What would black be without white, and white without black? I’m not speaking metaphorically here (though the idea certainly holds meaning). Since I first started drawing and designing clothes as a young teenager, I’ve always been drawn to the stark contrast and purity of black and white.
I’ve already shared my admiration for Pierre Soulages and his Outrenoir (Beyond Black) concept in Pierre Soulages: Black Like You’ve Never Seen It Before. Known as the painter of black, Soulages helped me embrace black as the foundation of my creative process. But later, someone else affirmed that my black-and-white world could go even further—that it could exist not only in art but also in the very fabric of everyday life, in the design of our surroundings. That person was Andrée Putman.
I was captivated when I first encountered Putman’s signature monochrome graphics, which she created for the Morgans Hotel in New York in 1984. Though I only discovered her work a few years later, it cemented my belief that black—and the interplay of black and white—was it. The essence of my inspiration was right there, embodied by visionaries like Pierre Soulages and Andrée Putman.
Often called the Queen of the Checkerboard, Putman is also known as the Ambassador of French Style. Her work draws inspiration from the modernist elegance of Robert Mallet-Stevens and other designers of the 1930s—one of my favorite eras. At 85, this tall, extravagant grande dame of French design remains one of the world’s leading interior designers.
Putman is currently being honored with a retrospective exhibition at Paris City Hall (Hôtel de Ville, 5 rue de Lobau, 75004 Paris), which began last November. I visited it last year, and it was beautifully curated, showcasing many of her iconic works, including the Milky Way piano, Trompe l’Oeil tables, the Black Coffee Table, and the Crescent Moon sofa. The exhibition even features a reconstruction of the legendary Morgans Hotel bathroom (see photo below).
The experience was fantastic, though I do regret having to wait outside in freezing wind for half an hour. It was worth it, but better organization would have been appreciated—the space was simply too small for the number of visitors. That said, I highly recommend it to anyone visiting Paris. But hurry—the exhibition closes on February 26, 2011!
Visit Andrée Putman’s Website: http://www.studioputman.com/
