Weather changes moods, spring is here again… and flowers grow up on our skins..
These last words may be added to the lyrics of Nirvana’s song In Bloom, at the sight of the many floral compositions that take roots on the icy or pixelated skins of models lately. At Preen’s SS17 fashion show, wild flowers of all kinds, daisies, ferns or chrysanthemums that took a stand on the graceful bodies of the models have awakened the primitive instincts of creatives everywhere (make-up artist, stylist, photographers). Usually known for their benefices when incorporated into cosmetics, here, they are on the skin, raw and in their wildest version, used as makeup or body accessories.
Arranged randomly on the wearer’s skin like stickers and ephemeral tattoos, or subtly crystallized under transparent textiles, plastic and nylon, the flowers look perfectly natural and three-dimensional. It’s a renewed visual poetic discourse that diverts the flowers from bohemian uses, sometimes considered too literal. The plurality of species, the variations of color, the nuance of forms and the different arrangements they inspire, nourish many graphic compositions. The flowers are exploited under all their petals. Portraits and bodies are treated in a neo arcimboldo style, less coarse and more delicate, obeying the visual aesthetics of Tumblr or Instagram. Far from giving phytomorphic appearances to the bodies, the natural flowers patterns reveal but do not dissimulate, sublime but do not transform. From the most ornamental, young lady-like, prude and naive, to the most sizzling, Marilou-derived version, the floral body decoration strives to sketch multiple stories, sensitive or committed, poetic or offbeat. Nature becomes one with the human body in order to create images of beauty coupled with engagement.
Perfectly in tune with the mindset of a generation that care about the Earth’s future, these new approaches to beauty manifest environmental awareness and the urgent need to go back to origins, to the core values and the raw material of life. Touching upon the unspoilable, by photographing the fusion between two victims of time, living beings and nature.