Left: Jean Paul Gaultier and Right: Ormond Gigli, Girls in the Windows, 1960
Here are some art and fashion comparisons that came out of Paris from last fall… Looking forawrd to see what is to come for Fall/Winter 2014!
Left: Celine and Right: Franz West, Uncle Chairs
Left: Balenciaga and Right: Alberto Burri, Cretto G2, 1975
Left: Chanel and Right: Wassily Kandinsky, Il Blau, 1925
Left: Comme des Garcons Fall/Winter 2013 and Right: Barry McGee, Unittiled, 2012
A new batch of campaigns has hit print which means its time for The Art of… Advertising – Spring/Summer 2014 edition. Last season top honors went to Dior for recreating Edouard Manet’s 1863 masterpiece, Luncheon on the Grass, while spring belongs to Balmain for the obvious ode to the late Jean Pierre Raynaud. Marc’s ultimate Louis Vuitton collection was photographed on his favorite muses in what appeared to be an Irving Penn-esque take on Picasso’s Blue Period while La Perla took a cue from another great, Horst P. Horst, and referenced his most famous corset image. The Missoni ads used a similar backdrop as this season’s Chloe runway show, but rather an orange and blue version of Anish Kapoor’s circular sky plates. A season of advertisements would not be complete without two of fashion’s favorite references, George Longo and Louise Dahl-Wolfe. Saint Laurent and Dior Beauty, respectively, filled the void this season with strikingly obvious odes. Last but not least, my favorite campaign goes to Prada who took the concept of Thomas Struth’s family portraits to greater heights. I want to be part of Miuccia’s wacky, colorful, gem-encrusted art family.
And while the references may not have been as obvious as the campaigns pictured above and below, honorable mention goes to Kenzo, Miu Miu, Dior and Alexander McQueen. The Kenzo campaign was yet again done in collaboration with Toilet Paper Magazine and art directed by the amazing Maurizio Cattelan and Pierpaolo Ferrari. Miu Miu’s girls this season gave off an Egon Schiele vibe while the Dior ads placed models atop a sea of Magritte-like clouds. Lastly, the McQueen ads were shot by Steven Klein and had Kate the Great posing with a matching Barbie which brought the concept of Laurie Simmons’ doll series to a new level. Excited to see what is to come of the fall 2014 shows and subsequent campaigns!
In the spirit of Throwback Thursdays, Thursdays on Minnie Muse are now devoted to rediscovering some of fashion’s favorite collections in a series of posts dubbed The Vault. It only feels right to launch The Vault with VOSS, the spring/summer 2001 show by the king of the runway, Alexander McQueen.
VOSS was the collection where some of McQueen’s most celebrated looks and mind-blowing accessories made their runway debut; from the razor-clam dress and mussel shell pieces to the red and black feather and medical slide dress. Not to mention, some key elements of the collection – menswear, feathers, and exaggerated silhouettes – are as relevant today as they were when they walked the runway in 2000. Even the staging has been copied; such was the case at Prabal Gurung’s spring 2014 runway show where models were presented inside a transparent, box-like structure that was strikingly similar to the setup of VOSS. A fashion lovers fantasy world.
J.W.Anderson Fall/Winter 2013 x Callum Innes
Wednesday’s are now for one of my favorite features called Art on the Runway which originated on Minnie Muse last year and has since begun calling W Magazine Online home! I love spotting art references in the new runway collections each season. In honor of the fall/winter 2014 London shows here are some of my favorite unpublished comparisons from last fall. Just wrapping up work on the New York collections… Exciting things to come!
Left: Christopher Kane Fall/Winter 2013 and Right: Untitled, 1995 by Chiyu Uemae
Left: House of Holland Fall/Winter 2013 and Right: Maquette for Smoking Cigarette, 1982 by Tom Wesselmann
Left: Mary Katrantzou Fall/Winter 2013 and Right: All Matters of Mind Equal one Violet, 2011 by David Benjamin Sherry
Tom Ford Fall/Winter 2013 and Right: A Little Taste Outside of Love, 2007 by Mickalene Thomas
Tags: Art, Designers, New York, Paris, Prada, spring/summer 2014, The Art of...
