Flemish painters in fashion

Painters in the Netherlands in the 17th century, the Flemish School, have been a source of inspiration over the centuries. In fashion there is a strong connection between art and haute couture and the 2003 film, ‘Girl with The Pearl Earring’, based on the historical novel by Tracy Chevalier, started a new wave of ‘inspired by Flemish Painters’ in fashion.

           

On the left: Johannes Vermeer, Girl with s Pearl Earring, essentialvermeer.com; on the left: Scarlett Johansson, the poster for the 2003 movie, en.wikipedia.org 

It didn’t happen solely because Scarlet Johansson was in the movie. The art of Jan Van Dyck and Johannes Vermeer, for example, is so unique it deserves more observation. Religious painting was forbidden in the Calvinist Dutch Republic so their artists portrayed real people, still lifes and landscapes.  They documented their time almost photographically, unlike the baroque painters elsewhere in Europe. This is the reason these pictures are so captivating and inspire us to retell their stories again and again.

Designers Maria Grazia Chiuri and Pierpaolo Piccioli took inspiration for the Valentino AW13 collection from Flemish painters. White collars and cuffs were shown along with wide sleeves, and ermine mantle-like capes worn over long and simple dresses in red, royal blue, white, grey and black.  There were also dresses with typical Dutch ornaments and – a baroque era favourite fabric – lace. The aesthetic was as simple, straightforward, elegant and modest as a Dutch painting, mixed with the Brothers Grimm fairytale mystique.

          
On the left: Johannes Vermeer, The Milkmaid, essentialvermeer.com; on the right: Valentino AW13, vogue.co.uk

          
On the left: Rembrandt, A Woman with a Puppy, paintings-art-picture.com; on the left: Valentino AW13, vogue.co.uk

Jean Paul Gaultier blended a modern sexy upbeat look and legendary Dutch painters to create his Dior collection for AW09. The silhouettes were reminiscent of the most extravagant ladies from the baroque and rococo eras – feathered hats, wide collars and sleeves, tiny waists and full skirts with exposed petticoats.  The connection with Dutch art was underlined by the white and blue display on the underskirts, with Dutch ornamentation. 

          
                                        

On the left: Plate ‘Flowers’ Royal Delft Blue, delft-art-gallery.com; on the right: Dior AW09, style.com

Marc Jacobs was said to ‘adore’ Scarlett Johansson after her appearance in ‘Girl with The Pearl Earring’, a Vermeer-inspired film about the forbidden love between the painter and his maid and artist’s model, played by Johansson.  Jacobs asked the actress to be the face of Louis Vuitton’s AW07 and designed the whole collection around her film character. The collection had a several connections to Rembrandt, as well.  The models wore hats inspired by Rembrandt’s ‘Self-portrait as a Young Man,’ and dropped and soft shoulder lines and emphasised collars and cuffs were also featured.

Vuitton AW09, vogue.co.uk

Rembrandt, self portrait, en.wikipedia.com

The recent Flemish painter fever also inspired the film director Wes Anderson, who made the theft of a painting by a fictional Flemish artist, Johannes Van Hoytl the Younger, the centrepiece of his film ‘The Grand Budapest Hotel.’

Painting by a fictional Flemish artist in ‘The Grand Budapest Hotel’, phaeton.com

Photographer Sacha Goldberg exhibited a set of beautiful portraits inspired by Rembrandt. She worked with a professional team on costumes, make-up and hair to recreate the feel of 17th century women. Goldberg said that she was inspired by the light and the way the characters pose and look.

Sacha Goldberger photograph inspired by Flemish artists, xaxor.com

The author Tracy Chevalier had the poster of the painting A Girl with The Earl Earring hanging in her bedroom ever since she was a teenager and formed her thoughts into a novel over many years. She mentioned in her TED talk that it was the girl’s expression that attracted her to the painting and inspired the creation of a story which led to a renewed interest in Flemish art. 

New cape trend alert – be the superhero of your own story

Capes have been trending for the last few seasons, but haven’t really hit the high street yet. The fashion magazines are full of tutorials on how to wear the garment, as it’s something new and unfamiliar. Nevertheless, the cape has been the designers’ darling for almost every past autumn-winter season.

For AW15, along with floating, bold and embroidery-rich dresses, Valentino showed floor-wiping coats and capes. The capes were strong, structured and monumental, creating a striking suggestion of armour or protection around the body.

            
Valentino AW15, vogue.co.uk

Statement capes appeared in last season’s collections several times. Interesting geometrical patterns covered Barbara Bui’s capes and ponchos. Vivienne Westwood brought along unisex, happy-hippy floating capes with oversized hoods. Emilio Pucci’s evening wear cape seemed like a magician’s cloak, with glittery embroidery on black floating silk. Architectural multicoloured and layered capes came from Issey Miyake and Kenzo.

           
Barbara Bui, Vivienne Westwood, Emilio Pucci AW15, vogue.co.uk

          
Issey Miyake and Kenzo AW15, vogue.co.uk

The cape has gone through a huge change. We’re used to seeing the traditional capes and ponchos beloved of 70’s hippies, or elegant and glamorous capes worn as evening wear; the latter sparking the recent cape fever.  Gwyneth Paltrow wore a Tom Ford white dress for the Oscars, sporting a chic cape which was presented as part of Ford’s ‘top secret’ Fall 2012 collection.

