While this post isn't technically about makeup, it does involve limited-edition packaging for a beauty brand. I think the Makeup Museum empire will have no choice but to expand into bath and body products.
To celebrate its 21st birthday, Fresh released a trio of soaps with illustrations by R. Nichols. According to his blog, the story of the collaboration goes like this: "Last winter I received a call from my friend, Alina Roytberg (who also happens to be the co-founder of Fresh, Inc). Fresh was turning 21 this year and she thought it was the perfect opportunity for us to collaborate on a project. I love Alina and I love Fresh so I was inwardly doing cartwheels across the room, out the door & down the street. I flew to New York where I met with the Fresh team and got my assignment. 'It all began with soap' – they told me. So they asked me to do illustrations to capture the story and essence of 3 of their most iconic oval soaps: Sugar, Hesperides Grapefruit & Patchouli. I returned to LA, got out my scissors, glue and colored paper, and got to work. The images just flowed out of me – and the result was pure joy."
Hesperides features a woman lounging lazily in a hammock, her shoe dangling carefree from her foot.
Patchouli depicts a couple enjoying their safari atop an elephant.
Finally, Sugar shows a couple carrying, appropriately enough, sugar cane.
Let's take a look at some of R. Nichols' other work. I couldn't find much information about him, other than he was raised in D.C. (and attended Sidwell Friends, alma mater of Chelsea Clinton) and liked to make paper collages growing up. Previously he designed Target gift cards and the pictures for the book French Women Don't Get Fat.
I'm enjoying the modern vibe his work gives off. Especially since it involves makeup and shoes! Here are some lipstick notecards:
And this one of a shoe shopping outing:
These images make fashion and beauty seem approachable and fun but stylish at the same time. I feel as though the work of some other artists, like Berthoud for MAC's Illustrated collection, looks very haute couture and intimidating by comparison.
Additionally, even though the lines are simple and flat, Nichols manages to make the objects in his works appealing. Take, for example, these sweets-themed birthday cards. The cherry, sprinkles and cakes look scrumptious.
Same with this baking-themed candle – I feel like I can practically smell that fresh-0ut-of-the-oven bread. I think I need to buy it, since it's one of those items I can look at and instantly feel happy.
(images from r-nichols.com)
What do you think? And which of the Fresh soaps is your fave?
This palette by brow guru Anastasia, called She Wears It Well, didn't catch my eye initially.
(image from sephora.com)
However, I became intrigued once these pictures surfaced of flash cards that were included with the palette. Not only do they give a description of the colors, they feature vintagey fashion illustrations depicting a particular look with a face chart on the opposite side to show you how to achieve it.
Anastasia used old Hollywood and the glamour of the 1930s as the part of the palette's theme, but she also wanted to keep it realistic and wearable for today's woman. "Classic Hollywood glam and modern moxie. Inspired by makeup designed to sculpt, adorn and beautify the women of the 1930s, Anastasia created her She Wears It Well Eye Shadow Palette to bring the drama and beauty of Hollywood's golden age to the modern girl."
You can see the mix of the two vibes in the first card, which combines a vintage photo with contemporary dress styles.
Here are the looks that can be created with the palette.
(images from mypinktasticlife.com)
I'm not sure which illustration I like the best – the sex appeal of the women depicted in Cat's Meow and Speakeasy, the sophisticated elegance of Eyes and Dolls, the femme fatale vampiness of Night Owl, and the girlish fun of Cut a Rug are all pretty great.
I was curious to know who did the illustrations, and a quick search yielded the name Jason Shorr. Shorr, a Los Angeles-based freelance illustrator, graduated from ArtCenter College of Design’s
Illustration program in 2010 with a BFA in Illustration. He interned for Disney and worked extensively with the Princess and Fairies team there (does anyone else find that hilarious?) According to his Tumblr, for the She Wears It Well palette illustrations he was very inspired by the works of Rene Gruau – hopefully you recognize this is the legendary Dior illustrator whose sketch of the "New Look" became the star of not one but two recent Dior palettes.
