It was Rembrandt, in his later paintings, who became one of the first to play with visible brushstrokes. Two hundred years later, the impressionists caught on. Now the brushstroke has resurfaced in the spring/summer collections, imprinting fashion with all sorts of creative marks. At Marni, Francesco Risso offered cotton canvas jackets, skirts and dresses with fauvist dashes of colour, worn by models whose hair was slicked back with white paint. “The brushstroke evokes the urgency for creative expression,” says Risso. “Every garment is a canvas.” There was more paint-flecked hair at Moschino, where creative director Jeremy Scott took Picasso as his muse to create paint-daubed suits and dresses.
Miuccia Prada had Jackson Pollock on her mind, made manifest at Miu Miu in colourful canvas splatters and handpainted flowers. Equally liberated was Simon Porte Jacquemus, who channelled Rothko with thick square daubs.
But not all designers played with isolated strokes. At Diane von Furstenberg they swirled Van Gogh-style on a jacket and dress; Japanese label Toga conjured the crosshatch of Cézanne’s Sous-Bois studies; and Roksanda Ilincic opted for gowns inspired by the abstract works of American painter Mary Weatherford.