Visiting the etk fashion

Evgenia Miro and Russian culture for French companies

The cultural heritage of Russia is enormous. Can I talk about it with a picture? It turned out that yes. The artist and designer Yevgenia Miro became the real conductor of Russian culture to the European world Yevgenia Miro graduated from the St. Petersburg Academy of Arts. Incredible range of her creativity is surprising: the artist creates a design for textiles, porcelain, jewelry, ceramics, lamps, furniture. To see the design items of Eugenia Miro was on March 5 at the exhibition-sale in Desing & Decoration Center. Portal etk-fashion.com acted as an information partner of this event. Today Evgenia Miro told Roomble about herNew projects, the peculiarities of working with different companies and how you can show a whole story with the help of a picture. - - Eugene, at the exhibition-sale on March 5, a lot of design items were presented. Tell us about some of them. - - Not so long ago I created an art project - it's a ladder lamp called "Eternity of the Road", which can be both outdoor and desktop. None of the designers had anything similar, so it would be very interesting to launch this project in production. I also collaborated with the French gallery Granville Gallery in Paris, which invited 25 French designers to create a subject design on the topic of Secret Box. For me, the main secret in the world is the human soul, and I really wanted to reflect this in my work. First there was the idea to make a sculpture from a single glass, but in France it would be very difficult to order it in production. Therefore, all the work was done manually. It turned out a sculpture called "Wing of an Angel", it is a sphere in which there is a feather symbolizing the soul of a person. Another one of my project - a lamp-panel that can "stand" and daylight, and in the evening it works as a source of soft lighting. - - You are known for your cooperation with the House of Hermès. Tell us how it began? - - My first meeting with the House of Hermès took place in England - I left for London after graduating from the St. Petersburg Academy of Arts. One of my friends, the musician Yura Stepanov, said: "Zhenya, you're a real treasure, let's go!". So we got to the company Mikimoto. In Mikimoto we had a meeting with the company's vice president, Mr. Takahashi. We were very fortunate that he was in the boutique just at this time. Mr. Takahashi liked my work, we talked for an hour and a half. He asked me if I could design for 100 shawls? I really do not like to repeat myself, so I refused. As a result, agreed that I will create a design for ten shawls. And Hermès representatives saw my work later, and I even received a letter of recommendation, which, unfortunately, was lost. Three years after these events, I was on business in Moscow (at that time I lived in St. Petersburg, then in London). When I arrived in the capital, we walked with friends, went to the Hermès boutique and I told this story. So I got acquainted with Irina Vasilievna Pedko - the first art director of the Hermès boutique in the capital. She also liked my work, and soon I was told to wait for the call. A year later I was back in Moscow. And suddenly the bell: come urgently to the boutique. A wonderful meeting took place, at which the French watched my works and immediately invited me to come to Paris. In June, Irina and I went to the French capital. - And what was the very first task from the House of Hermès? - - I really wanted to show all the diversity of the cultural heritage of Russia. My work saw Pierre-Alexis Dumas, head of the House Hermès. Our meeting lasted 2.5 hours, very long by European standards. I was asked to come the next day, and then I was already drawing in the studio. As a result, I received directions for 15 designs in three departments (scarves, bracelets, porcelain). Of course, there were difficulties - I never painted dishes and jewelry. And scarves are, of course, mine. - - Each shawl is made in several colors. The main colors are set by Hermès House or an artist? - - Yes, each shawl is presented in eight colors, this is their feature. House Hermès has the right to change colors, as the artist completely transfers copyrights. By the way, each design is created only by hand and surrenders on paper. Each stroke is drawn! Therefore, Hermès scarves in drawing are created from two to six months. On average, this is 2-3 months of serious work. The designer has certain rights - for example, he can offer different names for the scarf. In addition, it is important to find a beautiful image of the outline, and where exactly in the design of the scarf will stand the name of the House. For example, there is a scarf "Zabavushka", where children play cubes, and it is from them that the name of the company is formed. Each headscarf has a designer's signature. The handkerchief prepares to produce about two years - the image is scanned, transferred by hand, for each color is developed its own cliche. This ensures accurate hit - the color in the color. The House of Hermès has a very high level of production, stylistics, culture, so every design developed by the House is a work of art. - - Can you say that cooperation withHas the house of Hermès had a huge impact on all your professional activities in the future? - - Yes, for me it was a very significant professional moment. When a design for the Hermès House is created, serious work is done on every millimeter, and this becomes your professional feature for life. The level of work on projects in this House is very high. Therefore, I am very grateful for the experience that I received. It was after working with the House of Hermès that I got to the Maison & Objet exhibition, where I got acquainted with the presidents of other companies. - - Eugenia, you, after all, also designed the design for the Hermès House? - - Yes. The task sounded very difficult and unusual - it was necessary to pointlessly express in the ornaments the theme of Diaghilev's theatrical seasons. It was quite difficult. I made a dish, and to him - six dessert plates. Before me, no one did so that the rim of the plate broke into its individual rhythms - this