Maria Grazia Chiuri introduced the feminist art historian Linda Nochlin to her audience by using the title of the late scholar’s 1971 essay, “Why Have There Been No Great Women Artists?”, as a provocative slogan. Whether or not they were inspired by Chiuri and Nochlin’s query, a season later, the Fall collections celebrated many female artists in a variety of ways.
paid homage to the popular pioneering French painter Élisabeth Vigée Le Brun (a favorite of Marie Antoinette) by posing his models with brushes and easels. Inspired by the romantic visuals of German choreographer Pina Bausch’s 1982 work , enlisted landscape designer and Vogue contributor Miranda Brooks to transform the landmarked Bridge Market into a mossy field of pink carnations.
Similarly straightforward were the approaches taken by and ’s Josep Font to their references. Olowu adapted aspects of the German Dadaist Hannah Höch’s collage technique into his process, which resulted in some beautifully patterned sleeves, and Font’s airy palette took cues from the lushly painted portraits of the French painter . , meanwhile, created a dialogue between her clothes and the work of by photographing her collection beside her artworks.
and were the two brands that took things a step forward. Tome’s Ryan Lobo and Ramon Martin not only found inspiration in the work of artist , but also in the painter herself, and asked her to model their collection. Lia Kes similarly forged a new way for fashion to interact with art. The designer asked her mentor, the artist , to participate in her presentation. Strutting past a Cabessa-painted backdrop, Kes’s friends, who she had enlisted as models, became part of a live-action art performance as they trod through piles of colored powder the artist had placed at the end of the runway, which enabled them to make a mark as they walked.