The much-hyped Lancôme collection dreamed up by Lanvin designer Alber Elbaz has finally arrived! Fortunately, much has been written about the collaboration and Elbaz's vision for it. Here's the scoop: Elbaz was approached by his close friend and Lancôme president Yousef S. Nabi to design a limited-edition collection. Since the company's mascaras are best-sellers, Elbaz and Nabi chose to focus on those. Additionally, said Elbaz, "Eyes are so important
to me…when I think of cosmetics, I think of eyes. For
Lancôme, I wanted to do something funny and a little handmade." He added that he hoped customers "will collect all four" designs (blue stars, pink polka dots, doe eyes and red hearts). While the article states that the designer is "hesitant about expanding and diluting his brand" and that " partnerships are also a rare
affair; he never collaborates unless it makes creative sense", Elbaz actually has done a few collaborations before (see his line for H&M and limited-edition packaging for Ladurée).
As for the story behind the packaging, watch this animated short (drawn by Elbaz) below.
In the June 2013 issue of Elle magazine, Elbaz states that the story was inspired by the makeup looks for his fall 2013 show. "The project is accompanied by an animated short drawn by Elbaz,
featuring a fashion show in which the spectators' faces are dominated by
colorfully made-up eyes. This is apt, he says, as cosmetics played a
key role on Lanvin's fall 2013 runway, where models sported four
different makeup looks…'I asked myself, Why is it I have to decide
whether or not I want mashed potatoes or french fries?' Elbaz says. 'Why
can't I have both?'…'There's something almost naive and childish
about the packaging,' he says, 'but I thought, Maybe if it's like a
fairy tale, we'll all have a happy ending!' The experience of using the
products, he believes, should be a 'joyful' one. 'It's about
light-hearted luxury,' Elbaz says. 'I wanted to do something personal
and kind of funny – but also totally serious. Which is exactly what
makeup is.'"
Now that we've got the development of the collection out of the way, let's take a look at the goods. I picked up two of the mascaras and two of the eye shadow palettes. Lancôme also threw in a free mirror, which, as we've seen with previous gifts-with-purchase, is almost better than the makeup itself. These sorts of freebies are collecting gold!
Hypnôse Drama and Hypnôse Star mascaras:
Doll Lashes Color Design Palette in Rose Croquette:
Définicils Color Design Palette in Mint Jolie:
And the mirror, so cute.
My first thought on the illustrations is that they are similar to those Elbaz did for Ladurée, a playful take on his streamlined, sophisticated aesthetic. And they're not literal – the prints and silhouettes of the dresses seen on the runway models in the animation aren't directly from Elbaz's recent collections – but they still hint at his work through the use of color. Elbaz utilized lots of black and white in his spring 2013 collection, with some red, blue, green and pink thrown in for his resort 2014 collection.
Also, the women in the front row of the fashion show in the video are all wearing some very chic LBDs, similar to the looks he sent down the runway for spring 2013.
Elbaz is known for a slightly more down-to-earth fashion philosophy. "Unlike most fashion designers who operate on a global scale, Elbaz is a
kind of hands-on artisan who specializes in women. He has never been
interested in trends or whether his creations—which are almost always
beautifully constructed classic shapes with a twist—fit a particular age
or demographic. Elbaz is committed to the idea that his clothes be
timeless and, in a way, helpful: He wants to make it easier for women to
dress for their complicated lives. “I am not interested in perfection, and neither are the women who wear my clothes…it is very hard to be a woman today. The media says you have to be
really great in your work, you have to be a wonderful mother, you have
to be a great wife, and you have to be skinny! Women try to be the best
everywhere, and it’s impossible. I want my clothes to give women the
freedom to just be—I want them to put on my dresses and shine.'” (source)
Empathy for women's struggle to "have it all" and whimsical illustrations aside, the video Elbaz came up with depicts a world many women don't have access to. Being in the front row of a high-end fashion show feels unrelatable unless you are actually a fashion editor, and even a little intimidating (I was not fond of the catty eye-rolling behavior of some of the women). Nevertheless I appreciated that Elbaz was having some fun with the collection, even if it's more of a representation of his experiences in the high-fashion world rather than the lives of the vast majority of women who don't work in fashion (which would be too mundane, I guess, for collection coming from such a renowned designer).
What do you think of the collaboration?