Shorr also created this cover girl for the Anastasia palette, although it ended up not being used.
Some of his other work includes sketches of celebrities, like this one of Florence Welch wearing a McQueen gown to the Met Gala earlier this year.
This one of Madonna, amazingly enough, was created using an iPad.
Shorr also dabbles in fictional characters, like Effie from The Hunger Games:
And, of course, Disney characters. This painting of Maleficent is part of a Disney villains series Shorr is currently executing.
(images from jasonshorrillustration.tumblr.com)
Due to its easy-to-wear shades, the She Wears It Well palette seems to be quite popular – it's sold out at the Anastasia website – but for me, the real treasure would be the flash cards. I could definitely see them fitting into yet another exhibition that I have flitting about in my head. 😉
Which look do you like most?
This post is so long overdue, but I figured it would be fitting to put up one last summer collection before the season unofficially ends this Labor Day weekend. Mamechiyo, a designer of modern kimonos, collaborated with Shu Uemura to create one of the most vibrant and impressive collections ever. I don't think I've been this excited for one of Shu's artist collaborations since Moyoco Anno's Tokyo Kamon Girls. According to the Shu website, this collection is about "expressing a cuteness—a world rich and dazzling and overflowing with
flowers, inviting you to enjoy your ultra femininity; enjoy just being a
girl. Mamechiyo used flowers in different colors and from different
seasons for a continuous bloom. She hopes this conveys the strength and
positive energy of life…mamechiyo's world is one that is free and infinite, depending on your
creativity; your world will spread from the past to the present and into
the future bringing a life full of dreams and the spirit of
contemporary Tokyo to your universe."
Mamechiyo created four different designs for the cleansing oils and UV under-base mousse (foundation primers), each based on a specific flower. I purchased all of the cleansing oils but didn't bother with the primers, as the designs were identical to the ones on the boxes used to house the cleansing oils. The description of the themes: "For this special-edition UV under base mousse and cleansing oil, Mamechiyo used four spring flowers cherished in Japan—Fuji, Sakura,
Botan, and Ume. Matching each bloom to a women's beauty, a feeling of
spring wraps itself around you with a sensitivity reminiscent of the
poetic world of spring. mamechiyo invites you to journey between retro
and contemporary worlds like butterflies. A new world where fun and
color bring happiness and the sensibility of spring blooms, full of hope
and a playful beauty."
At the Shu Uemura blog, the style for each flower was described in detail, along with quotes from Japanese poets and an illustration of a girl wearing a kimono with the same designs.
"FUJI –藤
Willowy wisteria
Japanese wisteria, with its delicate light purple dainty and fragrant
flowers, holds a special place in Japanese tradition. The long-living
wisteria vine lends a meaning of endurance interpreted as modesty; Fuji
is a willowy flower that holds its volume but sways in the wind; like a
woman who loves to be flamboyant and has a supple mind. Adding the
yellow gave it a pop feel, adding a new dimension to the message of this
flower: 'intoxicating in love.' I aimed to express the beauty of the
FUJI using the coquettish attractiveness of contemporary women.
'The moon will shine
over the flowers
in bloom
just a little longer.' ~ Basho Matsuo,
Japanese poet (1644-1694)"
This design and flower was used for the Advanced formula cleansing oil.
Plum Blossom was used for the Brightening formula cleansing oil.
"UME –梅
Plum blossom
Ume is the flower of the plum tree, representing a fascinating beauty
filled with elegance even in the severe coldness of winter. mamechiyo
embellishes her design with the purple of the Japanese traditional arrow
pattern used in the kimono worn by the younger generations, to
emphasize the Japanese unique traditions from a new point of view,
expressing a cool stylishness and unique character fusing with cool
impression of purple color. Tradition meets cool in this borderless
world with a unique character and sensibility.
