"One should either be a work of art or wear a work of art" stated Oscar Wilde. But, unfortunately for us, there are very few living works of art out there and not many people who can really afford to wear designs worthy of that title. Most of us are indeed left with the option to wear more affordable versions of "wearable works of art", maybe a garment or an accessory with a print of an iconic piece created by a famous artist. But would you ever wear a design featuring a work of art considered as the epitome of kitschness?
The question must have come to the mind of some fashion commentators while watching Stella McCartney's runway.
The designer, who recently bought back Kering's 50 percent stake in her brand, showcased during Paris Fashion Week a collection that comprised both men and women's wear.
There were two souls on the same runway: her interest in tailored yet functional designs materialised in roomy coats and blazers, her romantic side was instead embodied by the long lace dresses inspired by vintage bridal gowns in soft shades such as cream and pale pink.
Knitwear abounded for both men and women, with thick oversized Aran knits matched with sporty tracksuits and sneakers or with an impalpable skirt to create a contrast.
There are currently two points high on Stella McCartney's agenda – sustainability and animal-free policy and in the collection they were represented by the sneakers in which toxic glue was replaced by hooks and stitching and faux leather (some of the types included in the collection are completely biodegradable) for dresses and bags, not to mention the invitation that consisted in a pair of socks produced "re-purposing post-consumer and post-industrial textile waste to create high-quality up-cycled yarns through a process that uses zero water, zero dyes and no harsh chemicals."
The collection also featured some arty references: some of her tops and skirts were indeed characterised by prints of J.H. Lynch's portraits of young women and by images of vintage floral postcards in colour saturated hues.
Born in 1911, the mysterious British artist Joseph Henry Lynch entered the imagination (and the houses) of many British people through his exotic but terribly kitsch paintings, often showing scantily dressed women surrounded by dark lights or in mysterious wood settings.
Like Tretchikoff's "Chinese Girl", Lynch's "Tina", painted in 1961, was a staple in many British houses between the '60s and the '70s, her eyes staring straight at the viewers and promising intimate moments of endless sensuality.
Cinema fans will remember how Lynch's portraits made an appearance also in Stanley Kubrick's "A Clockwork Orange"; music fans known instead that the latest appearance that "Tina" made was on the cover of Edwyn Collins' hit "A Girl Like You" in 1994.
McCartney reproduced Lynch's "Tina", "Rose" and "The Nymph" on her garments that were matched on the runway with tulle tops framed by lace that added another layer of kitsch to the ensembles (and to the paintings…).
Though Lynch's prints were sold in Boots and Woolworth's, the painter was never acknowledged while he was alive and they say that, frustrated for not receiving any recognition, before he died in 1989 he destroyed most of his paintings and donated the rest to charity. Guess he would be proud to see his artworks appearing in a luxury fashion collection (that was hopefully authorised by the family as copyright of Lynch's paintings is probably still with his family/heirs).
As for wearing a work of art, by all means do so, even though a kitsch artwork may prove challenging even for the most impenitent and defiant fashionistas out there.
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