Designer collaborations are rare for Benefit, so natually I was pleased to see them team up with British fashion designer Matthew Williamson for a makeup kit called "The Rich Is Back". I had heard of Williamson but wasn't familiar with his work. However, the Rich Is Back serves as a crash course of sorts in his designs.
Let's see, we've got peacock feathers, a honeycomb pattern, a floral print, some sort of geometric print and what appears to be multi-colored leopard.
I went hunting for these motifs in Williamson's most recent collections. Finding none in any of the 2013 collections, I realized that maybe my best bet was to search for them all separately. This is what makes this palette so interesting visually – instead of choosing one print or motif, Williamson and Benefit did the whole kit and kaboodle. This makeup set boasts a mishmash of some of his oft-repeated prints from seasons past.
First, the peacock feathers. Starting all the way back in 2004 Williamson established himself as a master of this print.
Next up is the floral print, which, to my eye looks almost tie-dyed. As far as I know this print appeared only in the spring 2009 collection.
Williamson has also taken on leopard, which you can see a little better on the inside of the Benefit makeup set. Some examples from spring and fall 2011:
But the most colorful instance of leopard print and the one that most resembles that found on the Rich Is Back set comes from the fall 2007 collection:
I'm curious to know whose decision it was to use all these prints on the Rich Is Back set. It could have been Williamson who selected his personal favorites, or perhaps Benefit chose ones they thought would look best on a makeup kit. Most likely it was a combination of the two.
While I passed on buying this set for the Museum, I do think it's a thorough representation of Williamson's designs to date. What do you think, both of the Rich Is Back and Williamson's work?
Monday is almost over, but in honor of all the spikes and studs I witnessed at the Met's Chaos to Couture show, I wanted to take a look today at this palette from Givenchy's Hotel Privé spring 2013 collection.
According to the press release, the collection was inspired by "the various French hotels [International Artistic Director] Mr Degennes stayed in, their atmosphere, colours, materials, the feeling of comfort they give."
The design on the palette is a play on Givenchy's signature prism motif, which appears on many of their other products including blush, eye shadow and lipstick.
To my eye, the repeating pattern of the metal prism in the spring 2013 palette gives it a very punk, edgy feel while still retaining the elegance the house of Givenchy is known for (hey, the guy DID dress Audrey Hepburn).
Indeed, the punk vibe wasn't just my imagination. The Chaos to Couture show included several pieces by Riccardo Tisci for Givenchy, including this suit with gold prism studs from the fall 2007 collection.
For once, my punk obsession proved to be right on track!
While I didn't think the palette was special enough to purchase for the Museum, it was definitely worth a mention. What do you think?
This was a nice little surprise for spring – a collaboration between high-end French shoe designer Pierre Hardy and NARS. In my shoe-buying fantasies I'm more of a Louboutin/Prada girl, but I do appreciate the architectural, geometric quality of Hardy's work (more on that later).
The collection consists of 6 nail polish duos and two blushes. I picked up the duo in Sharks because of the beautiful lemon yellow. I actually would not have bought it though if it hadn't been for the very clever packaging.
Once I saw that the nail polishes were arranged on opposite ends and that they came with their own tiny dust bag (just like shoes!), I was smitten.
I was too lazy to swatch these but you can find swatches here.
Here are the two blushes in Boys Don't Cry and Rotonde:
So what's up with the 3D cube pattern? Simply put, this cube motif has become Hardy's signature in both his fall 2012 and spring 2013 collections. From the landing page at his website…
I'm still on the fence about the blushes. On the one hand, I like that NARS didn't go too literal and just put the cube pattern on the blush rather than embossing one of Hardy's actual pieces, like a shoe or a bag on it. On the other hand, that might have been pretty cool! The cube pattern is great, but by itself on a blush there's nothing that denotes it as being distinctly Pierre Hardy.
In any case, I was extremely impressed by how the colors in NARS collection so closely aligned with those in Hardy's spring 2013 lineup. The blush colors are similar to these bags:
The lavender and lemon yellow from the Sharks duo is borrowed from several pairs of shoes, including the ones in the promo image:
All in all, a well-done capsule collection. Did you pick up anything from it?
Normally I try to showcase pieces that are worthy of the Makeup Museum. Every once in a while though, I feel the need to call out a company on shoddy, unimaginative work. I have been displeased with Yves Saint Laurent for years now, and I'm not sure why they consistently have been releasing such boring palettes. Are they having some sort of identity crisis, perhaps tied to the re-branding of the company to drop the "Yves" in the name? Or are they just not trying at all?
