It's nice to see a makeup brand continue the long-standing tradition of collaborating with jewelry designers. The most recent partnership was between MAC and Robert Lee Morris, whose name I admittedly hadn't heard of until now.
Says Morris, “I am thrilled to be working with MAC, as I believe this partnership exhibits a true coming together of beauty, art and design…The collaboration is an exciting moment for both brands, as we are both leaders in cutting edge imagery and enhance one another. I have always been fascinated by the personal ritual we all experience while grooming and getting dressed each day; and the tools we hold should be as luxurious as possible. My pure and iconic aesthetic seamlessly translates to the shapes and forms created for MAC, and I have designed the collection with an ultra-modern focus; sleek, architectural lines and dynamic, like my jewelry.” I'd say that's a fair description of what he came up with for MAC, particularly with the lipstick case, as it looks reminiscent of a modern skyscraper. The compact looks simultaneously futuristic and organic, sort of like a UFO crossed with an egg. I know that's a less-than-eloquent description, but arguably accurate.
The shape and finish on this mirror reminds me of a smooth pebble you'd find in a serene yet opulent koi pond.
If you purchased the mirror, know that it swivels open – I nearly broke mine trying to open it like a regular compact. #curatingfail
I'd prefer not attempting to trace Morris's entire career since he is quite prolific, but here's the condensed version. Born in Nuremberg, Germany in 1947, Morris was exposed to a variety of cultures on account of living in many different countries for his father's military career. Entirely self-taught, after graduating from Beloit College in Wisconsin in 1969, Morris began making jewelry on an artist commune he established with some friends. “Everyone on the farm made something different—pottery, sweaters, macramé…I decided to make jewelry. I got a book called How to Make Jewelry by Thomas Gentile, which was easy to follow with lots of pictures. I said to myself, I need a hammer and some wire, and I built a workshop in a tool shed. I would listen to Led Zeppelin’s first album and worked until two or three o’clock in the morning in total ecstasy.” Unfortunately, the farm burned down, and Morris moved to Vermont. He didn't have to wait long to be discovered, however, as in 1971 a gallery owner who wanted to display jewelry-as-art at her space, aptly named Sculpture to Wear, asked to showcase and sell his jewelry. By 1977 Morris had opened his own store in New York, and during the '80s became a favorite with both fashion designers (Calvin Klein, Michael Kors) and celebrities (Madonna, Jodie Foster) alike. Among his most memorable pieces were the result of his work with Donna Karan, whose black knitwear soon seemed incomplete without one of Morris' signature gold baubles.
I'll let Morris describe his style in his own words: "My original idea was to create a body of work for an imaginary futuristic society that was post-apocalyptic and that the pieces would be a combination of savagery with high-tech gadgetry. Today, I'm probably in the exact same place, but I'm also thinking about what kind of jewelry people would wear who aren't from this planet. What would you wear on deck in a spaceship? What would you wear with your Mylar spacesuit? And seeing how all beauty is based on sacred geometry, I'm fascinated with taking jumbled, tribal pieces and finding the sacred geometry that's there." Obviously I'm raising an eyebrow at the words "tribal" and "savagery", but they are apt in that Morris's earlier pieces definitely embody a romanticized notion of so-called "primitive" societies.
Indeed, one news article describes his work as a "mix of ancient/primitive with Flash Gordon" and notes that Morris enjoys traveling to "exotic outposts such as Peru and Kenya, where he draws inspiration from ancient cultures". Oy vey. I don't think it's inspiration so much as cultural appropriation, but fortunately Morris seems to have outgrown that style. Modern and sculptural with an organic quality to them, Morris's work nowadays seems to be more inspired by natural forms rather than appropriation of native peoples' body adornments. These pieces in particular resemble the more futuristic/architectural items from the MAC collection (the compact, lipstick and mirror, respectively).
I have no idea why MAC decided to join forces with Morris now, but I do know it's not his first rodeo designing makeup: he created a refillable compact and lipstick case for Elizabeth Arden in 1992. Called Rituals of Color, the collection reflects Morris' fascination with spiritual rituals and how beauty routines can be elevated to their own sort of ritual through beautiful packaging. As this article shows, Morris was partially influenced by his mother's makeup routine and the importance of "presentation".
Indeed, the Elizabeth Arden collection provides a lot more context for the MAC lineup as the concept is essentially the same, just executed differently. "What women wear day in and day out becomes their statement of who they are, an extension of their identity. Designing both [jewelry and cosmetics] is a very intensively intimate process," he noted in October 1992, explaining further: "'I'm a symbolist," the designer says. "'I believe packaging is very much a part of the ceremony we all go through in the morning to put ourselves together. People need to form an environment to heighten the experience of the ritual. Those who want to treat themselves better need the product and packaging to be very much a part of their beauty psyche.'" The first two pieces in the line are a lipstick case and compact, designed 'to look and feel organic, with a natural-looking shell for what's inside, like a clam or mollusk's shell.'" Another article points out that he actually came up with the design in 1976: "Taking two discs, I noticed they sandwiched as a clam."