'The fragrant plum blossom beckons winter to return, bringing chilly days.”
Basho Matsuo, Japanese poet (1644-1694)'
'Using the arrow pattern together with the cold color of purple, a colorful characters is brought out.' – mamechiyo
Up next, peony was for the Premium cleansing oil (for some reason this was an Asia-exclusive item, but E-bay saved the day).
"BOTAN –牡丹
Peony
Beautiful and elegant in every scene and position, the peony is a strong
metaphor for women's natural beauty. Meaning magnificence, and noble,
this flower has gorgeous petals layered in richness and beauty. Befit
for a king, they speak of magnificence and nobility. Having inner
fortitude and dignity, they are also full of flexibility and the rich
sensitivity of women. After the full blooms of spring, Botan celebrate
the energy of the fresh, young shoots of summer, in a natural green
that's not full of emotion, but remains fresh and neutral. Here
mamechiyo gives a contemporary edge to that vision.
'Standing, she is a peony. Sitting, a tree peony. Walking, a lily.'
~ anonymous
'To have a strong core,but to have rich sensitivity and flexibility
of mind. The color of green in kimono language is neutral. Not movement
nor stillness, not feminine not masculine … just like the young fresh
leaves after the spring flowers blooms.' – mamechiyo"
Finally, we have the delicate pink of the cherry blossoms, used for the Fresh formula cleansing oil.
"SAKURA –桜
Cherry blossoms
Sakura that represents the ultimate image of Japan, small delicate
blooms hold the essence of beauty-swaying in the wind, falling, softly
covering the ground in prettiness.
Just like gently catching the butterfly's wing, inviting you to the
dream world. Meaning "purity" and "elegance" mamechiyo adds a gentle
smile, and mixes in stripes for a more contemporary vision of sakura. 'butterfly in my hand – as if it were a spirit. unearthly, unsubstantial'
~ Buson Yosa, Japanese poet (1716-1783)
'like gently catching a butterfly that had been
perched on a flower. You are transported into a fuzzy dream world.'
– mamechiyo"
I don't know about you, but I love the idea of being in a fuzzy dream world!
I also couldn't resist this gorgeous and cheerful foundation case:
So what inspired Mamechiyo to create kimonos for the modern, Western-influenced woman? In an interview with Trust Your Style, she says, "After World War II, the Japanese began to Westernize, and the
idea that 'Japanese traditions equal old-fashioned things' became
strong. Everyone started mainly wearing Western clothing, and people who
wore the kimono as casual wear became scarce. The kimono became formal
wear unrelated to expensive new fashions. With the rise of Western
clothes, over 50 years of the culture of the 'everyday kimono,' which
made both Japanese fashion and landscape so vivid, came to an end…When
I was in my teens, after being born into and growing up in this 'Westernized' Japan, I was into London punk fashion on the one hand, but
I also enjoyed the fashions of cheap antique kimonos at the same time… it was really fun to take these antique
kimonos and coordinate them using a modern sensibility, but it was
frustrating that there weren't more kimonos that could blend into the 'cyber scenery' of modern Japan. One day, I realized, 'if these kinds of
kimonos aren't out there, then why not make my own?' and I began
creating designs for new kimonos that would suit me as someone who grew
up in a culture of Western clothing." She adds that her demographic consists mainly of 20- and 30-somethings who have never worn kimonos, but there are a few older women who are nostalgic for the days when kimono-wearing was common. As for the style and feel of her kimonos, she insists that "there are
no boundaries between old and new eras, but rather boundaries of taste…it's the same reason that there are no boundaries between East and
West–if there is taste, the two sides can fuse together." And the bright colors? "A kimono can seem
very colorful, but in the past, if it was worn in a garden, then it
would melt into the scenery. They are all based on colors found in
nature."
