3.03.2009

and the hairy ones shall dance there.



the chic sister of second-hand sequins called my attention to the newest issue of Vogue in which Sara Mower tracks down Julien D'ys in her story on page 462 called "the magic maker." It seemed a relevant follow up to the "Hair Affair" at the Cincinnati Art Museum last week that i wrote about here. Hair seems to be an important conversation in art beyond my personal interests.

D'ys is not well known, but indelibly alters our initial impressions of all sorts of fashion lines in the hairstyles he produces for runway shows and photo shoots in many of the fashion magazines. he has been a foundational inspiration ni my own use of hair and a cornerstone in what can be done with the material that not only calls up historical stylizations, but updates and reconsiders how they will meet the body and clothing. almost always he explodes the concepts of hair into full blown whimsy and lush, voluminous piles. i could kick myself now for not taking up the offer his manager, Francois Leroy (i look for excuses to say that name), made for me to meet up with them in Paris in 2007. I got shy at the idea of meeting a master.

i first became a fan when he did the wigs for the Metropolitan Museum of Art's Costume Institute exhibition AngloMania: Tradition and Transgression in British Fashion:


It was enough to inspire me to see what else this hair artist was up to, and i discovered how often he works directly with the likes of John Galliano, Madonna, and museum exhibitions around the world. A couple of other quick samples:



Encountering D'Ys' artistry only continued to feed some of the updated ideas of period pompadour wigs that came up in Sophia Coppola's Marie Antoinette. And also a wave of advertising from Juicy Couture (not by D'Ys):

these different points of using high piled wigs as a commentary and trend in contemporary fashion-cum-culture marks one of the rare incidents, now that i look back over several years, where i've felt compelled to get involved with the use and re-application of an image that makes its way through culture. At least from around 1997 when Petah Coyne did the hairworks you can see an image of in this post, this conversation seems to be staying relevant. As recently as Comme des Garcon's Spring 2009 Ready to Wear line, D'Ys was giving us these:



During her talk last week, Althea brought up how unknown and niche hairstylists are outside their field. Last night, Lawrence Weschler made a similar remark about muscle car detailers- this vast aesthetic field that is mostly totally unobserved by the art world. [if you are wondering why i am not giving you my notes from Weschler's talk, it is because it made a big impact on me and i'm still processing it]. If there is a main point to Mower's piece, it is the obscurity in which D'Ys operates, while he so dramatically influences our views of fashion, art history, and music videos. A reminder to take note of where all inspiration comes from as we are making and thinking about what's been made.


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