The history of colour has been divided into many different areas of study, from aesthetic and cultural history, to dye and chemical research. I have been contemplating colour more recently, specifically in relation to fashion and design, to understand how wearing or looking at certain colour combinations can affect us emotionally. British artist and critical theorist, David Batchelor wrote that, ‘colour has been the object of extreme prejudice in Western culture’ (Chromophobia, 2000), evident from the nineteenth century onwards in which certain colour schemes held negative class associations. Josef Albers, a pioneer of Moderism, dedicated his practice to colour, and outlined in his 1963 Interaction of Colour handbook some key principles to his colour theory: 

• Colours are in a continuous state of flux and can only be understood in relation to the colours surrounding them. 
•  All colours have two key elements of ‘brightness’ and ‘lightness’. 
•  How people see colour is subjective for everyone. 

• Exploring and experimenting with colour is more important than the study of colour. 

This is of course, a highly simplified summery of Albers’ theory, but is enough to allow a closer examination into a singular fashion house, Missoni. In 1953, Ottavio and Rosita Missoni established their knitwear workshop in their basement, and by 1966 they had their first fashion in Milan. Ottavio and Rosita were inspired by avant-garde art of the twentieth century, with a focus on Futurism and rhythmic compositions of bold, ‘pure’ colours. 

The Fashion and Textile Museum in London curated an exhibition titled, Missoni, Art, Colour’ in 2016, which explored in depth the interwoven threads between Missoni’s knitwear and modernist art. Ottavio was himself an artist, his interest in experimenting with colour as outlined by Albers was revealed in his own paintings and tapestry studies. His use of geometric forms and ‘pure’ colours resemble artworks from Albers’ series: ‘Study for Homage to the Square’, and ultimately come to fruition in his clothing designs. Missoni’s use of knitted threads allows colour to react in a state of flux to each different coloured thread surrounding it, exploring the effects of colours by contrasting their ‘brightness’ and ‘lightness’.  

In February, I visited the Guggenheim museum in New York and found myself fully immersed in colour and its emotional capabilities while looking around the ‘The Fullness of Colour:1960’s Painting’ exhibition. I was particularly captivated by Wojciech Fangor’s, ‘M 37’ painting from 1969, and how it’s simple green circular form appeared to bleed out into a vivid sky-blue ring, which then faded into the surrounding canvas. The application and contrast of these simple colours and shapes seemed to transcend its form and resonated a feeling of peace and calmness inside of me. On return from New York, I visited my favourite vintage shop in London, and immediately noticed a long sleeved, Missoni knit top. The vertical stripes of the top weave bright green threads into thin lines of white, which are then subdued by a deep purple. Only to be contrasted yet again by a thick stripe of bright pink, which illuminates next to the vivid orange. There was something that the impact of the paintings at the Guggeneheim exhibition had on me, that I felt was reflected in the composition of colours in this Missoni piece. If I could feel certain emotions looking at a painting’s colour and form, then how would others perceive and react to the experimental use of colour in this Missoni top?  

I continue to chase the effect of colour and patterns in clothes especially in Missoni pieces, which have provided me with a new theoretical perspective on the already established connection between art and fashion. Each piece now holds a deeper meaning to me, as I come to appreciate the delicate art of Missoni’s knitwear technique, and influence of colour theory, form, and art. Perhaps in these times, now more than ever, we should consider how something so seemingly insignificant, can have such a big impact on our emotions and well-being. Not only for ourselves, but for others who may find a fleeting moment of peace or joy when appreciating colour in clothing. 

References: 

• Batchelor, David, Chromophobia, (Reaktion books, 2000) 
• Blaszczyk, Regina Lee, ‘The Design World’s Passion for Colour’, Journal of Design History, (Oxford University Press on behalf of Design History Society, Vol. 27, No. 3, 2014), pp. 203-21 
• Fashion and Textile Museum, ‘Missoni, Art, Colour’, exhibition, 2016 https://www.ftmlondon.org/ftm-exhibitions/missoni-art-colour/ 

• Hoecherl, Marlies, ‘Theoretical Aspects of Colour’, Controlling Colours, (Archaeopress Archaeology, 2016) 

After graduating from the Courtauld in 2017, I began working in a “street art” gallery located down the heavily graffitied Brick Lane. The gallery is a hub for alternative sub-cultures that often engage with pop-culture so it seems natural that fashion designers would also clock on to the world of street art. My first exhibition was for Australian artist Ben Frost, just after this show, his commercial, satirical pop-art style was picked up by designer Jeremy Scott for Moschino’s autumn/winter 2018 capsule collection. His designs were printed onto handbags, dresses, hats and coats, the modern advert designs a notable contrast with 1960’s styling of the models. Ben Frost’s work subverts mainstream iconography from the worlds of advertising, entertainment and politics. Combining these elements with the ‘Jackie Kennedy’ styling of Moschino’s looks calls to mind Walter Benjamin’s idea of tigersprung. The show illustrated how the digital world can leap into the past, referencing the 1960’s right down to the pillbox hats.