Much of Mamechiyo's work is a lively melange of seemingly disparate patterns, flowers and butterflies. Stripes, checkers, dots and arrows figure prominently and were, appropriately enough, used in the boxes for the cleansing oils.
She does branch out on occasion, eschewing the explosion of flowers and butterflies for black lace or a swirly water-like pattern.
And she even works in some animals. I was immediately drawn to the koi pattern in the kimono on the left, thinking that the black one on the right was too somber, but then I noticed the cats at the bottom of it.
(images from mamechiyo.jp)
The events surrounding the Shu launch were just as elaborate as the collection itself. The main press event took place on January 11, with Mamechiyo's patterns spanning the entire floor and ceiling of the space.
Four models showed off Mamechiyo's kimonos, each one, of course, representing the four flowers.
(images from Shu Uemura PES press presentation on flickr)
What's not clear is whether these kimonos were especially created for the event or even the collection, given that two of the four had made an appearance at Mamechiyo's blog in 2011. Unfortunately, Google translate didn't seem to work so I couldn't read the entries on them – it's not certain whether she made the kimonos based on her designs for the collection and then used them for the press event or if they were existing patterns that she then used for the collection. Anyway, more of her work was modeled at another press event with makeup demonstrations, and there was even a contest in Indonesia where participants submitted their own kimono designs based on the four flower themes. The winning designs were displayed in the windows of the Shu boutique and modeled at a fashion show hosted by the Raffles Design Institute.
Mamechiyo was no stranger to working with Shu. In 2007 she constructed an amazing butterfly pattern to adorn the ceiling of the now closed Shu boutique in Boston. She explains, "I perceived of the boutique's
ceiling as a canvas, and produced a work that was a fusion of my world
and the world of cosmetics. Using kimono designs and a fan-based layout, I made a display of
three-dimensional butterflies that 'fly' around the ceiling. It was
meant to express the metamorphosis that each young woman undergoes in
her lifetime."
(image from trustyourstyle.com)
Overall, I think this is easily one of the best collections of the year. I admire Mamechiyo's creativity with patterns, the imagination she showed in each of the four floral themes for the Shu collection, and most of all, her persistance in pursuing her dream of making kimonos more accessible for the 21st-century woman. Kimono design1 is not something you hear about all the time, at least not in the West, and the idea to try to make it more modern is pretty unique.
What do you think? And which design of the four is your favorite? If I had to choose, I'd say the Fuji is my favorite…but I love them all.
1 Can't get enough kimonos? Check out Mamechiyo's book here, and if you're in the San Diego area, get thee to the San Diego Museum of Art's show, Dyeing Elegance: Asian Modernism and the Art of Kūboku and Hisako Takaku, an exhibit featuring the work of a 20th-century father-daughter team of kimono designers. For more on the modernization of Japan/East meets West themes as
represented in the decorative arts, have a gander at Art Info's slideshow
highlighting pieces from the Japan Society's exhibition "Deco Japan:
Shaping Art and Culture, 1920-1945". I'm guessing it would be a
fascinating precursor to the post-WWII modernization Mamechiyo
describes.
For one of their many limited edition collections for fall 2012, MAC collaborated with three distinct illustrators: Julie Verhoeven, Nikki Farquharson and François Therboud. The collection consists mostly of makeup bags, but some palettes were released for Nordstrom's anniversary sale back in July.
We'll start with Verhoeven. I picked up the Smokey Eye Kit from the Nordstrom anniversary sale, as Verhoeven was the only illustrator of the three in this collection to have palettes with her work on the it (Farquarson's and Therboud's designs appeared only on makeup bags).
The outer case for the palette is made of a canvas-like material, the same that is used for the collection's makeup bags.
Inside, in case you're curious:
There is also this design, which appeared on the Petite makeup bag. Alas, I have to watch the Museum's budget (the upcoming NARS Andy Warhol collection is much larger than I thought!) so I did not purchase this.