allowed creating a pattern. In general, the Russian soul is characterized by love and passion for rhythm, for decorativeness. When I studied the world culture of symbolism, I realized that the cultural heritage of each country gave the world individual plasticity and rhythm, which are very clearly expressed in decorative objects. - - You cooperate with many EuropeanCompanies and quite actively tell with the help of design about Russian culture. - It is very interesting to transform Russian culture in modern design for European brands. For example, I work with the company Emaux de Longwy and created a ceramic collection, where each project was signed manually. We have issued four collections with this company. In cooperation with the company J.Seignolles, I have a dessert collection "Parsley" from porcelain. And it's even, rather, not a dessert collection, but a small table set. An interesting experiment was with the collection Vassilissa for the company Serdaneli, which deals with plumbing. Before me was the task of making a porcelain part - handles for hot and cold water - with a complex and delicate pattern. But it's only 3 cm. It was necessary to create a beautiful, unusual thing in the Russian style. Not quite everything was done in my design, but production is a very complicated process. There was an excellent presentation of this collection in Moscow at the exhibition Référence Moskva, and we found a solution in presenting my drawings in frames under glass. Also there was an interesting work for Pierre Frey on the theme of Russian theater. I developed several projects for him. For Beauvillé, I created a design for a collection of tablecloths. Everything was drawn by hand and in full size. When creating a design, it was important to take into account the production moment, since the contact should go to the joint at the joint. It can be said that in some ways it was a routine job. But as our instructor at the academy said: "If an artist does not like black work, then he is not an artist." If we talk about the future, I want to study the world of glass and I would like to make one project that will be connected with Russian culture. - - You said what you want to doA project that will be broadly connected with Russian culture. Tell us more about this. - - First I would like to collect a lot of different material. I want to note that of designers and designers, very few people are really and deeply engaged in the theme of Russian culture. One of the brightest representatives - the artist-fashion designer Vyacheslav Zaitsev. For me, this is a man of unique culture, strength, nobility and love for what he does. Vyacheslav Mikhailovich has deep respect for every creative person. - - What was the most difficult for you in work inEurope? - At first, the most difficult for me was the work for several companies at the same time. Because when you simultaneously develop a design for five or six companies, you should be aware that everyone has his own style and direction. The second important point is the knowledge of how the design for production is created. I necessarily studied production - it gives an understanding of how you need to create. There is a set of manufacturing parameters which need to be taken into consideration, but when you create a piece of art, you put the soul and love, and this is very helpful in their work. It turns out, we, the designers, are very dependent on conditions. However, with the given parameters it is possible to create an excellent thing. This is an important task - to find a balance. - - Which Russian manufacturers would you like to work with? - - Not so long ago I took part in the wonderful project of Andrei Popov "The Shop of the World", during which every artist creates his own image on the bench. And to open a museum and exhibition complex "New Jerusalem" I painted a triptych on the wooden benches, and one of them put their signatures to the guests - Russian Prime Minister Dmitry Medvedev, Patriarch Kirill of the Russian Orthodox Church and the Moscow region governor Andrei Vorobyov. Another organization with which I worked in Russia was Desing & Decoration Center. On February 26, I was asked to conduct a master class. I also make projects with the Lomonosov plant. In addition, I had a meeting with the Pavlovsky Posad Manufactory, next week I will go to the production. I want to make new collections for Russian brands, to reach a modern level of design. I want to say that Pavlovsky Posad has a good production, they also paint everything by hand, but these are rather complicated ornaments. I used to have a lot of employment in France, I came to Russia as a guest. But now I will be here more often. - - What do you think, Russian producers inTo pay for work at the same level as European ones? - - I think that you can always agree on exactly what conditions you are doing your job. One of the options - when creating a design to go to the interest. This is very convenient when the work scale diverges. You can sell the design as an idea. - - Eugene, you also managed to work in Italy? - - Yes, I worked with Roberto Provasi. They invited me after they found out that I was working for the Hermès House. I was in their museum, looked at the style of Provasi for wood and created dishes in the style of the company. Unfortunately, while this project is not implemented, as the collection should be released by the French. By the way, creating a service is one of the most beautiful topics. I really like the idea of ​​creating a unique design for the family. I, as a designer, would be very interested in this. - - And the production would take up the execution of private orders, do you think? - In fact, it is not difficult to implement such an idea: any porcelain production comes from ten units. I talk with many presidents of porcelain companies, they know me well in Paris, so making a private order is not a problem. The main thing is to find a beautiful image solution and embody it in a certain form. After all, the creation of design is, first of all, the understanding of style-form-plastic-dynamics. Everything is intertwined. Photographer Andrey Berg; Evgeniamiro.com

Comments

Comments