Daily Posts. Colorful Ideas & Inspirations.
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The serene and cozy, but heavy and monotonous black, blue, grey and brown shades of Winter are melting from our minds and we're ready for those bright, warm colors of Spring. Undoubtably, we won't be short on color options, and telling from these three designers not everyone is on the same page when it comes to Spring colors. So, we'll just have to wait and see what colors flourish on the street this spring.
The Last Range of Colours by Miles Aldridge was shot for Vogue Italia back in 2007. These playful, ultra saturated photos are quite fun despite the confused, uninterested, insensate, comatose, insensible looks of the models--all great adjectives, and pretty much the complete opposite of any that would be used to describe these colors.
Click on any of the images to create your own palette.
If there's any good excuse for a new party dress, it's New Year's Eve. Once the holidays wind down--after the family get-togethers are over and the kitchen is finally clean--the last day of the year arrives with no obligation other than to celebrate the year that's passed. It's a true celebration, and maybe that's why ladies trend toward the brightest, shiniest, most fun components of their wardrobes. Of course, there are different kinds of New Year's Eve parties, and several go-to fashion sites have recommendations at the ready. The Fashion Spot has a few ideas for formal and casual events, WhoWhatWear helps you transform pants and skirts into party-worthy ensembles--New York Times style reporter Eric Wilson even offers dressing advice from a few drag queens: "I think feeling your very best is knowing that you’re comfortable in everything you’re wearing," said DJ Lina Bradford. "Having something too tight or that you’re not feeling is a no-no." Because around here, we feel color, I've culled 10 bright cocktail dresses to get your wardrobe creativity flowing. My advice? Find something you'd want to wear again, doll it up with a pile of bangles or a big crystal necklace, and have a great time.
[Gryphon, Rag & Bone; http://www.shoplesnouvelles.com]
Once a month, we'll be taking a look at fashion in film--characters, colors and costume design. Working together to create a believable persona, in the movies, the clothes often quite literally make the man. Or, in the case of today's character, they make the 18th-century queen-to-be.
Director Sofia Coppola's 2006 Marie Antoinette is loosely based on the real life of its title character, the Archduchess of Austria who married Louis-Auguste, the Dauphin of France, in 1770 at the age of 14. In history and in the film, the marriage isn't consummated--a sticking point in the story. Instead, Marie (portrayed by Kirsten Dunst), who has little political sway and finds herself frustrated with life at court, throws herself into more frivolous pleasures--clothing, gambling and makeup. When the king of France passes in 1774, the Dauphin (portrayed by Jason Schwartzman) becomes king--making Marie Antoinette the new queen.
Another inspirational set of fashion illustrations is on display, this time at London's Design Museum. "Drawing Fashion," featuring works from the collection of Joelie Chariau, founder of Germany's Galerie Bartsch & Chariau, is the first exhibition in London to be devoted to fashion drawing over the last 100 years. The drawings showcase 20th- and 21st-century looks sketched by illustrators such as Erté, Lepape, Antonio, René Gruau and Mats Gustafson for houses including Chanel, Dior, Comme des Garçons, Viktor & Rolf, Lacroix, and Alexander McQueen.
[Lingerie, Antonio for Elle France, 1966; At Home, Antonio for New York Times Magazine, 1967]
"I have always responded to drawing as strongly as to finished paintings as they show us the working of the artist's mind so clearly, and I have always loved fashion drawing for the same reason--plus the fact that the good ones show us the way the designer's mind also works," said the show's curator, fashion historian Colin McDowell. "True fashion drawing has a very special role in fashion creativity--something rather forgotten today by many of the slick illustrators who have a certain skill but nothing at all to say with it. A good drawing illuminates the clothes not only for the public but frequently for the fashion designer himself. The works on show at the Design Museum have been carefully selected to show fashion drawings not as mindless exercises in empty technique but as works of art in their own right."
Wake up; brush your teeth; put on clothes; color analyze your outfit. Do that for 365 days and your right where Jacobo Zanella is, with a whole lotta visual info about your color habits and a really awesome project.
For 'My Daily Color Palette' Zanella "observes the colors of the shoes and clothes he wears that day, how much skin is exposed, etc., and reproduces those observations digitally, through RGB combinations." You can follow along with 'My Daily Color Palette' at Behance, Flickr & on his blog.
From project info:
Why do you do it? | Just for fun. I started this project as a leisure activity and as a visual experiment. I didn’t expect it to reach an audience because of its very personal nature. As months went by and I got familiar with the documentation process, I also became much more observant than before. I had no idea hue changes were so visible and cyclical.