(image from chicprofile.com)
UK artist Julie Verhoeven began her career in fashion illustration and gradually moved into graphic design. She still switches back and forth between the two spheres, providing illustrations of "girls who swing between sweetheart pretty-pretty and angst-ridden and desperate" for articles in magazines such as Dazed and Confused:
And lending her work to fashion houses such as Mulberry (2007) and Versace (2009):
She also put of a few of her signature girls on a limited-edition lip gloss set for Lancome in 2007:
What's most interesting to me about her work is the stylistic shift her depictions of women have undergone. Illustrations from 2006/2007 are softer and more feminine than her most recent work, which has taken a turn towards stronger lines and have a more abstract feel. In a 2012 interview, she says, "My drawings are less pretty and fey
now. More visceral and crude, but fragile and steely in a way. Just a
mush of contradictions." Compare, for example, this illustration from 2006 with one from 2011:
Force a Smile, Flaunt Magazine, 2011:
It is this more recent style that most resembles the faces seen in the MAC collaboration, as seen in the Winter 2012 issue of Plastic Dreams magazine.
(images from clmuk.com)
The thick outlines of the eyes and broad swaths of color are similar to the ones on the palette, while the exaggerated lower eye lashes can be seen on the Petite makeup bag. I actually prefer this later style, as it appears more forceful and intense than the delicate strokes of Verhoeven's earlier work.
Up next is British illustrator Nikki Farquharson, whose illustration appeared on two makeup bags for MAC (the same pattern for both bags, so I got the smaller one).
According to her bio, "her goal is to combine her love of creating
work with time and care on paper with her affection for abstract shapes,
colourful patterns and assorted details. Mixed-media artwork is fast
becoming the predominant feature in her portfolio – a serendipitous
style which she intends to continue and develop." While I do enjoy the patterns she created for MAC, I'm most struck by the work that uses found images in conjunction with her illustrations.
Perhaps the best examples of this type of collage are found in the work she's done for magazines and fashion shoots, where the model is placed against one of the very colorful patterns or actually becomes part of the illustration.
Here's one for Polish fashion brand Paradecka, 2009:
And New York-based Missbehave Magazine, also from 2009:
(all images from nikkifarqharson.com)
If her work looks familiar to Benefit fans, it's because she designed the patterns for the brand's Maggie and Annie collection palettes from 2010. I knew the illustrations had to have been done by an outside artist! Why Benefit chose not to disclose that they used Farquharson is beyond me. Especially since there is a great deal of work involved – each one of her patterns is drawn meticulously by hand. Anyway, I would have liked to see some of her mixed-media style in the MAC collection bags, but I'm not sure how well it would have translated to nubby canvas.
Finally, we have Swiss illustrator François Berthoud.
Neat little multi-colored squares on the inside of the box:
The bag itself. Something I didn't notice at first glance was that the colors are ever so slightly different on each side.
There was also this Petite bag (I got the bigger one because it had more color combinations):
(image from chicprofile.com)
Here's Berthoud's work in a nutshell: "Trained at the School for Graphic Design in Lausanne, Berthoud crafted a
signature style that uniquely marries new digital techniques with
traditional analog methods. The artist’s expressive, aesthetically
appealing linocuts, illustrations, and computer graphics complement
exquisitely with one another…He
says, 'Eroticism is a constant theme, also in advertising. But in
comparison to photography, illustrations can offer more room for imagination and interpretation.'"
Let's take a peek at some of his other work.
The Hen Who Wanted to Be a Rooster, 2009 (for Roger Vivier):
Tiffany ad, 2003:
Panties, (for Dior) 2004:
Like Verhoeven and Farquharson, Berthoud did illustrations for beauty products in addition to fashion.
Le Vernis Mirobolant, 1999:
Viktor & Rolf Flowerbomb fragrance, 2008:
And here a couple more, just because I like them. 🙂
(all images from francoisberthoud.com)
I love that his work is based on photographs but the end result isn't quite photographic. You can tell that these images are made by hand (using the aforementioned linocut technique) but that they also aren't real photos.
