ANTOINE+MANUEL for CHRISTIAN LACROIX
In an exercise in contrast, Antoine+Manuel apply layered textures, geometric forms and detailed illustrative gestures to build their refined yet chaotic universe. Fluctuating between slick computer graphics and intricate handwork, they also often combine the two to increase the complexity of the results. They exploit an illusion of depth and have had enormous success translating their personal vision from graphic design to wallpaper, furniture and interiors. Custom letterforms are seamlessly integrated into their distinctive illustrative aesthetic, which often resembles blood vessels or electrical circuits. A sinister playfulness runs through their work, supported by an abundant use of colour and texture. Humour is fundamental to their personalities and practice but their ability to transform creativity into entertainment is the real innovation of their practice.
Following graduation in 1993, college friends Antoine Audiau and Manuel Warosz opened their Paris studio. After an initial period they were established enough to become more selective about their clients and began investing time in personal work that would define their visual language. Their enthusiasm has not wavered over the years as they remain adamant that “pleasure comes first, not business!”. Their influences on each other are complementary and combine with great effect; for this reason, they have remained independent, apart from the recent addition of interns to facilitate more large-scale projects.
Directly informed by the requirements of each client, their work is identifiable through their high-impact use of form and colour. “For each project we invent a system, a kind of universe.” Their style is so distinctive that when commissioned to reinvent the visual language of their clients they are encouraged to impart their own unique aesthetic. Lavish, luxurious and illustrative, their results always leave a lasting impression – they are a perfect match with the fashion industry. “Fashion gives you a certain freedom of creation, you can experiment, play, have fun. Fashion constantly changes, so you can dare, you don’t always have to be ‘right’.” Audiau studied fashion design in college and it has been a continual part of the Antonie+Manuel practice. From a branding exercise for Christian Lacroix in 2002, they have built a close professional relationship and impressive body of work. Known for his extravagant creative fantasies, Lacroix embraces fashion as a lifestyle rather than a profession, an attitude to work that is clearly paralleled by Antoine+Manuel. The success and longevity of the relationship is indicative of their “mutual confidence and respect,” says Audiau.
The invitations bring together Antoine+Manuel’s flair and exquisite production values to reflect a pinnacle of the fashion industry. “We have access to every existing printing technique, from traditional to hi-tech.” Antoine+Manuel are clearly stimulated by the trust placed in them and consistently add explosive dimensions to the Lacroix catwalk. The invitations become coveted souvenirs of attending a show, a tangible gift elevated by the exclusivity of haute couture.
Antoine+Manuel are motivated by the seasonal nature of fashion, and insist: “Each new invitation must be better than the previous one.” While the invitations collectively represent an eye-watering education in print production, the embellishments are always completely integrated. Antoine+Manuel’s ability to balance a multitude of production and visual elements to create a single cohesive message is exceptional. Conscious of the illustrious tradition of haute couture, they are not afraid to ruffle the establishment and present a notably progressive vocabulary for Lacroix.
While the relationship with Christian Lacroix has been mutually rewarding, they do not feel this is a direct result of a shared creative background. They emphasize the importance of open-minded, inspiring clients who foster a positive working dialogue. Enthusiasm is also vital and they stress that an emotional connection to their work is essential. Antoine+Manuel’s boundless creativity and innovative production techniques ensure the results are always memorable as they extend their designs beyond simple communication to an aesthetic experience.
With multiple iterations upon the same seasonal aesthetic, a substantial complexity is built into each invitation ‘package.’ The Autumn/Winter 2008/09 Haute Couture invitation consisted of individual cards functioning as the main invitation, RSVP and notes on the influence of the collection. Guests of the catwalk presentation also receive a booklet with detailed notes on each look. In addition to an array of specialist production techniques, an innovative, mottled, metallic blocking technique was applied to the Christian Lacroix logo. “Most of the time we are really happy with the realizations, as we tend to work with the best printers, engravers, stampers here in Paris, each of them in its category chosen for its skills. It’s printing’s haute couture.”
Selection of Haute Couture invitations between Autumn/Winter 2002/03 and Spring/Summer 2006.
With subtle variations in size, both Haute Couture and Prêt-à-Porter invitations are approximately A5. This is a selection of Haute Couture invitations between Autumn/Winter 2006/07 and Spring/Summer 2009. “Each new invitation must be better than the previous one.”
“We have access to every existing printing technique, from traditional to hi-tech.” Selection of Prêt-à-Porter invitations between Autumn/Winter 2005/06 and Spring/Summer 2009.
The extended creative components of the Prêt-à-Porter Spring/Summer 2007 invitation emphasize the intricate layering Antoine+Manuel bring to every season.
Selection of Prêt-à-Porter invitations and credit booklets between Spring/Summer 2006 and Autumn/Winter 2009/10.
For the Prêt-à-Porter Autumn/Winter 2008/09 invitation a folded A3 poster was also included directly embracing the collectability of the package. “As Christian Lacroix is a haute couture and luxury brand, we are trying to produce precious things, thinking (maybe it’s pretentious) that they will become a piece of history.”