EGPA 36 Focus on vintage...
By Eglantine Bremond
exoticism and the return to estheticism.
After years of futuristic and designer decoration, when the the world was adorned
with the practical and ergonomic, decoration in 1973 announced the return of pure,
sensory, esthetic pleasures. The lack of the beautiful, and useless, echoed in far-off
horizons, where ornamentation is an art: China.
Utility, solidity, and... sensuality
60's and early 70s. While those years
Pierre DEBEAux, in the video presented
were invaded with a profusion of colors,
opposite, cites the three ancient foun-
Chinese design favors simplicity in this
dations of Vitruvian architecture: utilitas,
area, with the use of few colors (black,
firmitas, voluptas, which translate to uti-
red, gold) associated with the colors of
lity, solidity, and esthetics. He regrets the
natural materials. Far from simplicity and
diversion of the third concept, voluptas,
ergonomics, Chinese art is tinged with
today substituted by the idea of form,
finesse and precision. Detail, not unne-
thus supplanting the need for joy, play,
cessary, is the subject of much care, thus
and esthetic pleasure. Sensuality is not li-
translating a cult of the beautiful and of
mited to the visual, it involves al senses,
the rapture of the senses, far beyond
and even less the notion of form which,
if harmonious, does not lead to creativity
or rejoicing for al that.
Chinese decoration
and the cult of estheticism
Chinese decoration presents itself as
the exact opposite of decoration in the
the functional. All Chinese objects are
decorated, adorned, embellished with
precision. Starting 1973, Chinese design
and fashion made their entrance in Eu-
ropean stores.