Monday, May 29, 2017

Fashion Abstraction

"Moment," 2016
Curves and colors span across the canvases of Power Boothe’s paintings. Straight lines travel next to half circles, forming paths for the eye to follow. Colors help lines transform into shapes like triangles and squares.
"Interlude," 2016
Since the late 1960s, the American artist has produced works of abstraction. His grid-like creations take the viewer on a journey through space and form, as the lines and colors communicate through a visual language rooted in geometry.
"Surfacing" 2016
Like the abstract curves of Boothe’s paintings, the fabrics seen on the Emilio Pucci spring runway took inspiration from geometric design. 

"Recursion," 2016 
With touches of color blocking paired with soft shapes, the collection is reminiscent of paintings like “Recursion” with curving forms in shades of orange, teal and blue. 
The dress comes alive as the wearer walks, the shapes moving in time with each step.

The spirit of movement and freedom isn’t limited to this spring’s collection, but is the foundation of the Pucci brand. Pucci started developing signature prints in abstract forms in the 1950s, earning himself the title of “The Prince of Prints.” 

Like the prints he created, the selected fabrics were designed with the goal of freedom. The stretch silk and cotton jerseys could move with a woman’s body, freeing her from the confines of the fitted, belted and structured fashion women were wearing at the time.

"Kite," 2016
Just as the fabrics of a Pucci dress follows the curve of the body, Boothe’s shapes move across the canvas. Whether fashion or fine art, there is a freedom found in abstraction. A freedom found through defining one’s own path that curves beyond the straight and clearly defined.

Runway Photos: Vogue
About the Designer: Emilio Pucci
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Sunday, May 14, 2017

Material Girl

Big hair, leggings, sky high shoulder pads…it was the decade of decadence. Wall Street was flying high and so was everyone’s taste for the good life. Consumer culture reached a peak to the tune of Madonna’s “Material Girl.”
Though over 20 years have passed since we said goodbye to the 80s, the style influences continue to infiltrate modern fashion. The spring runway, like that of Ronald van Der Kemp's couture collection, was full of padded shoulders reminiscent of Melanie Griffith in “Working Girl”…the only thing missing were her white sneakers.
Dressing for success in the 80s often meant classic black and white, which continues to be on trend for ladies ready to conquer the boardroom. When creating his iconic “Men in the Cities” series in the 70s and 80s, artist Robert Longo dressed his contorting figures in the classic workwear. 

 Classic lines and colors help make the images timeless--and the look continues to bring a powerful punch as seen in the Ronald van Der Kemp look on the right.


Did someone say party dress? After a hard work day, what girl doesn’t need to enjoy a night on the town in a pretty outfit? The glitz and glamour of the Texas darlings from “Dynasty” hit the Alexandre Vauthier couture runway in full force with an array of one-shouldered frocks, puffy sleeves and pantyhose.




From flowing trains, to ruffles, sequins and sashes…the 80s glam options were endless this season. Some options even shimmered, like the design that mirrored the shining Rabbit sculpture by Jeff Koons.

Always a go-to for glamour, little black dresses go vintage with textured volume. Dressed up in a LBD from Ronald van Der Kemp, what girl wouldn’t feel like a celebrity?

"Celebrity" by Christopher Wool, 1989


Not in a black dress kind of mood? Keep it sleek with color blocking and an elegant coiffure inspired by Richard Prince’s photography.
"Untitled 1" by Richard Prince



As each day brings us closer to the future, fashion proves that we never leave history behind. There are styles we think will never return, and yet they always find ways of coming back for the next generation.

Runway Photos: Vogue.com 

Sunday, May 7, 2017

Charming Charlie

From the streets of London to the royal palace, hers was the story of rags to riches.
"Nell Gwyn" by Peter Lely, 1675
Nell Gwyn started her career as an orange girl at London’s King’s Theater during the Restoration period of the mid to late 1600s. As she wound her way through the crowds and enticed audience members to indulge in a sweet orange, Nell learned to use her wit and charm to win over the theatre-goers. It wasn’t long before she found herself on the stage and was gaining fans as an actress. Soon to join her fan base was none other than the King of England.
"Charles II and Nell Gwyn" by Edward Matthew Ward, 1854
Charles II was quite the ladies man, but even with other lovely courtiers doting on him, he couldn’t keep his eyes…or his heart away from Nell. Her down to earth demeanor, humor and beauty were enough to charm King Charles and keep him captivated for nearly 20 years until his death.
"Charles II and Nell Gwyn" by Roland Holyoake, 1900
I couldn’t help but get drawn into the Cinderella story of Nell as I read “The Perfect Royal Mistress” by Diane Haeger. After recently finishing the book, I found myself looking for touches of Nell's world in modern fashion. 

The Restoration period brought with it an emphasis on the shoulders with broad, open necklines. Using a corset and dropped waist, the torso was elongated before it blossomed into a full skirt as seen in the painting below of Beata Elisabet von Konigsmarck.
The broad necklines on the Erdem spring runway had me imagining Nell in the halls of St. James's Palace wearing one of these dresses. 

The close cut through waist and extended lines resemble the corseted dropped waists of the Restoration.

Ruffles, bows and brocades are reminiscent of the lavish detailing and fabrics seen on high class ladies like Princess Mary Henrietta Stuart, daughter of King Charles I, shown in the portrait below.
"Maria Stuart Widow of Willem II" by Bartholomeus van der Heist, 1652

Underneath the heavy gowns, the flowing dresses from Erdem are a bit like the chemises ladies would have worn as a slip of sorts. 

Or the Erdem gowns may have been the perfect option for a portrait since ladies of the period were fond of getting painted in what appeared to be a state of undress. The women were painted with soft fabrics, disheveled hair and clothing delicately falling off the body.
"Nell Gwyn" by Peter Lely, 17th c. 
The layers of fabrics and glimpses of skin suggest the sensuality of the woman. Not merely a portrait of beauty or femininity, this trend underscored the power women could hold in the role of mistress. To be a mistress of a man like King Charles II, as was the case for Nell, meant power and opportunity beyond what her class or circumstances would have otherwise permitted.
"Nell Gwyn" by Simon Verelst, 1680
So what can we learn from “pretty, witty Nell?” Not to go hunting for a king of our own, but rather the power of humor. No matter the circumstances, her wit and fondness for inspiring laughter kept Nell afloat whether walking through the streets of London or the palace halls.

Runway Photos: Vogue.com
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