I often talk to my students about the importance of spotting and understanding brand codes and the fundamental impact of choosing these codes. Color is one. It says a lot of things, much more than just the trend of a season.
While my BONÂME spring collections bring pink and black into dialogue, I wanted to return to this sense of color.
Black has been present in my creations since the beginning. I always try to break away from it and I always come back to it. No doubt because it structures, it opposes, it highlights, it absorbs.
Pink has invaded our horizons for around ten years.
While my BONÂME spring collections bring pink and black into dialogue, I wanted to return to this sense of color.
Black has been present in my creations since the beginning. I always try to break away from it and I always come back to it. No doubt because it structures, it opposes, it highlights, it absorbs.
Pink has invaded our horizons for around ten years.
Connoted, custodian of gender expression since the 50s (it's actually quite funny: look for pink emojis and you will only find little hearts, little flowers or other candies, no graphic and powerful form...) , it was nevertheless a great universal, even masculine color in Renaissance painting. Henry IV portrayed in March is dressed in pink in the painting by Jacob Bunel which is in the Château de Pau. Michelangelo used it extensively to drape male bodies from the ceiling of the Sistine Chapel. It is also found in the paintings of Pontormo and those of Boticelli.
In the 18th century, it accompanied courtly love and flirting scenes typical of this Roccoco period. The young women in pink petticoats and ruffles match the knotted doublets of their suitors, in the paintings of François Boucher or Fragonard. Thus the famous “La Balançoire” representing a young woman in soaring pink skirts on a swing, emblematic of the rococo pictorial style.
In the 18th century, it accompanied courtly love and flirting scenes typical of this Roccoco period. The young women in pink petticoats and ruffles match the knotted doublets of their suitors, in the paintings of François Boucher or Fragonard. Thus the famous “La Balançoire” representing a young woman in soaring pink skirts on a swing, emblematic of the rococo pictorial style.
In the 19th and then the 20th it flirted with femininity and motherhood until it caricatured as a girls' color in the second half of the century.
It will happily be brought to life by fashion in a sharper expression: Elsa Schiaparelli and her shocking pink which invades dresses and jackets or is expressed in baroque and flamboyant embroidery. Yves Saint-Laurent and his giant taffeta bows adorning evening dresses or on exuberant bodices. More recently Valentino with an entirely pink collection for women and men. Valentino, apostle of intense red and carmine which has surely been drifting towards pink for several years.
In this regard, you need to read Michel Pastoureau, the great color theorist, to understand a little more about its origins. Pink is above all a derivative of red and a variation of its signifiers.
The pink that I choose to use in my collections is lively, vibrant, almost provocative. It has signifiers of vitality, energy, passion, powerful intimacy too. By confronting black, it creates an aura of a determined woman.
In this regard, you need to read Michel Pastoureau, the great color theorist, to understand a little more about its origins. Pink is above all a derivative of red and a variation of its signifiers.
The pink that I choose to use in my collections is lively, vibrant, almost provocative. It has signifiers of vitality, energy, passion, powerful intimacy too. By confronting black, it creates an aura of a determined woman.
