From Canvas: Why Women's Collections Are So Close To Art

From Canvas: Why Women's Collections Are So Close To Art
From Canvas: Why Women's Collections Are So Close To Art
Anonim

Impressionism

One of the world's most beloved areas of painting, whose artists laid out complex tones into pure colors of the spectrum, like in a refracted sunbeam, and did not use black paint, has no equal in the history of art in terms of its vitality and optimism. Just look at the sun-drenched paintings by Auguste Renoir, where nature and people are imbued with happiness and peace. His heroines in light flowing dresses echo the images of the show of the American duo Marchesa, in whose elegant sorbet-colored outfits it would be quite possible to stroll after dinner in the Tuileries Garden of the Renoir era. At Chanelthe fragile silhouettes of models in small hats resembled female characters from the paintings of the founder of impressionism Édouard Manet (although he refused to participate in exhibitions), in particular, the famous "Bar at the Folies Bergères", which is not surprising, since Karl Lagerfeld is a well-known connoisseur of the artist's work. Maria Grazia Chiuri and Pierpaolo Piccioli dedicated their last joint prêt-à-porter collection for Valentino to the art of ballet, in particular to Diaghilev's Russian Seasons and choreography by Martha Graham. Therefore, their models in translucent, sometimes closed flesh-colored tulle dresses and white wide skirts with flounces are so similar to the little dancers of Edgar Degas, captured in rehearsal tutus at ballet machines.

Auguste Renoir. The Swing, 1876 Edgar Degas. Blue Dancers, 1897 Chanel / Marchesa / Oscar de le Renta / Valentino
Auguste Renoir. The Swing, 1876 Edgar Degas. Blue Dancers, 1897 Chanel / Marchesa / Oscar de le Renta / Valentino

Auguste Renoir. The Swing, 1876

Edgar Degas. Blue Dancers, 1897

Chanel / Marchesa / Oscar de le Renta / Valentino

Orientalism

The 1867 Paris World Exhibition opened China and Japan to the sophisticated European public. The pavilions of both countries were not crowded: Paris was conquered by their porcelain, fabrics, lacquered wood furniture, ladies' knick-knacks and accessories. Up to the 1930s, along with interior items, embroidered silk kimonos were also brought to Europe, which were often altered into fashionable dresses or dressing gowns, fans, ornaments for hairstyles and other exotic items. Few artists then resisted the magical beauty of the East, which turned out to be so graceful, subtle, almost ephemeral. The great Van Gogh copied Japanese prints, and in his landscapes imitated the manner of artists who worked in the sumi-e technique with ink and mineral paints. One of such original sheets with Japanese botanical drawings of the 18th century, caught the eye of Lagerfeld,suggested the idea of ​​jacquard fabrics for a new collectionFendi. Floral motifs from the Chinese painted vases that adorned Rococo interiors appeared as embroidery on Alberta Ferretti evening dresses. A purple brocade coat, more like a Chinese robe, lavishly embroidered with gold thread, is a clear example of how the West meets the East in an elegant and practical ensemble Ralph Lauren. For 73-year-old Rei Kawakubo, it all smacks of conformism she hates. Her response was a collection for Comme Des Garçons called "Punk of the XVIII century" - a phantasmagoric combination of corsets and tats made of printed silk from the time of Louis XVI and samurai armor, assembled from two dozen pieces.

Vincent Van Gogh. Almond Blossom, 1890 William Merritt Chase. Peonies, 1897 Anna Sui / Fendi / Alberta Ferretti / Comme des Garçons
Vincent Van Gogh. Almond Blossom, 1890 William Merritt Chase. Peonies, 1897 Anna Sui / Fendi / Alberta Ferretti / Comme des Garçons

Vincent Van Gogh. Almond Blossom, 1890

William Merritt Chase. "Peonies", 1897

Anna Sui / Fendi / Alberta Ferretti / Comme des Garçons

Expressionism

Not a single fashion season is complete without drama - and thank God, otherwise hundreds of shows would turn into one long dull action. And to witness a costume drama is the ultimate dream. Let the professionals sort out how modern the clothes on display are, or how much they belong in theatrical wardrobe. We are ready to plunge into a fantastic world, even for a short 15 minutes, in which the most unexpected characters come to life. Designer Dries Van Noten chose the eccentric Marquise Louise Casati, patroness and muse of Parisian bohemia at the beginning of the century, as a prototype for his catwalk heroines. Van Noten's style is far from historical accuracy. He resorts to the same artistic techniques as Ernst Ludwig Kirchner, a contemporary of Kazati and the founder of German Expressionism: an exquisite but muted palette, slightly grotesque silhouette lines,cinematically accentuated eyes. The same techniques are used by Marc Jacobs, whose outfits à la belle époque grow dramatically in volume due to layering and large furs.