Here are some examples of palettes that I found disappointing.
Sadly, their lackluster offerings continue with both the spring and summer 2013 lineups. The Arty Stone collection for spring had nothing to do whatsoever with the clothes that came down the runway for that season. The Creative Director for YSL Beaute, Lloyd Simmonds, explains the collection: “Pink quartz, amethyst, pyrite, malachite, azurite, jade, each possesses
a hypnotic beauty. When you hold them in your hands, these precious
stones diffuse energy and light, like galaxies. Their crystalline purity
and voluptuous opalescence were the departure point for the creation of
the Spring Look 2013 for Yves Saint Laurent." That's a nice description, but gemstones are an easy jumping-off point for a gorgeous palette (see Clé de Peau's Vintage Holiday palette and Luminizing Compact). Instead YSL gives us an extremely boring geometic pattern, and one that also doesn't resemble their Arty jewelry line.
Even the items I have purchased in recent years I have not been thrilled with (see the spring 2010 Y-Mail palette, the 2008 Bow palette, and the fall 2012 croc palette). I long for the days of the lovely Palette Pop, which was based on a holiday card designed by Yves Saint Laurent, or the fabulous Opium palettes. I wonder why Mr. Simmonds can't do something great with the fashion YSL is known for – how about a palette with a Le Smoking jacket embossed on it? This would be a big improvement to the rather mundane tuxedo collection from holiday 2011.
I have lost faith in this brand at the moment. Let's hope YSL can find their creative footing again.
I was so excited for the Bastet palette that I completely forgot I hadn't featured Dior's regular spring collection. The centerpiece of the collection, the Cherie Bow palette, pays homage to the designer's fondness for bows in any and all forms. Says the press release, "Among the timeless
codes of the history of Dior, the bow is one of the most enduring. When
Christian Dior presented his first collection in 1947, he created the
first Miss Dior perfume to commemorate the occasion. Each
bottle of Miss Dior – available exclusively to Dior couture customers –
featured a bow tied around its neck. 'I like bows to finish a neckline, decorate a hat or close a belt,' said Christian Dior. 'Whether small, large or enormous, I like them in any style and any material.' The
bow embodied a playful femininity embodied by the Christian Dior brand,
acting as an essential punctuating element, an eye-catching, finishing
touch of a dress. Known as the 'Fontanges Bow,' the iconic accent serves
as a charming echo of the ribbons that Louis XIV’s mistress wore in her
hair, and quickly became a recurrent reference at the House of Dior,
decorating, among other things, the oval medallions of the House." As for the palette itself, it "features the classic Fontanges Bow
reinvented by Dior jewelry designer Camille Miceli with three elements
that come together to form a delicate bow shape, sealed with a pearl duo
clasp reminiscent of one of Miceli’s iconic designs." You can read more about the origins of the Fontanges Bow here.
Here is the palette. After reading the description as well as the overview of the use of the bow throughout Dior's history, I was a bit underwhelmed by the design, especially after seeing it in person. The hard plastic used for the outer casing looked cheap, which was surprising given how luxe it seemed on last spring's Garden Party palettes. The overall shape seemed bland to me as well. Thus, I did not purchase it for the Makeup Museum.
It's a shame Dior didn't create a more imaginative design given all the examples the house could choose from. As the press release states, bows were a much-loved motif for Dior. From the 1950s…
After reading that the bow was used for Miss Dior perfume, I did a little digging to see if it made an appearance in the ads for the fragrance. Indeed, the bow was popular in the early ads (from 1949 and 1954.) In these you may recognize the style of Rene Gruau, who also drew the New Look silhouette that appeared on the Tailleur Bar palettes:
Even in the '80s Gruau held tight to the bow motif.
The bow isn't just for fragrance ads or on the runway – it's also used for Dior accessory ads. Mila Kunis and Jennifer Lawrence are the most recent faces of Dior.
With all these examples, you would think the Cherie Bow palette would have been a little more inventive. Additionally, there was no reason Dior should reference the work of their jewelry designer given the bow's extensive manifestation throughout Dior's history.
What do you think of the Cherie Bow palette? Could Dior have done more with its design?
I spotted Les Tablettes de Bastet back in February at British Beauty Blogger and couldn't find it online anywhere. (As of this morning, however, it's available at the U.S. Dior website). Through my searching I came across Dior Beauty-Palazzo in Las Vegas, which advertised the palette on their Facebook page. Much as I hate Facebook, I was thrilled to see some mention of it at an actual boutique. My fingers couldn't dial the number fast enough!