Gwyneth Paltrow, Oscars 2012, nydailynews.com

Historically cloaks had a very practical use – essentially they were blankets wrapped around the body to keep warm and protect from sand and dust. Throughout the 16th and 17th centuries women wore capes as cover up garments rather than fashionable clothing, though this began to change during the Victorian age.

From 1910 the cape came into its own, when Paul Poiret transformed the piece, playing with its shape in various forms. During the 80s, the heyday of shoulder pads, Romeo Gigli became famous for its soft and dropped shoulder line and cape-like cocoon coats. 

          

On the left: Romeo Gigli, theredlist.com; on the right: Paul Poiret 1911, partnoveau.com

But the cape isn’t an additional garment any more, but a statement piece on its own.

We can see the rise of monumentalism in art through Walter Oltmann’s huge wire sculptures, in innovative furniture design by the Campana Brothers and in fashion from young Finnish designers Sasu Kauppi and Sophie Sälekari. These new aesthetics have a survivalist feel, inspired by both the powerful and the ordinary. 

Walter Olmann sculpture, artthrob.co.za

   Campana Brother, Concepts friedmanbenda.com 

Reasons behind the rise of monumentalism include a shift in people’s needs. In an era of information overflow and cheap mass production we need to protect ourselves, and at the same time we’re redefining our personality as we constantly compare ourselves to others from all around the world.

 Sasu Kauppi, AW12, Sasu Kauppi Facebook page

All of these changes have happened so fast.  Perhaps the strong, structured cape offers us shelter whilst we are nurture ourselves, and at the same time we can feel like the superhero of our own story.

Valentino’s AW15: Dresses with secrets to tell

Black and white op-art inspired dresses opened Valentino’s AW2015 fashion show in Paris. Oversized jumpers, shiny black block-heeled boots and large handbags added a contemporary look to classic and elegant monochromaticity.

Valentino AW15, vogue.co.uk

Black and white dresses have been one of Valentino’s signature looks since 1964, when the ex-First Lady of the United States, Jacqueline Kennedy Onassis, ordered a collection of six pieces from the Italian haute couture designer. Timeless monochrome has remained in the spotlight ever since, and is set to be a huge trend for SS15 and throughout the next year. 

The designers behind the Valentino brand, Maria Grazia Chiuri and Pierpaolo Piccioli, took their inspiration for the latest collection from two very talented women, the early 20th century revolutionary fashion designer Emilie Louise Flöge, Gustav Klimt’s muse, and Celia Birtwell, a British designer known for her colourful prints.

 

On the left: Emilie Luise Floge, ngv.vic.gov.au; on the right: Valentino AW15, vogue.co.uk

The loose, flowing silhouettes and bold dresses reflected an early feminism. The models’ ‘no make-up’ look recreated the images of the first fearless women who dared to go corsetless and who reformed the concept of women’s dress and the female body. Valentino is known by empowering women with timeless feminine elegance.

On the left: Gustav Klimt, Emilie Floge (1913), en.wikipedia.org; on the right: Valentino AW15 

The luxurious side of the 1970s, a decade currently on-trend, was showcased in Birtwell-inspired bold patterns, A-line skirts and dresses and romantic ruffles and fringes.  Exemplary craftsmanship is deep in Valentino’s DNA. This collection featured intricate embroidery, combined with mosaics of sheer and metallic fabrics. It created reflections of light and glimpses of the body through gossamer-sheer garments. It seemed like long forgotten love stories and secrets were woven into these dresses and brought to life again.

  

On the top: Print by Celia Birtwell, sianelin.com; Valentino AW15, vogue.co.uk

Craftsmanship is trending in all areas of life, with ever evolving technology bringing together people who share similar ideas, creating so-called tribes. The power to influence change now lies in the tribes, not in television or mass production.  In fashion, people will increasingly look for quality and timelessness, tired of being bombarded by low quality fast fashion. 

Valentino’s signature red dress sported a very minimalist and almost fragile sheer top, whereas its long skirt floated in multiple layers. A dress in the trademarked ‘rosso Valentino’ red has been part of the designer’s every collection since 1959. It has had countless variations, from very simple cocktail dresses to extravagant evening gowns for Hollywood stars.

Red dress in traditional ‘rosso Valentino’, Valentino AW15

Making a surprise appearance on the runway were ‘Zoolander’ actors Ben Stiller and Owen Wilson, filming a scene for the movie’s sequel, a further satire on the fashion industry, due for release next year.  The delighted crowd cheered and applauded, raising their phones and iPads to take photographs.

Ben Stiller and Owen Wilson at Valentino’s AW15 show

This catwalk bombing further illustrates Valentino’s sense of humour; he had a cameo in  “The Devil wears Prada”, which highlights the worst stereotypes of the fashion industry. By bringing the two comedians to the finale of the show, Valentino delivered a message that despite being a very traditional and established fashion brand and a multibillion pound business, it’s not going to take itself too seriously.

Applause.