Overall, I thought this was a good collection. I think Berthoud's work lent itself best to the canvas material. I felt as though Verhoeven's bold paint strokes became somewhat diluted and Farquharson's precise lines, not as crisp. While the canvas did prove a bit challenging for an accurate representation of these artists' works, I did appreciate that the outer packaging mimicked it. My husband was enamored of the thick, textured paper used in the boxes for the bags.
So what do you think? And which of these three artists is your fave?
Lancôme's fall collection is just around the corner, but I wanted to talk about thieir Canadian-exclusive summer collection featuring a collaboration with Quebec-born artist Joanne Corno. Lancôme makeup artist Lora Spiga worked with Corno to create a collection based on the artist's use of bold, vibrant color, but one that was still wearable and in keeping with the season's trends. Spiga explained to News Canada, "Corno and I wanted to integrate the same kind of vibrancy in the looks as there is in her paintings, but in a very practical manner, in order to create beauty looks that would translate well into everyday life."
Here is the painting Corno made specifically for the outer packaging for the collection. The colors were perfectly translated into a collection containing bright pinks, seen in the background and on the woman's lips, but also some understated neutrals, as in the woman's eye shadow. (For reviews and swatches of the products, Beautezine has the scoop).
(images from newscanada.com)
Why Corno for Lancôme? Julie Tremblay, Communications Manager for Lancôme Canada, noted, “Corno’s art is all about colour, energy and femininty, it is it precisely these qualities that inspired Lancôme to collaborate with this great Canadian talent."
An interview with Music Is Art shed some light on Corno's style and use of color. Said the artist, "I like to define myself as an urban expressionist. That is actually the headline of my blog. I always find it hard to describe my work to strangers. You kind of have to see it. I do figurative paintings with bold color mixes. Movement, energy and light are at the core of every single one of my paintings. That’s how you recognize my style…As much as I love vibrant, fluorescent colors, I also like to work with yellowish grey, earthy shades – I call them my potato shades. I love working on contrasts. I usually create color mixes with shades that have nothing to do with each other – one that’s completely off, another that’s excessively flashy. I think color is one of my trademarks in my work."
Let's take a peek at some of her paintings, which definitely fit what she described in the interview.
Face on Yellow with Black Hair, 2012:
I was unable to find titles or dates for these next two, but they are representative of Corno's signature use of bright colors as well as hues that don't necessarily go together.
(images from cornostudio.com)
I'm really liking these paintings – to my eye, they're an interesting cross between fashion illustration and painterly, expressionist portraiture. Plus, color fiend that I am, I love the bright and crazy shades. I would have bought some of the Lancôme pieces for the Museum, but I didn't like that Corno's work appeared only on the outer paper packaging rather than the cases themselves, plus since it's Canada-exlusive it means it will be difficult to track it down here in the States.
What do you think, both of Corno's work and the Lancôme collection?
Don't you just love when you come across something serendipitously? That was the case with me last week as I was browsing Sephora for cute brush sets to add to one of my Pinterest boards. Up to then I had no idea that French fashion illustrator Izak Zenou teamed up with Sephora to create a collection of makeup bags, brushes and a mirror.
I'm particularly fond of the girl with the big bouffant hair – she's very Holly Golightly.
(images from sephora.com)
I must say I hadn't heard of Monsieur Zenou, but apparently he's quite renowned, having done illustrations for a variety of big high- and low-end labels. He says, "I enjoy bringing a high fashion look to simple accessory items. It really dresses up your whole look."
Here's the "Cat and Mouse" notecard set he designed for expressionery.com:
(image from expressionery.com)
And a notebook for Target:
(image from target.com)
He is also the house illustrator for legendary department store Henri Bendel in New York. This particular illustration is from Bendel's website. At the site you can click on the different departments to see bigger drawings for each one.