I have returned to blogging with one of my favorite posts from last season – The Art of… A Runway Show. The spring/summer 2014 collections were filled with art references both in looks presented and the runway backdrops. Christian Dior, once again, makes the list thanks to Raf Simon’s enchanted secret garden with flowers hanging in a Hew Locke-fashion. Hedi Slimane brightened up the Saint Laurent runway with a series of suspended light sculptures similar in style to the work of artist Ivan Navarro. Dries Van Noten and Rodarte paid homage to my two favorite minimalists, Donald Judd and Dan Flavin, respectively. Dries lined his runway with a series of Judd-esque Stacks while Kate and Laura took a cue from their spring/summer 2013 show and scattered the runway, yet again, with Flavin’s neon light beams. Ricardo Tisci staged a car crash on the Givenchy runway similar to the work Short Cut, 2003, by Elmgreen and Dragset. Above the runway at Chloe hung a single gold inverted plate almost identical to Untitled, 2012, by Anish Kapoor while photos from Anya Hindmarch’s Cirque du Soleil-inspired show resembled James Rosenquist’s Multiple Universe works from 2012. Both Alexander Wang and Felipe Oliveira Baptista for Lacoste created backdrops mimicking Sol Lewitt’s Costruzione Cubica, 1971.
Lastly, this wouldn’t be a proper spring/summer 2014 art and fashion post without mentioning Prada and Chanel. This season Miuccia Prada commissioned street artists and illustrators to provide designs for the both the clothing and accessories as well as runway backdrop for Prada while at Chanel Karl Lagerfeld constructed his very own high fashion art gallery within the walls of the Grand Palais.
Excited to see who chooses an artistic setting to compliment the fall/winter 2014 collections in the weeks to come!
Left: Christian Dior Spring/Summer 2014 and Right: artwork by Hew Locke
Left: Dries Van Noten Spring/Summer 2014 and Right: work by Donald Judd
Left: Rodarte Spring/Summer 2014 and Right: work by Dan Flavin
Right: Givenchy Spring/Summer 2014 and Right: Short Cut, 2003 by Elmgreen and Dragset
Left: Chloe Spring/Summer 2014 and Right: Untitled, 2012, by Anish Kapoor
Tags: Art, Couture, Designers, Fall/Winter 2013, Fashion Week, Inspiration, New York, Paris, Photography, Retail
Miu Miu Spring/Summer 2011 and Roy Lichtenstein’s Wall Explosion II, 1965
While the spring/summer 2014 fashion season is well underway, nothing shown thus far is sure to stick in consumers’ minds for the next six months until the collections are available for purchase.
For fall 2013, top honors went to Tom Ford’s explosive appliqués that, regardless of their commercial appeal, made quite the impact. The buzz surrounding Mr.Ford’s fall collection could have been in part due to it being his first full-scale runway show since his return to womenswear, however his designs impressed nonetheless. The evening looks, complete with Lichtenstein-eque explosions, are featured in the Tom Ford fall ad campaign and have graced the pages of countless high fashion editorials since their runway debut. Looking back, it was Miuccia Prada who used a similar in-your-face approach to ready-to-wear for spring/summer 2011 with her firecracker leather skirts and jackets at Miu Miu (pictured above).
Tom Ford Fall/Winter 2013 Advertisement
Soon after, Phillip Lim made an even more obvious ode to Lichtenstein for pre-fall 2012, mimicking the pop artist’s famous style similar to how Spanish pop art team, Equipo Cronica, has done in the past.