Look how pretty they wrapped it for me.
The outer case is a sleek grey which beautifully compliments the heavy grey stone of the palette itself.
Insert:
Apparently only 1,450 were made. The edition number and Beaurin's signature are inscribed on the back.
The stone case is magnetized. I must say the two stone pieces clacking together made me nervous about the palette getting damaged.
Now that we've seen the pictures, I bet you're wondering what this palette is all about. Les Tablettes de Bastet was created by artist Vincent Beauin, who had previously taken part in Dior's "Lady Dior as seen by" project in which contemporary artists concocted their own interpretations of the iconic bag.
Dior Magazine (online) has a good summary of the inspiration for the palette. "Christian Dior loved artists; and when he himself was young, dreamt of
becoming an architect. From this childhood dream he would maintain an
overwhelming love for art and those who made it, becoming friends with
Jean Cocteau, Christian Bérard, Max Jacob and many more. The house of
Dior has continued to forge this direct link with the world of art,
regularly collaborating with numerous contemporary artists. Vincent
Beaurin, the French painter and sculptor, is the most recent to create
an original work for the house: 'Les Tablettes de Bastet', an eyeshadow
palette inspired by the Egyptian divinity Bastet, the goddess of music
and dance, of feasting and love, 'like a very ancient stone object that bears the traces of myth and ancestral practices,' according to the artist.
The palette is composed of two magnetized tablets in Trianon gray – one
of Christian Dior's favorite colors – of which one is punctuated with
three disks of natural pigments in shades of sapphire, saffron, and
silex. This artwork in the style of a devotional object expresses, for
Vincent Beaurin, the desire to place 'the practice of make-up in a much wider expanse of time than just a single season.' It's an ode to the color and sobriety, the purity and the
accessibility of art; a step into the core of the output of this French
artist's who, already in 2010, reinvented the Lady Dior as a green and red talisman made of polystyrene and quartz sand." Here is his take on the Lady Dior bag, if you're curious.
This palette is an extension of Beaurin's previous work. In 2011 and 2012 he made several sculptures based on the Egyptian goddess Bastet. Beaurin's take on this goddess: "In ancient Egypt, Bastet was the daughter of the sun-god Ra. In the form of a cat or a woman with a cat’s head, she’s the goddess of music, dancing and feasting. She has the magic power which stimulate love. Bastet is the guardian goddess of women. She has fearsome fits of anger, because something feline is always lurking in her. So she’s identified with the dreadful Sekhmet, sent to earth to punish men for their arrogance. Bastet is a multi-faceted goddess, incarnating gentleness and fierceness."
Beaurin is also known for his "Spots", series of colored circles made of polystyrene and quartz sand mounted to the gallery's walls. The color combinations lead to a soothing, almost hypnotic effect. We can see the influence of Triptyque Bleu (2011) in the Dior palette:
Now, how does all this relate to the Dior palette? While I couldn't find out exactly why Beaurin opted to reinterpret ancient statues of Bastet or any in-depth explanations of his fascination with the goddess, this four-page interview at Beaurin's website is chock full of details about the Dior piece. Some of the more notable quotes:
– Beaurin sees the house of Dior as aligning closely with Bastet. "Dior is also a hieroglyph, a very old story, and why not, a story about a goddess."
– Beaurin's choice of the word "tablet" stems from his perception of
the word, which he believes "establishes a link between writing, memory
and ancient objects, often made of schist, on which people crushed pigments to produce eye make-up."
– In addition to expanding on the "Spots" works, the round shape for the colors was chosen so that they would be better suited to use of the palette. "Each colour is a fullness in itself. In a way, each colour is a world, a planet. Similarly, our eyes are round. The circle is a full shape. It recurs often in my work, perhaps precisely because it involves abstraction, going beyond form. Something round also seems better adapted to the touch than something angular…A lot of people ask me if they can touch my pieces. This project is a way of answering them. You’ll notice that there’s no brush to take up the colour and apply it. Fingers are the sole tools, with the skin, here the eyelid, as the sole destination."
– The palette clearly expands on Beaurin's own work but also shows his
admiration for Jean Arp's biomorphic forms. "Through my project’s
simplicity, the weight of the tablets, the softness of the materials,
the warmth and intensity of the colours, by the involvement of a woman’s
body, her skin, mystery, the notion of space, and all the feelings
resulting from that, it has biomorphic echoes…eyelids are to female faces what wings are to butterflies."