Naturally I chose to share the illustrations for the beauty and fragrance departments:
(images from henribendel.com)
While Zenou primarily does illustrations for fashion brands, he is no stranger to the world of cosmetics. I loved the images of Laura Mercier he produced for her book The New Beauty Secrets: Your Ultimate Guide to a Flawless Face.
(images from amazon.com)
Stila girls + soft lines + French flair = Izak Zenou.
What do you think?
Japanese brand RMK is celebrating its 15th anniversary this year, and in honor of that milestone the company released two quite adorable palettes.
The palettes each have a "flower fairy" designed by illustrator Hiroshi Tanabe. They're shown in profile with antennae sprouting from their bobbed haircuts, sporting round-beaded necklaces and clad in wavy, pastel petals.
Here is Pink Coral (01):
With flash:
And here's Brown Beige (02):
With flash:
There was also a tote bag available as a gift with purchase, but I wasn't able to get my hands on it.
(image from blog.naver.com)
Now that we've seen the cute flower fairies, let's take a look at some of Tanabe's other work. Starting out as a graphic designer, Tanabe branched out into illustration early in his career. He is known for clean lines and flat, two-dimensional planes of color that take their cue from traditional Japanese wood cuts.
Tanabe's commercial designs include these ads for Bergdorf Goodman, Clinique, and Anna Sui (which is more or less identical to the illustration on the RMK bag – if I were RMK I'd be mad that he used the same design!):
In looking at the artist's website, what stood out to me is how often the women are shown in profile. And if she is facing the viewer, more often than not her visage is somehow obscured or mostly erased – sometimes there's a single eye, but usually we can't see the whole face. The feminist in me isn't sure what to make of that. Here are some examples.
Pucci ad, 2002:
From his Marie Antoinette series:
From his book, Blue Mode:
Getting back to the RMK palettes, I think this work is the most similar – the graceful, undulating lines of the hair echo the wavy petals the fairies wear, while the whisper of an eyelash peeks out from the faces of these girls as well as the fairies.
Candy, 2010:
(images from hiroshitanabe.com)
While a fairy motif can arguably be a little bit juvenile/twee (see the PixiGlow collection for Target), I think in this case Tanabe's modern style prevented these palettes from striking a childish chord. The lines are simple and feminine, elevating the fairies from cartoons to more real, woman-like figures while still maintaining a sense of whimsy and playfulness. I am curious to know why a fairy was chosen to represent the company's 15-year anniversary, however.
What do you think? Do you think Tanabe and his fairy illustrations were a good choice for RMK's 15th anniversary palettes?
(image from a MAC email)
In keeping with the optimistic spirit that pervades the first week of spring, I present to you the Vera Neumann collection for MAC. "Brilliant butterflies, flashy florals and gorgeously geometric graphics…A colourful collaboration between M·A·C and the artist known worldwide as Vera, who merged fine arts with linens, murals, textiles and silk scarves in her punchy, painted patterns. Now in shades plucked straight from her most lavish prints, M·A·C Vera embraces the luxe, lighter-than-air spirit that delivers the kind of startling, look-at-me statement that defines what it means to be an instant classic." The colors are definitely Vera-inspired, but what interested me the most were the Pearlmatte Face Powders, which feature the artist's signature ladybug perched on what appears to be the edge of one of her wildly popular scarves. I picked up Sunday Afternoon:
With flash:
Despite being a pretty big design/art enthusiast, I have to admit I wasn't familiar with Vera Neumann's work. An artist turned textile designer, Vera's somewhat kitschy, colorful prints were household staples from the 1950s through the '70s.1 (I imagine she was sort of like the Orla Kiely of her time.)
