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The chock of color in Dior make-up art, THE book

 

Serge Lutens, Tyen, Peter Philips… Strong images and key words. The story of color in Dior make-up. Correspondence and perspective.

The Rizzoli publishing house releases a book that retraces every aspect of colour in Dior make-up, under the sharp supervision of Marc Ascoli, amazing artistic director who designed many extraordinary pictures for Yohji Yamamoto, Jil Sander or Martine Sitbon in collaboration with the photographers Nick Knight, Craig McDean or David Sims.

From 1967, Serge Lutens, Tyen, then Peter Philips (in office since 2014) succeed one another as brand image managers and head of Dior make-up design. Make-up artists, but also photographers for Serge Lutens and Tyen, their radical proposals make a stroke for history. Through games of visual confrontation in-between the work of these “skin painters” and classical or modern pieces of art, with passionating interviews by Jerry Stafford, the book highlights the strengh of the visual identity developed around colour by the house.

“From the moment of focusing on the slightest detail, whether it is the scarf, the setting and the make-up, focus, focus, focus... Tributes really bore me. Generally, there are a compensation. If he was one, it is to consider as the one whose dust was placing in front of Seurat's eyes.” Serge Lutens

 

Marc Ascoli about Serge Lutens : “When we went to visit him in his gorgeous riad of Marrakesch, it seemed obivous that we were facing a real artist. A fascinating character, educated, mystic, refined to the extreme... He created muses, heroins.”

 

 

To get the most intense look as possible, I had these black lenses made by the optician Lissac. Once adjusted on the eyes at night, Isabelle, under the charm, seemed like she just got out of a Modigliani painting.” Serge Lutens

It is possible that I would carry leftovers from China… On a foundation that did not completly dry out, I applied colours and then, while the model was standing perfectly still, I powdered her face to get a blotting paper effect. Once absorbed with the complexion set, I buffed, meaning that I gave the face a uniformity that would not be reachable without this technique. The porcelain effect was assured, but all of this process was actually preparation for photoshoots, imposed to the DIor house as my own act of resistance. My opposition was worrying them but, paradoxally, did not give them a chance to express an opinion. Later, those who hated told me they loved it in the end !” Serge Lutens

“Tyen had a great instinct for remarkable aesthetics. His work was important, ahead of tis time. Besides, his pictures now have more impact than ever.” Marc Ascoli

Black underlines everything, it is a writing, it is night time, but at the same time, it is transparent […]. Black is at the same time classical, timeless and futuristic. Black is everything.” Peter Philips

I wanted to do something very surprising. Pink can be very girly, young, it can be powdered, it was the pink flower, but for this new pink, I did the cantrary to unveil a new side of the colour, a 60's psychedelic touch, but with a graphic raw aesthetic, almost primitive. I tried to be audacious, to glamourous.” Peter Philips

 

 

Dior – the art of colour, Rizzoli publishing New York,  271 pages, 100 euros. 

 

 

By Laurence Hovart 

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