– The most interesting part of the interview for me was the artist's explanation of the colors he chose. On making the palette consist of just three colors, he says, "Three colours are enough to create the interplay of a chromatic infinity, a whole complexity. Three monochrome disks on a grey ground make an abstract landscape." Indeed, this overview of Beaurin's work states that he creates abstract landscapes using the spots. The colors chosen by Beaurin – Saffron, Sapphire and Silex – are part of
his fascination with the shape of the letter S. And while Beaurin has
never been to Egypt, the colors function as a sort of "prism" – his
personal conception of Egypt is expressed through these particular hues. "The repetition of the S, the initial letter of the name of each colour, gives pace to the way the words are uttered, Saffron Sapphire Silex. This pace is part of the dynamics, of the relations occurring between the elements making up the landscape. I also like S for its design, two inverted spirals, an unfinished 8, and for its phonetics, the phonetics of silence…this object is also a vehicle, an instrument of sight and projection and–why not?—a sort of Egyptian prism." Additionally, the colors have "an atmospheric character" that show up best against the dark grey of the stone. Beaurin integrated the grey that Dior was so fond of, but also says he was influenced by Cezanne's love of working under grey skies as well as "the Ardennes sky, unchangingly grey, like slate roofs in the rain, turning ink-like or silver." He adds, [U]nder a grey sky or against a grey backdrop, colours come out unreservedly, without any tension. Grey helps to optimize the way we observe colours, their radiance, and their persistence when they disappear and their reactions when you put them together." Finally, Beaurin notes that while "Spots" typically combine two colors within each circle, the circles in the Dior palette are monochromatic. "The spots are part of a purely meditative and contemplative relationship…two colours are articulated. They meet each other and are mixed together in a zone of intense vibrations. The Bastet tablets are a sort of arrangement, where three disks of monochrome colour are in a way in orbit with each other. They are as if in mid-air and their encounter is waiting for desire and the intervention of the person whose eyelids will be the ideal surface for mixing them."
So there you have it. You can also check out this strange (and, like his Spots, quite hypnotic) video on the palette directed by Beaurin.
While I do love this piece, I think its appeal lies more with the art collector than the makeup fan. I honestly don't think a lot of beauty fiends would actually use it. Beaurin's color theories are intriguing and are implemented quite well in his artistic endeavors, but they don't necessarily translate to makeup – it's difficult to say how one would apply these colors, as they don't seem to be in harmony from a cosmetic standpoint. And while the magnetic closure is a sophisticated, artsy touch, I can tell you that without some sort of hinge to hold the two pieces of stone together, the palette would be a bit cumbersome to handle. Thus, unlike Dior's Anselm Reyle collaboration, this doesn't have a lot of mass appeal (but maybe it's not supposed to). Nevertheless I adore Les Tablettes de Bastet because it incorporates not only the two motifs ("Spots" and Bastet) that Beaurin is best known for, but also his entire artistic outlook.
What do you think?
I am now the proud owner of a mint condition Chanel's Mouche de Beauté Illuminating Powder (sans fingerprints), so today we'll be looking at this little gem from the 2013 cruise collection.
With flash:
Chanel's 2013 cruise collection focused on French royal superficiality and excess, with the show itself actually taking place at the gardens at Versailles. "Formal eighteenth-century details, like panniers and
fichus, were re-created in casual twenty-first-century fabrics—chambray,
tech denims, even plastics—dressed up with frothy lace ruffles and
cuffs, and dressed down with gold platform trainers and short shorts.
Occasionally awkward though it may have been, the lightness, the
girlishness, of the clothes had a balletic quality, reflective perhaps
of Louis' own love of dance. Lagerfeld said he wanted something floating
and frivolous. 'Frivolity is a healthy attitude,' he said after the
show. "I know people who were saved by frivolity.'" (source)
(images from style.com)
Indeed, the clothes definitely had a Marie Antoinette feel. Says one fashion critic, "If Sofia Coppola’s 2006 film depicted how young Marie
Antoinette’s court looked in the past, this was as if Lagerfeld had
imagined what a teenage princess and her entourage might look like
today, charging around in brothel creepers in the actual gardens where
the Austrian-born queen played out the fantasy games that eventually led
to her sticky end at the guillotine."
