying curves.
Cravat, the Seductress, 2011, coloured acrylic, 74x29x19 cm
Livia Keller gave two works. Cravat is a delicate glass work, an expression of tenderness towards a valuable article. In the other work, entitled Heritage, the cravat, in connection with family photographs, is like a memento of the loved ones.
Cravat, 2011, thermo-laminated glass, cast, 92x23 cm // Heritage, 2011, thermo-laminated glass, cast with copper, 33 x 60 cm.
The cravat as a motif is a confirmed inexhaustible source of inspiration for works of varied contents. Its form and role as an attribute, together with its diverse symbolism are characteristics enabling artists to create increasingly more expressive and interesting works. The collection of the Challenge of the Cravat exhibition project has now grown to over 150 works by approximately 15 authors originating from about ten countries worldwide, where this unique exhibition has been put on so far.
The Cravat instead of a Tie and Necktie
On the occasion of the International Day of The Cravat on the 18th of October we invite all the English speaking individuals to call the knotted scarf around their neck by it’s original name the cravat instead of tie and necktie.
Ivan Gundulić wore a cravat before Louis XIV
Although it has always been thought that the French King Louis XIV was the first to wear something resembling a cravat, or a scarf as its predecessor, on a portrait dating from the end of the 16th century, it is now clear that the oldest portrait of someone wearing a cravat was painted in a Croatian city.
This was of course Dubrovnik. That is to say, it was recently discovered that the famous Dubrovnik poet, Ivan Dživo Gundulić, on a portrait dating from 1622 and kept in the Rector’s Palace, is wearing a scarf around his neck, tied like a cravat.