Fashion and Art fusion. Fashion has always kept an eye on art in its inspiration; just think of how many tributes to the Avant-gardes (such as Orphic Cubism or Pop Art) Gianni Versace dedicated in his Nineties catwalks or to certain advertisements by Chanel via the Karl Lagerfeld ‘genius’, thought in tribute to Byzantium and the mosaics of Ravenna a few years ago.
The 2018 Spring Summer campaign of the Florentine Maison led by Alessandro Michele is a triumph of nymphs and art figures, under the artistic aegis of Ignasi Monreal.
In golden dress, between water lilies and stagnant waters, a novel Ophelia pays homage to the famous John Everett Millais, from 1852. A painting that has been mentioned in music videos over the years (from Robert Plant to Nick Cave, to make only two iconic names), expresses the virginal but mischievous pre-Raphaelite femininity and exalts the binomial Love and Death, which is perhaps the most famous literary topos painted at the time and which lends itself to the theatricality of a fashion collection so linked to style rather than passing by market.
Aura of an artist, aura of fashion designers.
If everything becomes a brand, including art, the union between brands exalts them to each other but is also a way to celebrate icons of art in the imagination of a vast audience.
Hyeronymus Bosch, with his Triptych of the garden of delights, 1490-1500, inspired an artwork that leads straight into a dimension, as the title of the campaign itself says, hallucinated, so timely and bewildered as to be truly fashion surrealism.
The artist, Ignasi Monreal, makes irony with these digitally created illustrations but treated like real paintings.
‘The women, the knights, the arms and the love stories”, sang Ludovico Ariosto, in his Orlando Furioso , emblem of the crazy love and the courteous environment in his later days. Knights, women, weapons and designer bags are the leitmotif of an advertising campaign that marks a clear contamination between the visual art world and its icons and icons of a world-famous style brand.
An ironic ending that winks at a tribute of art in the art: Ignasi dives into the recreated canvas and extends his hand to the girl, the new epigone model of the magnificent muse Elisabeth Siddal, to get her out of her ‘water grave’ .
Art gives way to advertising, and death gives way to particularly iconic luxury items
Ignasi Monreal Ofelia campagna Gucci estate 2018
John Everett Millais Olio su tela, 1851-52 – Ofelia