Why are bright, colorful things so cheerful and why is America so afraid of them? I've spent my whole life becoming fascinated by color and it's combinations, from fingerpaintings to oil paintings to colorful gemstone jewelry. I've often wondered why so many cultures embrace and celebrate color while my own seems to suppress and marginalize it. In Mexico, colorful living is standard practice, a way of releasing control over their lives and giving it back to God. In America, only the fringe live colorfully: artists, bohemians, hippies. Here, a colorful outfit is a sign of a dangerous mind, of an impulsive rule-breaker, of someone who's not afraid to stick out.
My mom had us playing with color as far back as I can remember. She'd set us up at the kitchen table with watercolors or crayons and we'd just go to town for hours! I remember that new boxes of sharp crayons or pristine, unmuddied watercolor sets were the most exciting presents. I used to get so distressed when, in my haste, I'd muddied up a once bright yellow pan of watercolor. Mom would always swoop in with a napkin and resuscitate my sunny friend. I suppose that this early training predisposed me to a love of colorful things.
Now I know that color exists in America, but the "adult" and the "professional" and the normal rhythm of our society lean toward quiet, somber, dignified colors. The next time you're in a crowd - look around - most outfits are composed of dark blues, greys, blacks, white, beige, khaki and forest and olive greens with the occasional red accent thrown in. Take a look at all those cars out on our roads - they paint the same picture. The next neighborhood you drive around - check out the house colors - equally drab. A culture of people who, by and large, play it safe and follow the rules and believe in protocol and proper conduct. Good news for personal safety, bad news for beauty.
The wonderful colors found everywhere in Mexican society are a natural extension of their whole cultural attitude of freedom and taking chances.
We're fortunate to have guest authors Megan Fizell & Cassandra Edlefsen share their collaborative colour series here on COLOURlovers. Their monthly colour project considers select artworks featuring one predominant colour within the context of the pigment’s history and in relation to natural edible form. Read more about the project at the bottom of this post. You can find the original articles on Feasting on Art. The one below is located here.
Hung Liu’s artistic production is a process of recollection – a symbolic excavation. Having weathered the re-education of artists vis-a-vis Mao’s Cultural Revolution and immigration to the U.S. in 1984, Hung Liu’s influences are richly transcultural. She is known as one of the very first Chinese artists to study within the U.S. and has since received numerous accolades for her dynamic work. Starting from anonymous photographs (often of unnamed Chinese prostitutes), Liu’s portrayals pair elements of tradition with contemporary critique. Vividly, her use of colour challenges her audiences’ emotive links to colour. In an interview she gave in 1995, Hung Liu refers to her vibrant use of colour, particularly red: “Red is an alarming color. We use red lights to warn people; to tell about danger and to use caution. In China, red is the color of the national flag. It is also the color of revolution; it suggests blood. Red also is used for celebration; it is festive and is used for such things as weddings, the Chinese New Year, and red banners. I like to work with layers of meaning.” (1)
Hung Liu, Yang, 2008
In 2005, Chris Lindland started the San Francisco-based company Cordarounds with a simple pair of corduroy pants. But before you write that off as totally boring, consider that these pants come with a little innovation--a horizontal wale. A range of earth tones from the outside, the pants also boast patterned waistband and pocket linings that peek out with bright whimsy. It's all a little nod to the way a hipster can make the fusty cool again, and it's marketed with a serious dose of appropriate irony ("Horizontal corduroy lowers drag," "Drastically lower your crotch heat index," etc.).
A little crude? Yeah. But Cordarounds have caught on, and Lindland's business has blossomed. Now, under the moniker Betabrand, Cordarounds have been joined by a full lineup of limited-edition pants, jackets, accessories and the Black Sheep Sweater, made from the undyed wool of black sheep.
These days, you'd have to live under a rock to miss the Mad Men fashion discussion. Costume designer Janie Bryant--who combines vintage and hand-created period clothing for the characters of the 1960s advertising world--has been credited with changing the face of late-2000s fashion, and it isn't a stretch. Recent runways have featured full skirts and nipped waists and shifts that celebrate women's curves, shedding modern light on dressing up.
But for all the focus on buttoned-up, ladylike splendor, there's at least one woman highlighting the fun of Mad Men's fashion, too.
Freelance illustrator and designer Dyna Moe (depicted in the self-portrait on the right) started inking kitschy Mad Men illustrations when actor Rich Sommer, who plays Harry Crane on the show, asked Moe to create a Christmas card. She decided to mock the advertising illustration of the era, and pressed on with it, illustrating a scene from every episode and posting them all on Flickr. (She was also behind the popular Mad Men Yourself avatar). She drew for three seasons, and last month, Penguin culled Moe's illustrations, along with era-related features, for Mad Men: The Illustrated World.