Both pieces are so fantastically '90s – as modern as they seemed back then, they look pretty dated now. Then again, I definitely appreciate a fashion relic from my favorite decade, and I'm enjoying the luxuriousness and nod to natural elements in both pieces. The compact does indeed look like a golden shell, while the lipstick case resembles a rather elegant bamboo twig.
The idea of elevating a mundane task such as applying makeup through the design of the makeup itself – especially when that design is created by a jeweler – isn't new, but it's always fascinating to see what various jewelry artists come up with. In the case of Morris, it's particularly interesting since he's done two makeup collections spaced 25 years apart, so you can really see how his style has evolved. His approach is the same, but the pieces are quite different stylistically. I appreciate the Elizabeth Arden collection for being so representative of early '90s style, but I also like the more futuristic vibe and burnished gold finish of the items in the MAC collection.
Which iteration of Robert Lee Morris makeup do you prefer? And had you heard of him before now?
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The final installment in MAC's 2013 Illustrated collection is brought to us courtesy of fashion designer and illustrator Rebecca Moses. This was a large Nordstrom-exclusive collection containing several lip color sets and brush sets, along with two color kits. I picked up the Brown Face Kit.
I liked seeing Moses' signature on the mirror.
About her illustrations, Moses states, "I think it is all about the ability to create color. There is a
dreamlike quality to watercolor. But in the past couple of years I have
fallen in love with markers and pen. But I have learned to blend
markers in a way to give me a similar movement of color that I do with
paint and now I use all the mediums together….Color is fundamental,
moods are exaggerated, body language strong, and the attitudes are
large…My work has become more humorous and spirited…I like being
able to laugh at oneself." In looking at her work, I find her assessment to be quite accurate. Bold yet harmonious color combinations and strong lines give Moses' women a certain intensity. At the same time they're distinctly feminine and sophisticated.
Moses cites Modigliani as one of her favorite artists, and I think there's a definite resemblance between the two artists' women, particularly in the slightly tilted heads and elongated oval eyes and necks. Compare this ad by Moses:
As for the MAC collection, this palette and other pieces showcase some comparable illustrations to Moses' previous work. Her signature swirling black ribbons appear in this illustration she completed to celebrate the 25th anniversary of Marie Claire Italia magazine, similar to those she drew for the MAC sets.
I don't know what client this particular design was for, but it's nearly identical to the pattern on the MAC palette – just sans lips.
And this illustration for Icon Magazine actually does include both lips and eyes:
While overall I liked the collection, I do wish it would have depicted fully-drawn women instead of disembodied eyes and lips. The level of detail that goes into most of Moses' patterns on the clothing worn by the women in her drawings and her use of color are the strongest aspects of her work, and it's unfortunate that the areas where she really shines were not included in the MAC collection.
What do you think? Did you pick up anything from this collection? And of the three artists featured in the MAC Illustrated series this year (Anja Kroencke, Indie 184 and Rebecca Moses), which was your favorite?
“Graffiti has taught me so much to not only put myself out there
even if what I do is not perfect but most importantly I learned how to
be fearless and just go for it.” – Indie
The second part of MAC's 2013 Illustrated collection features the work of graffiti artist Indie 184. Born in Puerto Rico to Dominican parents and raised in New York, her style combines vivid colors with a contemporary take on old-school New York City graffiti. Her indomitable spirit is fittingly expressed in her tag, a riff on the movie adventurer Indiana Jones, while 184 comes from the street she grew up on in Washington Heights.
The first MAC bag shows off Indie 184's unique spin on a more traditional, "bubble"-style graffiti.
The interior (which is the same design as the exterior of the other bag in the collection):
The design on the exterior is similar to the one that appears on a subway map she created for online gallery Etch-A-Sketch.net.
The second bag is more similar to her latest work on canvas. As she is an admirer of Basquiat and cites him as an inspiration, I can't help but wonder whether the halo and crown shapes are paying homage to him.
While I appreciate the "bubble" graffiti approach, my love of color means that I'm most captivated by Indie's bright, multi-hued paintings. She seamlessly translates her style from walls to canvas, weaving together images of famous women and phrases that convey their power. In her artist's statement, she writes, "My creative process usually starts by pouring out conflicting ideas or
emotions using words, images and color. When I create a painting, it’s
like a page of my personal diary – all the pieces are worlds of personal
declarations. Constant use of word play, found scraps of paper,
stencil, graffiti, graphics and photographs mixed with vivid colors…I use iconic female imagery provoking mood and expression
embellished with dripping paint juxtaposed with words…The
composed painting reflects power, motivation and with an undeniable
twist of feminism in my paintings." The feminist angle, I believe, comes partially from her struggle to be fully accepted as a genuine graffiti artist in a male-dominated environment. She says in an interview, "[A]s I got more into the culture, I learned
that NYC in the 80’s produced few active girls in graf. So any new girl
in the scene would stand out. But of course, that did not mean free
rides. I had to push harder to get down on walls. Most male writers
don’t take females writers, especially new ones, seriously. I did not want to stand out only because I was a female writer. I
wanted to make my mark and represent for myself. Even now, on occasions,
when I’m painting in the streets, some guy comes along and acts
surprised when he sees me working with spray paint."
