This article appears in the Winter 2012/2013 issue of Eidé Magazine. Read it here, or click to read it in the issue below.
“The idea is not to live forever,” Andy Warhol once said, “it is to create something that will.” Indeed, Warhol’s creations — his art, his films, his philosophies — continue to live on (in artifact, in memory, in influence) since his passing February of 1987, a truth that is further confirmed by Raf Simons’ Autumn-Winter Ready-to-Wear collection for the House of Dior.
A collaboration with the Andy Warhol Foundation for the Visual Arts resulted in the artist’s portraits of women printed on the bodices of bustier dresses and high-heel drawings embossed on handbags (“Female Head with Stamps,” “Unknown Female” and “Stamped Shoe with Butterflies” among them).
The graphics featured were actually precursors to his most well-known pop work, created when he was a commercial artist producing illustrations for magazines and advertising campaigns. “For me Warhol made so much sense,” creative director Simons says of the collaboration in the show’s dossier. “I was interested in the delicacy and sensitivity in the early work he did, I was drawn to that graphic style naturally in this collection. It was that notion of hand work and personal signature that fitted throughout.”
The perfect complement to the collection? The set for the show, which featured giant, floating Mylar spheres, reminiscent of Warhol’s New York City studio, The Factory. Often referred to as the “Silver Factory,” it was decorated with tin foil and silver paint, the ceiling often flanked by silver balloons.
I can’t help but assume Warhol would have adored it all.