SONIA RYKIEL - Spring/Summer ready-to-wear 2017 -

SONIA RYKIEL - Spring/Summer ready-to-wear 2017 -

SONIA RYKIEL - Spring/Summer ready-to-wear 2017 -

SONIA RYKIEL - Spring/Summer ready-to-wear 2017 -

BALENCIAGA - Spring/summer show - 2008

BALENCIAGA - Spring/summer show - 2008

BALENCIAGA - Fall/winter show - 2007/2008

BALENCIAGA - Fall/winter show - 2007/2008

BALENCIAGA - Fall/winter show - 2007/2008

BALENCIAGA - Fall/winter show - 2007/2008

BALENCIAGA - Fall/winter show - 2007/2008

CHANEL - Fall/winter ready-to-wear 2006/2007 -

CHANEL - Fall/winter ready-to-wear 2006/2007 -

CHANEL - Fall/winter ready-to-wear 2006/2007 -

Fashion

To invent shapes, dress shapes, reproduce shapes: a translucent membrane splits and unites the two worlds that are painting and textile; indeed, both invoke gestures, matters and colours. Art and design share common passions towards tensions between lines and surfaces, between colour and light, between the pose and the movement. Isn’t there the same experimentation of the line, the search for matter in certain gestures like painting and printing, or painting and weaving? The quest for a composition, a harmony in the handling of contrasts between matters, volumes and surfaces. When the purpose of one is to contemplate an artwork, the other is to dress bodies, and in both cases, they work because they dress both spaces, both real and fictional, the matter bringing us back to the tangible, the representation on the surface leading us to the imaginary.

“Once or twice I had thought, instead of painting and sculpting, that I would succeed well enough, to invent dresses and costumes. The dress sketch, by the way, isn’t a profession but an art. I discovered it is an art of the most difficult and disappointing, because, the dress is barely born that it already belongs to the past. (…) A dress does not dwell like a picture hanged on a wall, or does not lead, like a book, a long intact and preserved existence.”

Elsa Schiaparelli, 1935