3.1 Phillip Lim Pre-Fall 2012 and Equipo Cronica’s Guernica, 1971
For fall/winter 2009 couture, Karl Lagerfeld took a more abstract approach to fireworks and explosions at Chanel. Two standout looks from the collection bared striking similarities to the works by artists Wassily Kandinsky and Robert Delaunay; entitled Squares with Concentric Circles, 1913, and Le Premier Disque, 134 cm, 52.7 inches, 1912-13, respectively.
Lastly, no reference to explosive fashion would be complete without mentioning Christopher Kane’s 2010 resort collection. The atomic bomb dresses and separates were unforgettable and almost identical to images in Robert Longo’s series of charcoal, bomb drawings, The Sickness of Reason.
No matter what the season – fall, resort, spring or pre-fall – ready-to-wear or couture, designers are more than capable of making an impact. Now it is your turn spring/summer 2014, wow us.
Christopher Kane Resort 2010 and Atomic Bomb charcoal drawing by Robert Longo
Tags: Art, Designers, Fall/Winter 2013, Fashion Week, New York, Paris, Photography, Retail
The fall 2013 shopping season is well under way. Collections shown almost six months ago are finally hitting stores and available for purchase. In an effort to re-familiarize myself with pre-fall I have been flipping through shows style.com and noticed a pattern amongst the collections. Designers from Narciso Rodriguez to Erdem as well as Parisian houses like Louis Vuitton and Christian Dior showed multiple, if not all, of their 2013 pre-fall looks in pairs.
This latest pre-fall development is hardly the first time the fashion world has experienced the impact of a twosome. Could this trend have come about as a result of the continuing success of designer pairs from Dolce & Gabbana and Viktor & Rolf, to Valentino’s Maria Grazia Chiuri and Pierpaolo Piccioli? Just this past June the CFDA awards for womenswear designer of the year and the Swarovski award for womenswear were presented to American duos Proenza Shoulder and Suno, respectively, and in 2012 Mary-Kate and Ashley Olsen were awarded top honors for The Row.
The art world, however, recognized the power of pairs far before John Galliano sent obscure couples down the runway for his namesake spring/summer 2006 ready-to-wear show and prior to Lagerfeld’s double bride finale for Chanel spring/summer 2013 couture.
Artists such as Dan Flavin and Donald Judd as well as Peter Fischli & David Weiss began collaborating in the 1970s while modern day duos from Elmgreen and Dragset to Kelley Walker and Wade Guyton have made names for themselves as twosomes.
Countless solo artists have explored the concept of duality within their personal work. One of photographer Diane Arbus’ most celebrated images – Identical Twins, Roselle, New Jersey, 1967 – famously depicts identical young females and by happenchance began a cultural revolution; is it said that the pair were the inspiration behind the twins in Stanley Kubrick’s surrealist horror film, The Shining. Arbus herself even worked in collaboration with her husband, Allan, although he is rarely mentioned.
Likewise, more contemporary female photographers, from Sarah Jones to Cindy Sherman, have embraced twosomes in their individual work; the latter elevated her trademark self-portraits during the photo-shop revolution of the early 2000’s and began appearing multiple times in one image.
Regardless of seasonal trends, fashion and art duos continue to prove themselves unstoppable.
August is underway meaning that any day now September fashion issues the size of telephone books will be hitting newsstands. Last year I shed light on editorial content vs. ad pages and, while I can imagine 2013 will be much of the same, something excites me about what I have seen thus far on the fall/winter ad circuit. More designers have taken inspiration from art for their latest set of campaigns.
For starters, Inez and Vinoodh captured Raf Simmons’ fall 2013 collection for Dior and one image in particular (pictured above) was a direct reference to Edouard Manet’s 1863 masterpiece, Luncheon on the Grass (below).
While Dior took inspiration from the past, at KENZO, Carol Lim and Huberto Leon enlisted the help of present-day artist Maurizio Cattelan to think up a fantastic, surrealist-inspired campaign.
Similarly, one of fashion’s ‘go-to’ artists, Robert Longo, is once again invading fashion magazines by way of the McQ campaign (above). In the past, Lanvin showed Longo-inspired images for spring/summer 2010 while the following season the entire Bottega Veneta campaign was shot Longo-style.