The titles for some of these paintings – Powerful Creation, Call the Shots, Fearless, Knock 'em Out and Own Your Power, combined with Indie's signature hearts and stars – further drive home the idea of feminine strength. Some of her work is also a tribute to Latina women and a
demonstration of allegiance to her cultural heritage, as she
references figures such as Frieda Kahlo, Jennifer Lopez and Marquita
Rivera.
Call the Shots, 2012 (I love the nod to Warhol represented by the soup cans):
Looking at the dizzying array of flashy colors, it's no surprise to find that Indie's heroines include Jem and Rainbow Brite. I also find her work to be a true expression of her outspoken, feisty personality and thoroughly unselfconscious attitude. In an interview regarding her recently launched clothing line named Kweenz Destroy, she states, "Kweenz Destroy is for ladies who hold their
own and make an impact with what they do. They love to get their hands
dirty and don’t give a shit what people have to say…I
don’t feel like I have anything to prove to anyone…I am fulfilling my own desires,
not living other people’s ideal of what a graffiti writer should be,
because at the end of the day people are going to talk shit regardless."
Overall, I like Indie's work – it's brash, highly personal and has an exuberance and freshness to it while remaining forceful. And I was pleased to see she's left-handed, given my fascination with southpaws.
MAC began their "Illustrated" series last year, where the company teamed up with several talented graphic artists (Julie Verhoeven, Nikki Farquharson and François Berthoud.) This year MAC revisits the collaboration idea by working with three artists: Anja Kroencke, Indie 184 and Rebecca Moses. I'll be covering the latter two shortly but for now let's take a look at the bags designed by Austrian-born, New York-based fashion illustrator Anja Kroencke.
Kroencke's depictions of women are characterized by graceful, elongated necks and voluminous, often intricately detailed hair. These elements distinguish Kroencke's work from that of other fashion illustrators by harmoniously combining boldness and delicacy, romanticism and strength. Says the artist, "It's
a mix of all kinds of women I see on the street, in movies, in
magazines–but they are all strong and yet very feminine and vulnerable,
sometimes even fragile but showing a strength that comes from within,
the expression of the face, the pose, being in charge of their own life
not dictated by fashion, society or men."
I'm particularly drawn (haha) to the short, deft strokes she uses for the irises of the girls' eyes.
Kroencke cites artists such as Louise Bourgeois, Elsa Schiaparelli and Frida Kahlo as inspiration, and acknowledges the influence of her upbringing in Vienna and her parents' Scandinavian and Bulgarian aesthetics. She also states, "I was always drawn to a more graphic, bold style. I love simplicity,
which is actually very difficult to achieve, and developing tension in a
drawing or painting through a strong composition and color palette."
I picked out some favorites from her vast portfolio. I love the color combinations that appear in the ads for Claire's Accessories:
Her illustrations for high-end designers are imbued with her signature elegant necks and billowing tresses, while still retaining the clothing's original elements.
Looking at these you can definitely see how Kroencke's work has evolved over the years, particularly her use of color. "I always try to find interesting and rather unusual color combinations
that can translate to the mood of the illustration. My color palette is
very much influenced by what is happening at that time in design,
architecture and fashion…I remember in the late '90s it was all about
midcentury modern, lots of olive green, mustard and blue-grey; currently
I'm totally into black line drawings with sometimes only a few colors," she says in a recent interview. Indeed, her latest work, including the illustrations she created for MAC, display this gravitation towards a simpler color palette. She also notes that her work has gotten "darker in mood and in some ways, more personal, less commercial."
While this particular collection didn't blow me away, I think Kroencke's style is well-represented in the MAC bags – when you see them, you know the women are hers. What do you think?
I was intrigued by MAC's Year of the Snake collection since I first laid eyes on this magnificent promo image.
I was surprised by how much I liked the packaging. It's very simple but perfectly captures the allure and texture of shiny snakeskin. And you wouldn't think purple, gold, hot pink and black would go together well but here they work.
The snake pattern is woven throughout all the items. Here's one of the eyeshadows (Altered State).
With flash:
Beauty powder:
With flash:
One of the lipsticks (Cockney) – I think the snake pattern works best here.
Famous people born in the Year of the Snake include Oprah Winfrey, John F. Kennedy, Abraham Lincoln, Martin Luther King,
Jr., Pablo Picasso, Bob Dylan, and Edgar
Allan Poe.
2013 brings good financial fortune for those born in the Year of the Snake.
What did you think of this collection? I think the most interesting thing about it was the fact that all of the colors are re-promotes of items in the permanent line or shades that had been previously released in other collections – it's as if MAC is testing consumers to see if they'll buy items solely if they come in special packaging. Naturally, I succumbed.
*To find out what the title of this post is referencing, click here.
(image from 1stdibs.com)
(image from gettyimages.com)
