#11 the innocent
Pop, blop, wiiiizzz!
In the 1960s, humankind embarks on a conquest of space and takes its first steps on the moon. In the new space age, plastic and metal materials revolutionize everyday life and spread to fashion and the visual arts. A resolutely futuristic youth movement rejects all connotations of the past and imposes a new vision of the world. The consumer society relayed by television promotes mass culture and the omnipresent image marks the emergence of Pop Art.
Andy Warhol calls his studio The Factory and silkscreens his works from magazine clippings and multi-colored serial portraits; Jacques Villeglé recomposes the posters and advertising slogans of the Paris metro; Roy Lichtenstein takes up the graphic style and onomatopoeia of comic strips.
From Swinging London to Saint-Germain-des-Près, fashion is also becoming more popular and designers launch ready-to-wear lines. From Courrèges and Mary Quant to Cardin and Rudi Gernreich, an emerging generation of stylists comes up with new, ultra-short, tight-fitting, trapezoidal silhouettes that highlight the filiform look of models and stars. Twiggy, Jean Seberg and Eddie Sedgwick, figures of a new androgynous femininity, wear marinières, graphic and masculine striped sweaters that become a new symbol of French chic. To stay current, the lacemaking industry adds to its collections a whole range of optical and colored motifs: polka dots, diamonds, checks, stripes.
Andy Warhol plays with the iconic value of everyday consumer goods by hoisting them to the level of art, such as the Campbell Soup can, while milking the power of celebrity images by reproducing them serially via screen printing. The artist declares “I want to be a machine” and reflects the inspiration of comics.