Frost’s kitschy style seemed well suited to the ‘camp’ aesthetic of Jeremy Scott’s Moschino. Similarly, more traditional designers have collaborated with street artists to meet the continued demand for relaxed, sports-luxe fashions. The following year, I worked an exhibition with New York street artist Dan Witz. As we were setting up his large scale, photo-realistic paintings of mosh pits, I came to learn that he had also worked alongside a fashion brand the year before. Dior had incorporated his mosh pit paintings into their prints for Kris Van Assche’s Dior Homme, autumn/winter 2017 collection. Whilst initially wary about working with such an iconic house, Witz later agreed eventually agreed to collaborate once he understood the artistic vision behind the collection. His paintings explore the climatic tension of mosh pits and how they create ‘beautiful moments of chaos’. The prints then exploded over the runway, in suits, denim, capes and outfits worn by artists such as Liam Gallagher and ASAP Rocky. As popular culture and street-style becomes increasingly important to high fashion brands, street artists provide perhaps the most effortless intersection between ‘street’ and high style.

While fashion brands have taken a significant interest in street artists within the past few years, – see Kaws’ involvement with Vogue and Comme Des Garçons or Shepard Fairey’s own clothing brand, Obey- this cross over between designer and artist is not new. Keith Harring’s art and activist designs has been a cosntant influence to designers and brands hoping to reach the masses. On display at Tate Modern’s ‘Keith Harring’ exhibition was a Vivienne Westwood and Malcolm McLaren knitted jumper and skirt ensemble originally designed by Haring for their ‘Witches’ winter 1983 collection. Fittingly, the outfit was lent from the personal collection of Dior’s Kim Jones. This further connects fashion to the influence of street art. From the past to the present, both worlds intersect, forming an interesting and refreshing relationship that is bound to continue.

References:

Evans, Caroline, Fashion at the Edge (Cambridge, Mass: Yale University Press, 2003), p.34

https://www.stolenspace.com/ben-frost-x-moschino

Instagram – @benfrostisdead @danwitzstreetart

A few weeks ago, on a wet but crisp autumn day in Greenwich, I happened to catch a glance at a sparkling spider brooch through a shop window. Maybe it was Halloween being around the corner that made me take a closer look at the curious brooch, and maybe it was the novelty of something terrifying being presented as dazzling that made me buy it. Nevertheless, I was now the proud owner of a diamond spider, which I wore on my shoulder to class on Halloween.

That evening, in the spirit of Halloween, I posted a picture of the spider accessory on Instagram for my friends to share in the novelty, and what I had believed to be uniqueness, of my new brooch. This act was soon to show me the power of social media, especially in spreading and creating trends in fashion. A friend sent me a message replying to the image I posted, ‘Lady Hale!’ he wrote, starting my search online to find the relation between Brenda Marjorie Hale, Baroness Hale of Richmond DBE, PC, and my new spider brooch.

On 24th September, Lady Hale declared Boris Johnson’s prorogation of parliament “void and of no effect”, while wearing a large, statement spider brooch fastened just below her shoulder on her black dress. The spider summons connotations of entrapment, a stealthy creeping of subtle dominance. Lady Hale was the black widow to Boris Johnson’s Brexit. Vogue described the brooch as ‘maximalist perfection’, and clearly the fashionably inclined public agreed, as web searches for brooches, particularly animal shapes, increased that day by 126%. Supporters of Lady Hale and her politics rallied behind her on social media, putting a spider emoji in their bios online, spreading news not only of her power move, but also of the accessory worn during it.

Politics and fashion have been entwined since the beginning, with politicians using specific motifs to show power, and designers to allude to their beliefs. The brooch is a small yet imposing way to express an idea, quickly fastening onto anything in any placement at the wearer’s discretion. Lady Hale’s very public brooch approach displayed to the public how impactful such a novel accessory can be, giving her words added depth and connotations. 

British fashion brands like Alexander McQueen and Vivienne Westwood express their punk ethos through brooches, reminiscent of the 1980’s DIY safety pin aesthetic. Westwood’s recurring ‘penis’ motif dates to her 1970’s ‘SEX’ boutique, when t-shirts were printed with controversial, phallic designs referencing homosexuality. This motif has been reincarnated into a diamond brooch, for a modern wearer to also show support and place their beliefs in the narrative of the brand, constructed by Westwood.  

While we have yet to see Lady Hale fashioning a Westwood penis brooch, it is fascinating to watch the influence of how her spider spread on social media, inspiring a multitude of copies and t-shirts replicating this powerful moment. The web has been cast into the unstable Brexit climate, providing proof of the power behind a great accessory as well as social media. My impulsive spider brooch purchase will certainly not be my last, bring on brooch season!