Monica D. Murgia

Where art, creativity, and fashion meet
March 7th, 2012

Lost in Fashion

Angela Missoni painted and photographed by Liu Bolin. Image courtesy of Harper's Bazaar.

Keeping up with all my fashion magazines can be challenging.  So I was happy to finally sit down and look through the March edition of Harper’s Bazaar.  You can imagine my delight when I found this editorial called Lost in Fashion, a collaboration between photographer Liu Bolin and some of my favorite fashion designers.

Alber Elbaz of Lanvin painted and photographed by Liu Bolin. Image courtesy of Harper's Bazaar.

Bolin, a Chinese artist, lived and worked in an artists’ village in Beijing.  In 2005, the village was demolished by the Chinese government.  This prompted Bolin to create the portrait series Hiding the City, where he painted himself to melt into the wreckage of the artist’ studios.  Bolin sought to blend into the background as a way to comment on the invisible sense of humanity in every environment, especially in times of destruction.

Jean Paul Gaultier painted and photographed by Liu Bolin. Image courtesy of Harper's Bazaar.

This collaboration reminds me of my previous posts on Veruschka, Graffiti Fashion, and Feeling Blue.

Even Pierpaolo Piccioli of Valentino said:

We felt like Veruschka in a Franco Rubartelli picture.  But you don’t really know what’s happening, and all the people around you are saying, ‘It’s amazing.’

Pierpaolo Piccioli & Maria Grazia Chiuri of Valentino painted and photographed by Liu Bolin. Image courtesy of Harper's Bazaar.

 

Each of the designers talk about what it would be like if they were invisible:

“I am Missoni myself, so I wanted to totally disappear into my fabric.  But if I could be invisible, I would forget about clothes for a day.  I’d be invisible but naked.” - Angela Missoni

“If I were invisible, I would look at myself as a designer, I’m not an exhibitionist; I’m move of a voyeur.  All I try to do is be invisible.  I’m working day after day in front of a mirror and trying to disappear in front of the mirror.  I don’t want to see myself.  But I think it’s a choice: to make clothes to make women visible or to be a star and to always be visible.  I always preferred to be on the other side of the street and disappear.”Alber Elbaz, Lanvin

“If I were invisible, I don’t know what I would do.  I would have no people to interact with.  It would have to be a very short moment, not for life!  I would never use it to spy, to find out if people truly loved me, because maybe I would feel depressed.  So [laughs] I think maybe I should die.” – Jean Paul Gaultier

If I were invisible? I would stay by myself.  Just me.” -Pierpaolo Piccioli, Valentino

I would wear pieces by other designers [laughs]!  That would be very nice for me.” – Maria Grazia Chiuri

 

Harper’s Bazaar, March 2012.  Pages 408-417

GHTime Code(s): nc 

February 26th, 2012

Feeling Blue

Anthropometry by Yves Klein, 1961. Image courtesy of http://coatedarms.blogspot.com

I will never forget my first figure drawing class.  As calm and collected as I tried to be, the moment the model disrobed and stood in front of me, I was nervous, embarrassed, and curious.  In the name of art, I could stare at a naked man or woman and not be considered a pervert.  How liberating!

Yves Klein at work, c. 1961. Image courtesy of http://design-crisis.com

Working in the fashion industry, I saw many parallels to the artist’s studio.  Naked bodies are every present in the atelier – fittings, dress rehearsals, runway shows.  After the initial shock value faded, I noticed that the constant exposure to nudity made me a connoisseur of the human form.  In fashion and art, ideal beauty changes with time.  (For more on this, you’d love my previous posts Moovies, Boobies, and Ideal Beauty  and A Return to the Ideal)  The only constant is the human desire to display the body in an appealing way.

A Blue Kind of World. Image courtesy of coloribus.com

 

Recently, I came across the work of Yves Klein (1928-1962).   From 1960-1962, Klein did a series of paintings called Anthropométries (Anthropometry in English).  Anthropometry was Klein’s term for covering naked female models in blue paint and dragging them across or pressing them onto canvases.  The models were “living brushes”, and their naked bodies made the images.  Seeing photos of Klein slather his signature ‘International Klein Blue’ (IKB) paint on voluptuous French models was so overtly sexual I was almost embarrassed that I found the image while at work.  Almost.

Yves Klein, 1962, Anthropométries de l'Epoque bleue, at the International Gallery of Contemporary Art, 253, rue Saint-Honoré in Paris. Image courtesy of http://yejuchoi.com

Image courtesy of http://calitreview.com

 

These works of art became public performances.  Klein directed the models, covered in IKB to make imprints of their bodies on large sheets of paper in front of audiences.  The “exhibition” was complete with blue cocktails and a performance of his Monotone Symphony—a single note played for twenty minutes, followed by twenty minutes of silence.  The resulting artwork is quite beautiful.  However, I think this is one of the rare cases where the product must be accompanied with an accurate description of the process.

 

Anthropometry, Untitled by Yves Klein. Image courtesy of Artnet.com

 

Image courtesy of http://citizenzoo.files.wordpress.com

These shows were successes, both commercially and critically.   Anthropometry is the study of human proportions, and by systematically directing the “living paint brushes” Klein believed his art was “the most concentrated expression of vital energy imaginable.”  I would agree with Klein on that statement.

Image courtesy of http://assentodiario.blogspot.com

 

Image courtesy of http://angryflannel.com

 

Anthropometry has some similarities with Veruschka’s Oxydationen series.  However, Veruschka’s use of body paint serves more to obscure her naked body.  Klein has managed to capture human sexuality and fling it on the canvas.  It’s like being a novice in figure drawing class all over again.

Large Blue Anthropometry (ANT 105) (La grande Anthropométrie bleue (ANT 105)), ca.1960. Dry pigment and synthetic resin on paper, mounted on canvas, 9 feet 2 1/4 inches x 14 feet 1/25 inch (280 x 428 cm). Guggenheim Bilbao Museo GBM1997.8 Image courtesy of Guggenheim.org

 

Anthropometry, Untitled Characteristics: Dry pigment in synthetic resin on paper 102 x 73 cm. Image courtesy of guggenheim-bilbao.org

 

Image courtesy of illuminationsmedia.co.uk

 

Image courtesy of http://fireplacechats.wordpress.com

 

Image courtesy of http://carlypichini.com

 

Image courtesy of http://carlypichini.com

You can watch a video of the Anthropometry performance below.  Enjoy!

 

 

GHTime Code(s): nc 

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