In keeping with with this theme of Versailles grandiosity/Marie Antoinette-era extravagance, Chanel released a small makeup collection including a cream-to-powder highlighter featuring designs that are reminiscent of the architectural details at the palace of Versailles. While I couldn't find an exact match between online pictures of Versailles and the palette's design, I found something that was close. When we think of Versailles we typically think of the Hall of Mirrors, but the details on this palette seem to be more similar to those found in the king's private quarters: specifically, the gold paneling on the walls. Here is one of the rooms from that area of the palace. The panels at the lower right have a nearly identical shape to that of the palette.
I cropped it so you can get a better glimpse. While the floral motif in the corners is markedly different, the overall look is comparable.
One thing that is troubling me is the bee crawling towards the right side of the palette. It could be a nod to Napoleon, who used the insect as his emblem, but that doesn't make much sense as Napoleon reigned after the French Revolution. If the collection was meant to be in the spirit of Marie Antoinette's style and her dalliances at Versailles, why include a symbol of the emperor who ruled after her? However, the bee could refer to Louis XIV, who built Versailles and was thought of as the "King Bee", or perhaps Louis XVI (husband of Marie Antoinette), whose visage appeared on a coin with the reverse side depicting a hive of bees.
While that mystery might not be solved, along with which exact architectural detail was reproduced, it's a gorgeous palette that looks unmistakeably French. With its rich gold color and intricate embossing, I think it might have been luxe enough for Marie Antoinette herself. 😉
What do you think?
Today's installment of Couture Monday was supposed to be dedicated to Chanel's Mouche de Beaute Illuminating Powder from their Versailles cruise collection, but much to my dismay, I received a very unpleasant surprise when I opened the compact on Saturday.
Yes, 2 fingerprints in the middle-left of the powder!! Hello, trying to run a museum here! Unless they're vintage, the items need to be in perfect condition. So while I wait for a new and hopefully pristine compact, I thought I'd share this collaboration between Lancôme and handbag designer Olympia Le-Tan (thanks to British Beauty Blogger for the heads up on this!)
In honor of the first anniversary of Lancôme's in Love range, Le-Tan made an embroidered clutch that holds six lipsticks and six nail polishes. Says Le-Tan, "I wanted to design the cover of an imaginary novel called 'Rouge in
Love'. My idea was to create a 'mise-en-abyme', a book within a book. It
is held by two hands with painted nails and surrounded by little red
and violet lips that seem to dance around. I love drawing lips, so it
was the perfect opportunity… The clasp and side, instead of having a
gold finish like my other designs, are silver, like a mirror. Perfect to
look into during the evening if you want to touch up your make-up."
You can also watch this charming little video showing how the imaginary novel came to life.
I bet you're curious as to why I have only included stock photos. The reason? This limited-edition item is selling for $1,500! Only 100 have been made, and Lancôme model Emma Watson and several fashion editors have already snagged the first few. I personally think one should be donated to the Museum where it will be lovingly cared for and preserved rather than having it get destroyed by the grubby paws of some unappreciative editor who will carry it once or twice and then carelessly stuff it in the back of her closet, but unfortunately, that's how these things work. If you think about it, $1,500 actually isn't bad for a designer bag, and especially one that's filled with high-end cosmetics. But from a makeup collecting standpoint where most contemporary items are less than $100, it's definitely a bit much.
In any case, if you're not familiar with Le-Tan's work, she is famous for these book-clutches – smallish handmade purses with embroidery and felt that bear her reimaginings of first-edition covers of classic books. As a lifelong bookworm, I absolutely love this idea. Some of my favorite designs:
I thought the Rouge in Love clutch was very well done – even if it wasn't in Le-Tan's signature book-clutch format, the colorful and lively lips and hands design would be instantly recognizable as her work, and it also clearly conveys makeup and the pure bliss it can bring. What do you think of this collaboration?
I tend to associate floral-patterned palettes with spring, but this offering from ArtDeco for their fall 2012 Mystic Garden collection made me think of pretty fall blooms. These look like dahlias and chrysanthemums, rendered in autumnal shades of magenta, plum and fiery orange.
(image from artdeco.de)
The white outlines do lean a little spring-like, especially when compared to the ones in several pieces from Marni's spring 2013 collection.
Overall though, it definitely feels more like fall. I won't be buying this but I do think ArtDeco did a nice job of creating a seasonally-appropriate floral palette.
