zorn palette

 Today’s post focuses on the humble yet sublime palette from In Wikström’s Studio painted by Anders Zorn in 1889. Layered earth tones of stone, clay and putty provide a subtle backdrop for his female subject’s luminous gold skin and vibrant red hair. To some, this palette may appear quite neutral, void of “color” if you will, but for me, this highly sophisticated canvas speaks to all that I love about color and texture. It has opened my eyes to an infinite number of artistic possibilities…

Feau & Cie

Mariann Johansen Ellis

photography by Miguel Flores-Vianna

Elephant Seal Mother and Pup ~ Yva Momatiuk and John Eastcott

photography by Miguel Flores-Vianna

Anne Packard

Photography by Miguel Flores-Vianna

Silk Road, Kyrgystan ~ Vincent Bonnin

Antique egg print

Feau & Cie

Winter ~ Arkhip Kuindzhi, 1895

Nicole Franzen via the gifts of life

Provins, France ~ Jules Gervais Courtellemont

hybridlava.com

Feau & Cie

Snow and Mist ~ John Atkinson Grimshaw

Jac for Valentino Fall/Winter 2012

Antique egg print

Libeco

Lioness, Kenya ~ Ramesh Ratwatte

via the gifts of life

pashtundukhtaree.tumblr via the gifts of life

Pamela Pierce

Dior Homme “Shadow” Fall/Winter 2012

Darryl Carter

Artists, Dordogne River ~ Jules Gervais Courtellemont

Haynes-Roberts

Pagoda Steps, Nepal ~ Bas Uterwijk

Charles Spada

African Spurred Tortoise ~ Glenn Nagel

Andy Newcom

Death Valley National Park ~ William Lee

Belstaff Spring/Summer 2013

Antique egg print

Photography by Miguel Flores-Vianna

Cheetah Cubs, South Africa ~Dumith Fernando

Bobby McAlpine

photography by danielle boudrot

Anders Zorn’s studio in Mora

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couture and photography

These artful photographs, by Gerard Uferas, capture the creation of Dior’s Haute Couture Spring/Summer 2012 collection from concept to completion…much like the movie Yves Saint Laurent: His Life and Times/5 avenue Marceau Paris written and directed by David Teboul, Uferas offers us an intimate look at the creative process…his still images allow us to linger and savor the details…

To accompany this photographic journey is an eloquent interview with Uferas describing his own creative process and passion for photography and fashion

What story do your photographs recount?

The idea behind them was to follow the complete making of a collection, from the initial ideas to the final show. This common thread allowed us to recount the entire history of the house and transcribe the impression we all have that the spirit of Christian Dior still animates it, that his spirit is present throughout the collection. The lines he drew are still here, and they are a natural fit with my style of photography.

What did you see during your time at 30, avenue Montaigne?

First of all, I discovered that there is a true dialogue between the studio on the second floor and the ateliers on the fifth. Toiles, prototypes in white cotton canvas, pass between them like love letters. They are interpreted and in the end they tell a story! For me the palette was vast; I wanted to show the human element of the house. The moment when the première d’atelier (head of ateliers) places the sketches on the table and everyone chooses the one they find most inspiring. It has to be love at first sight – there is a true love relationship between a drawing and the couturière who brings it to life. And there also disappointment for those who see their dress cancelled because the color is off.

Many of your photographs are in black and white. Why did you choose this format?

When I started taking pictures, the ateliers were working on toiles : everything was white and I just couldn’t imagine working with an inexistent color. Black and white photography is a slight abstraction; like the toile, it is a bit removed from reality. So one focuses on structure. Color came into the story gradually, just as fabric replaces the toiles. Red made an appearance at the end of the collection, and it also appears toward the end of the exhibition.

What is the relationship between couture and photography?

Photography and fashion are cousins. Both are an applied art: even if the world around it is creative, the ultimate purpose of a dress is to clothe a woman. And that of a photo is to reveal a world. Good photography is a vehicle for emotion. Like a dress, it must be well-constructed. It must have a sense of proportion, a graphic concept and a sense of elegance.

photography by Gerard Uferas, interview from Dior

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classic dior

“Elegance must be the right combination of distinction, naturalness, care and simplicity” ~ Christian Dior

Transparent fabrics, such as gauze and chiffon, feel lighter than air…50’s inspired silhouettes re-imagine classic Christian Dior…think fantasy, think romance, think beautiful…champagne anyone?

Highlights from Christian Dior Haute Couture Spring/Summer 2012 ~ designed by Bill Gaytten

photos from Christian Dior and by Alexis Dahan via W Magazine 

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