Since the beginning of time, black has a lot to divulge, it expressed mourning, poverty, denial, revolt and it exalted the avant-garde and haute-couture. Both rive gauche and rive droite, from lacerated and leather, to the perfection of the little black dress, from brutal bondage clothing to the monks’ modern hoods, from the black jacket to black coffee, black made a lot of ink flow.
Black is able to express love and romanticism as well as hate and racism, in equal proportion and with the same ardor. Black is seen in lace of a domination mask, veil of seduction and burka of discretion. Yet, behind dark veils hides a myriad of attitudes, divergent tastes and disparate characters.
In a chaotic century, which still cannot find its way, it seems that there is only one way out. One direction to take. We have to merge opposites and erase contrasts to embrace and exploit the ideas of cross-breeds from various disciplines to finally bridge the gap between the two brains. To abolish bipolar thinking in favour of a worldly reflection.
Suddenly, black seems to be the unifying of disciplines, the cloth becomes language, drawing pretends to be text, the volume is seen as flat, materials bristle, painting becomes textile, while the photo is thought of in monochrome. We are the witnesses of an artistic scene in fusion in which all the arts combine to make a single movement, a single vision and a single discipline addressing all the senses, suspended between dimensions.
As such, revisited romanticism can be seen as a reaction against reason, capable of enhancing the mysterious and fantastic. A romanticism to escape from reality and enter into the enchantment of dreams, finding the sublime in the morbid, the vanity of fashion and design calling us beyond the expected.