In the past, fashion houses have partnered with artists to produce original editorial content. Cindy Sherman is always the premier example of the intersection of art and fashion; take her post card series for Comme des Garçons in 1994 or her Marc Jacobs advertisements in 2006. Rather than a brand using an artist to promote a collaboration between the two creative forces, it is most intriguing when designers seek out artists to highlight their existing products.
Taking this philosophy and looking back at past year’s fashion advertisements, Tom Ford’s fall/winter 2007 campaign by Marilyn Minter immediately comes to mind. The images represented the Tom Ford brand through the eyes of Marilyn Minter – pure genius.
Just last year Diane Von Furstenberg showed a series of surrealist ads for spring/summer 2012 with countless references to the work of Salvador Dali and Rene Magritte (above).
Last but not least, my favorite ode to an artist was Prada’s spring/summer 2001 ad campaign inspired by the amazing Martin Munkacsi (the same man who captured the puddle jumper in 1934, well before Avadon). Munkacsi was famous for his high-energy, identifiable images when, at the time, almost all fashion photographs were being shot on a large format camera inside a studio. His series of beach photographs from the late 1920’s to early 1930’s are still some of his most celebrated to date and served as the inspiration behind Ms.Prada’s spring/summer campaign.
Tags: Art, Designers, Fall/Winter 2013, Inspiration, New York, Paris
Art by Kehinde Wiley, inspired by Givenchy Fall/Winter 2013
Looking back at the Minnie Muse archive, one of my all-time favorite posts to date is Between The Lines from April 2012. It was through the Between The Lines coloring book that I was first introduced to the unbelievable organization RxArt all while rediscovering one of my favorite pastimes as a child, coloring. This year, I once again flipped through the pages of Between The Lines and chose different works to color using the fall/winter 2013 collections as my inspiration. My self-constructed fantasy land includes Givenchy’s FW13 runway hair in form of a baseball cap, a Rodarte rose garden and tie-dye sky, a Jeremy Scott-patterned Giraffe and some sultry/gothic Thom Browne-inspired Murakami flowers. What a world it would be…
Art by Marc Swanson, inspired by Miu Miu Fall/Winter 2013
Art by Mike Bayne, inspired by Rodarte Fall/Winter 2013
Art by Tom Slaughter, inspired by Jeremy Scott Fall/Winter 2013
Art by Ben Jones, inspired by Fendi Fall/Winter 2013
Art by Nicholas Digenova, inspired by Comme des Garçons Fall/Winter 2013
Art by Takashi Murakami, inspired by Thom Browne Fall/Winter 2013
Is imitation truly the highest form of flattery? Or is it merely a lack of originality? Another couture season has come and gone, this time, with countless designers referencing their contemporaries in a big way. It wasn’t a pattern here or appliqué there, however many houses took direct inspiration from the past, similar to how Joseph Altuzarra famously paid homage to Tom Ford’s fall/winter 2003 ready-to-wear Gucci show for fall/winter 2010. Looking at this most recent couture season, Raf Simons’ global collection for Dior showed a few undeniable similarities to Pheobe Philo’s FW 2012 collection for Céline while Giambattista Valli also looked to FW ’12 and mimicked much of what Sarah Burton showed that season at Alexander McQueen. The first show of the week, Versace, relied on classic underpinnings to serve as the basis on a majority of the looks much like Jason Wu did for spring/summer 2013 and this season, Jean Paul Gaultier sent his bride down in the runway in a gown almost identical to the final few looks in Viktor & Rolf’s spring/summer 2011 show. Similarly, the Dutch duo made subtle references to past collections by the equally avant-garde Rei Kawakubo for their premier couture presentation. Seeing as how this season marked the return of the house of Schiaparelli, maybe designers took that as their cue to make this couture season all about taking something old and making it new again.