When design has influenced fashion, and vice versa

Pure fun, or when fashion and interior designers are switching roles. It’s a slightly hyperbolic story that requires imagination to take some leaps (but not too many at times) and the categories of aesthetic judgment to step aside to make room for the naive joy of the creative emotion that underlies the best .. human ideas. Let’s start with two pictures, light, so clear to read that it is not necessary to push the thought beyond what the eye sees: The House at the End of the WorldDavid Lachapelle2005, and Teddy Bear Coat from Jean-Charles de Castelbajac at a parade in Paris in 1988.

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In the first, part of a photoshoot that stepped directly into the epic of the narrative of the turn of the millennium, the photographer captures a series of portraits in which he elaborates on the concept of the alleged immortality of the fashion system, of its capabilities. to regenerate by nourishing the present, whatever it is. . The top of the moment, Lily Cole, is the full-length foreground of a pile of rubble, baby / icon in her arms, and is wearing a Viktor & Rolf autumn winter couture dress from that year: it’s literally an exploded bed, a kind of vertical mattress , where the scarlet of the upholstered silk satin contrasts with the creamy white lining and two huge pillows instead of the collar; behind it, a bourgeois periphery destroyed by who knows what disaster. With that collection, the Dutch duo revived the purest sense of kitsch as an artistic form of expression; a drop in the ocean that has given the recent result that would establish a parallel, the main inspiration one Marcantonio for Selettiwith the couple Comfortable sofa and armchair.

jean charles de castelbajac

Daniel SIMONGetty Images

campana brothers, party chair

Provocatively, de Castelbajac raged on the catwalks of the eighties, mocking the hysteria of his colleagues with crazy pieces. That teddy bear coat, a trend that returned countless times, was one of the must-haves of the season; “But what is this infantilism, this recovery based on the name itself, on the themes of childhood, do we need it?”, He wonders, in addition to pointing the finger, the forerunner, at the excessive use of natural fur, and here he sews a myriad of bear-shaped dolls together: rain of twinkle. THAT The Campana brothersin 2005 (here it is, at its modern dawn, the date of the kitsch’s rebirth), they return to the footsteps of the child ego and draw their finished masterpiece, Banquet chair. All kinds of soft toys work together and form the basis of the seat in the jungle armchair, which in time will celebrate Disney classics and Lacoste’s crocodile.

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But the exchange is not one-way, and the reverse operations, the transition from the domestic to the dress or the accessory are just as rich in ideas. In a quick glance: Bruno Munari’s Falkland lamp from 1964 became a dress, in 2020, for the young Sun Woo Changwhich in turn made a pike jump through Hussein Chalayan’s tablecloths and the sculptural drives of the nineties by Issey Miyake.

pandel shoes from isabel marant

Courtesy Photo

the cone chair from vitra

Courtesy Photo

How many times has Verner Panton’s psychedelic interior been translated into fluid ready-to-wear prints and shapes? Among the most striking examples are the heel of the Pandel shoe from Isabel Marant, the track from the silhouette of Cono chair for Vitraor the spring summer of 2019 by Dries Van Noten and Prada (about Lady’s idiosyncrasy for upholstery and wallpaper a manual could be prepared), which does not pay off, also used its unforgettable inflatable armchairs in the following advertising campaign, proposing them for sale in a limited edition in its e-commerce.

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the confident vest from louis vuitton

Courtesy Louis Vuitton

Always with an inflatable theme, it is impossible not to find a parallel in between Virgil Abloh’s transparent life jackets for the summer of 2021 for Louis Vuittonwith another myth, the Blow Chair from 1969 by Zanotta. From the Memphis group’s futuristic pop fantasy magpies, founded in the seventies by Ettore Sottsass, on the other hand, arose one of Maison Dior’s most famous debuts with the only collection by architect Bill Gaytten, whose sole fault was to take the place of John Galliano; all forgotten very quickly, though it would be better to learn from mistakes.

There are closer to us Cube armchair from 1910 by Josef Hoffmann which has acquired characteristics of Padded cassette bag from Bottega Veneta to Daniel Lee; there is still, Silvia Venturini Fendi which gives his view on the colorful Cipria sofa by Edrtoagain signed by the Campana family, in winter haute couture 2019. carries the memory on the skin.

Like a house under construction, a miracle site that has been open for millennia – from the first gesture to cover up the French court’s surprising rococo wigs or the Russian Tsars’ costume parties, to the next “director” of the “brand of the moment” – the dialogue between designers is a place of inexhaustible production, one of the few that is always in discussion and never in conflict.

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