Iris van Herpen Explores an Innovative Artistic Medium: Makeup

An interview with the designer regarding her new NARS collection.

NARS

Frequently, seasonal cosmetic collections appear to be repetitive. A vessel made of dark green glass. A golden hat. An iridescent crimson advent calendar. NARS's new holiday collection, created in partnership with avant-garde fashion designer Iris van Herpen, is her inaugural foray into makeup design. The collaboration eschews conventional holiday motifs in favor of whimsy, with futuristic metallic lilac packaging, marbleized pastel hues, and captivating designs.

“I drew inspiration from my ‘Hypnosis’ collection, as it is a recurring concept for me,” van Herpen informs ELLE. “There exists a compelling correlation between beauty and hypnosis, particularly in how we become entranced by beauty.” I have been experimenting with texture, transparency, and light, as I believe these qualities significantly contribute to the hypnotic sensation one can have. For this collaboration, van Herpen developed a lipstick, which she claims is her favorite, and a light-reflecting powder. She discusses the convergence of beauty, technology, science, and fashion, and how nature influences her work.

In what manner does nature influence your work?

Nature consistently appears to be a significant aspect of my foundation. In my professional and creative endeavors, I endeavor to establish a visual lexicon that articulates the intricacy of nature—encompassing both its aesthetic appeal and its inherent intelligence. We are intrinsically connected to nature and profoundly reliant upon it. We often overlook the fact. However, that connection is crucial for our mental health and physical well-being.

What is your interpretation of hypnosis, and how is it manifested in this collection?

I focus on several aspects of hypnosis. Synesthesia is the amalgamation of various sensory modalities. It appears that we all possess it from early childhood. Young children possess less distinct sensory modalities than adults; yet, many individuals continue to experience a connection between two senses, such as perceiving color when listening to music or experiencing a flavor when encountering a texture. Numerous varieties of synesthesia exist. I experience a mild type of it, wherein auditory stimuli induce visual patterns. During my creative process, I occasionally utilize the appropriate music. I enter a state of flow. I observe specific patterns and utilize them for a collection. A related topic is surrealism. You are asked to consider [something] from an other viewpoint. Hypnosis and surrealism explore the depths of our perception of beauty.

Your design seamlessly integrates science and technology with fashion. What is your perspective on that intersection?

They are all interconnected. Science serves as a lens through which we can examine the world from a novel perspective. Technology serves as an instrument for creation. I integrate ancient craftsmanship with contemporary technologies, as these are the tools currently at our disposal. Beauty is an evolution; it is continuous, and I wish to convey the contemporary environment we inhabit. Over the years, I have been exploring the integration of science and creativity, dissolving the boundaries that separate them.

How do you persist in analyzing your own archive?

I have been developing my exhibition, which provides an excellent opportunity to examine my archive more thoroughly. I consistently concentrate on my current projects. I hardly reflect on the past. Similar to nature, the creative process is cyclical rather than linear. By revisiting previous studies and concepts that were unsuccessful, I can discover fresh solutions. Upon examining the archive, I unearthed numerous nascent ideas that had been conceived long ago, and I am nurturing them once more.

Did any previously unutilized concepts contribute to the NARS collection?

Water consistently reemerges in my work. As early as 2008, I was engaged in several themes related to water. It is the genesis of life. Our earth is predominantly composed of water, and we ourselves are comprised of 70 percent water, a concept I find quite abstract. Prior to developing my “Hypnosis” collection, I was experimenting with the Japanese method known as suminagashi. This is an ancient process involving the infusion of ink into water. When a substance drips into water, organic patterns emerge, and ink graphically represents such patterns. It produces really mesmerizing patterns. I incorporated this motif into the cooperation. It originated from the archive, yet it was reinterpreted innovatively. This cooperation subtly incorporates elements of water derived from my previous experiments with suminagashi. It is likely that no one will acknowledge it upon viewing, yet it is included for my own interpretation.

What is the relationship between beauty and fashion, in your view?

Beauty constitutes a fundamental language. It encompasses our feelings of engagement, inspiration, and affection. It is linked to all of our emotions, and fashion is similarly intertwined. It is a very emotive medium through which we convey our expressions. Beauty and fashion are inextricably linked. Beauty, akin to fashion, serves as a medium for articulating our identity, aspirations, and the transformation of our values and inner selves. We express our inner selves externally through clothes. I perceive fashion as a manifestation of art. While some individuals perceive art as merely a wall-mounted entity, I firmly contend that artistic expression may manifest in myriad forms, even through our own bodies.