From what I gathered she was best known for scarves:
(images from artfire.com, cherryrivers.blogspot.com, and curiouscrowvintage on Etsy)
And a wide range of kitchenwares:
(images from yorkshiregalhomeshop, hotcoolvintage [both on Etsy], thevintagetraveler.wordpress.com, and thamesandbrass on Etsy)
Note: These aren't necessarily the best images that came up, but I was determined to show authentic, vintage work by Vera rather than the ubiquitous reproductions found nowadays! Anyway, I think my favorite works by her are these cheerful sun prints she created for the 1964 World's Fair.
(image from ellenbloom.blogspot.com)
Getting back to the MAC palette, I thought I'd include some examples of the ladybug that accompanied her signature.
(images from sixballoons.blogspot.com, retrorenovation.com, vintagedetail.blogspot.com, smilesgowitheverything.com)
"A ladybug means good luck in every language," she explained about her signature motif. While I think it's great that MAC worked it into some of their collection's pieces, I think they could have done more for the outer packaging given the enormous wealth of prints and patterns to draw from. Maybe they just couldn't get the licensing to use her prints on the packaging, but I'm doubtful given how many companies have churned out Vera collections. In any case, this powder is quite charming and will make a nice piece for a spring exhibition.
What do you think, both of Vera's work and the MAC collection?
1For a great summary of her work and life, check out this post. And if you're really into Vera, buy this book.
You may remember in December 2010 MAC teamed up with Dutch designer Marcel Wanders (you can read my thoughts and a funny story on it here) and it looks like they've collaborated again. I find it a little odd given that there are so many designers MAC hasn't worked with before – why revisit Wanders?
(images from temptalia.com and makeupforlife.net)
I was very intrigued until I saw the product photos. These are the same designs that appeared on the 2010 collection except rendered in shiny silver rather than glossy black. Not too exciting. The collector in me says to buy a few pieces to have on hand, but the rational part of me says that it's the same thing in a different color and that I don't need it for the Museum. I think (for once) the practical side is winning out – I don't think I'll be buying these.
What do you think?
In honor of International Women's Day I'm looking at the collaboration between MAC and cutting-edge Chinese photographer Chen Man. Based on the dual themes of love and water, the collection features bright pink and blue/aqua hues.
According to The Daily Glow, the Chinese symbol for love appears in Chen Man's calligraphy on the outer packaging, while the "swirls of color in the eye shadow duos represent the opposing forces of yin and yang, reflecting the Buddhist references that are often found in Man's work." Additionally, in a video MAC produced for the collection, Chen Man asserts that water "is the beginning of the earth…just one drop represents life." She goes on to say that "water gives birth to love".
(images from glamfull.com)
Chen Man was born in 1980 in Beijing and studied graphic design and photography at the Central Academy of Fine Arts. What's equally impressive as her skill behind the camera is her mastery of the post-production process – she regularly uses 3-D rendering and other techniques to attain the unique vision she has for her photos. You can read more about her in this Vogue article from February 2012:
Let's take a peek at some of her other work. Chen Man got her start by shooting the very avant-garde covers for Chinese lifestyle magazine Vision from 2003-2007. For me, these were shocking (and I've seen many magazine beauty spreads) and at first I couldn't tell whether I liked them. Then I started noticing the many tiny details and use of color, and decided that Chen Man is indeed quite talented.
(images from insomni-art.com)
(image from chenmaner.com)
For the Chinese New Year Chen Man shot the spring covers for UK magazine I-D, celebrating the diversity of Chinese beauty".
(image from the bohmerian.com)
While Chen Man is known for her boundary-pushing images, she is just as adept at producing simpler, more traditionally "pretty" looks.
(images from mymodernmet.com)
After seeing some of her other photos I wish the MAC collection had been a little more fearless. I guess to appeal to a mass audience they couldn't go quite as avant-garde, but it would have been interesting if Chen Man had done something more along the lines of her Vision covers. I also think the packaging could have been more interesting – while the outer boxes had some design to them, the makeup items themselves could have been more flamboyant and artsy.
What do you think of Chen Man's work and the MAC collaboration?