Saturday, March 26, 2016

Art Deluxe

A bit of candy, bouquet of flowers, a dash of perfume. Sounds like the ingredients for romance doesn’t it? Or better yet, the ingredients for the art of Clara Hallencreutz

I glimpsed some of her pieces that reference Chanel and quickly got drawn into her world of color, whimsy and surrealism. Her modern pop art inspires questions and exploration through her presentation and title selection.
For instance, by painting a fast food meal in soft pastels and using the title “No Artificial Colours,” Hallencreutz makes the viewer question the ingredients of our food. As a society, we have become accustomed to eating out of boxes and drive-thrus, but do we really ever know what we’re eating? With appealing packaging and convenience, we often fail to stop and consider the artificial components of what we put in our bodies.
The series also includes painted roses. With roses as a symbol of love, it makes you wonder, is love sometimes artificial with a layer covering the true form that lies beneath it?

Hallencreutz seems to have a thing for Chanel, but who doesn’t? Her “Smell Deluxe” series is a pretty presentation of flowers in the shape of the iconic logo…perhaps the flowers that inspire the perfumes? 
Her Chanel inspiration continues with the “Taste Deluxe” series, which uses the branded black and white pairing with ice cream and cupcakes. The juxtaposition of sweets and the luxury of the Chanel brand hints at the taste of luxury, suggesting a new Chanel bag is as sweet as an ice cream cone.


The “Candy Crush” collection continues the use of sweet imagery, but in shapes like that of a grenade. Perhaps an ode to the explosive nature of having a new crush?

Regardless of how you interpret her work, you can’t help but get lost in the colorfully sweet world Hallencreutz creates.

Saturday, March 5, 2016

The Point of Fashion

"The Seine and La Grande Jatte Springtie," 1886 by Seurat 

From afar, the paintings appear like any other, with colorful brush strokes giving life to forms across the canvas.  But step a little closer, and you quickly realize these are not traditional brush strokes that spread color with smooth and continuous movements. But rather, the forms that seemed so realistic and whole from a distance are actually comprised of thousands of tiny paint dots.  
"Eiffel Tower," 1889 by Seurat

This method, called Pointillism, became famous in the late 1800s by artists like Georges Seurat and  Paul Signac. The artists embraced scientific studies on color theory and instead of blending their paints to create different colors, they placed certain color dots next to one another. By doing this, the colors blended in the viewer’s mind rather than on the canvas.
"Sunday Afternoon on the Island of La Grande Jatte," 1884-86 by Seurat 

Designer Monique Lhuillier appeared to embrace a similar approach to representing colors and patterns in her spring collection. Her ode to Pointillism did not stick to dots, but also used flowers and splattered colors to create patterns.

 "The Port of Saint-Tropez," 1901 by Signac 

At a distance, the fabrics appear to have a large pattern that take on forms with the cut of the dresses. But they are actually comprised of many small shapes that make up the bigger design. 
Though Lhuillier’s use of this technique translates in a more abstract way than Seurat and Signac, it’s still interesting to consider how her placement of colors on the fabrics are interacting with you eyes, mind and perception.

"Golfe-Juan," 1896 by Signac

What could just be a fleck of paint contributes to the larger picture; transforming into  a flower, a garden and landscape.

Runway photos: Vogue.com
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