The creative method of Kirchner's younger contemporary and like-minded person, Otto Dix, differs in the direction of a much more cruel, physiological detail, image of the world around him. Even in such a genre as a portrait, his most famous work "Portrait of the Journalist Sylvia von Harden" makes an almost uncomfortable impression. Similar to the one that caused at the Dior show the appearance of the model in a black tightly buttoned two-piece and in DiorUmbrage sunglasses with a small pattern applied to the mirrored glasses.

Ernst Ludwig Kichner. Five Women in the Street, 1913 Otto Dix. Portrait of the Journalist Sylvia von Harden, 1926 Marc Jacobs / Kenzo / Dries Van Noten / Roberto Cavalli
Ernst Ludwig Kichner. Five Women in the Street, 1913 Otto Dix. Portrait of the Journalist Sylvia von Harden, 1926 Marc Jacobs / Kenzo / Dries Van Noten / Roberto Cavalli

Ernst Ludwig Kichner. Five Women in the Street, 1913

Otto Dix. "Portrait of the journalist Sylvia von Harden", 1926

Marc Jacobs / Kenzo / Dries Van Noten / Roberto Cavalli

Op art

This trend, which arose in the 1950s thanks to the endless experiments of the artist Victor Vasarely, became, perhaps, the first of its kind so literally borrowed by fashion. Op-art uses various visual illusions based on the peculiarities of perception of flat and spatial figures. All elements of the composition are built on a subtle calculation, extremely rationally, referring not to the aesthetic side of perception, but to the human mind. In the 1960s, with their youth boom, space flights and new music, op-art turned out to be most in tune with new crazy experiments, primarily in fashion and design. Even the simplest illusionistic compositions, such as those composed of two-color stripes that create the illusion of volume on the canvas plane, are even more interestingly revealed in three-dimensional volume as a fabric pattern.Horizontal undulating stripes yFendi and broken lines, as if refracted - at Victoria Beckham look modern, with each movement complicating the play of volumes and the vibration of color. And Haider Ackerman line bends of the second body, visually stretching the figure. Perhaps, only some of Issey Miyake's “kinetic sculptures”, where the complex graphics of stripes intertwine with the springiness of finely pleated fabric in motion, can even make your head spin, as once those who first saw Vasarely's works.

Victor Vasarely. Zebras, 1950 Zebar, Shanghai, 3GATTI architecture studio, 2010 Sportmax / Issey Miyake / Victoria Beckham / Fendi
Victor Vasarely. Zebras, 1950 Zebar, Shanghai, 3GATTI architecture studio, 2010 Sportmax / Issey Miyake / Victoria Beckham / Fendi

Victor Vasarely. Zebras, 1950

Zebar, Shanghai, 3GATTI architecture studio, 2010

Sportmax / Issey Miyake / Victoria Beckham / Fendi

Minimalism

This direction has so organically entered our life, first of all, not even in fashion, but in architecture, that it is not necessary to talk about it as a momentary trend.

Proenza Schouler, for example, named the name of the artist Frank Stella - his new collection of designers was inspired by his post-painting abstractions (whatever that means). In it, each ensemble with its textures, volume and layering was designed like a modern sculpture. The show took place in the new building of the Whitney Museum of American Art, designed by the genius of modernism Renzo Piano, and it became worthy of a kind of exhibition space for an unusual display.

The architecture of the UNESCO headquarters in Paris, where the Loewe show took place, resonated with a collection that focused on textures and details. Phoebe Philo, designer Céline and the main advocate of minimalism, and behind her Joseph, having reduced the entire palette to only a few muted colors, relied on the game with volumes and contrast of textures. On closer inspection, these seemingly tough and awkward pieces are crafted from high quality leather, cashmere and wool. Despite its seeming simplicity, minimalism requires a little more attention to be appreciated.

Robert Morris. Untitled, 1965 Works by Donald Judd at The Chinati Foundation in Martha, Texas Joseph / Céline / Loewe / Jil Sander
Robert Morris. Untitled, 1965 Works by Donald Judd at The Chinati Foundation in Martha, Texas Joseph / Céline / Loewe / Jil Sander

Robert Morris. Untitled, 1965

Works by Donald Judd at The Chinati Foundation in Martha, Texas

Joseph / Céline / Loewe / Jil Sander

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