Editorial: Nothing Matters but the End of Matter

Editorial: Nothing Matters but the End of Matter



Photographer: Ronald Stoops
Assistant Photographer: Sander Muylaert
Designer: Flora Miranda
Couture Collection: “Pneuma/Nothing Matters but the End of Matter”
Model: Emilia Lunney
Text: Philippe Rahm

“Seasonal lighting”

Seasonal Lighting Fashion Architecture

Clothes that are worn under the natural sunlight take certain colors depending on whether they absorb or reflect the sun’s rays. A garment will appear red because it will absorb in its tissue all the wavelengths of sunlight, with the exception of those reflected around 650 nm which will make garment appears red.

In fashion, the question of hue and color is particularly delicate and its choice particularly precise. And of course, the color will appear slightly different depending on the light source, whether one is indoors, under artificial light more or less warm, or outside under the sun. But here again, there are certain variations, because the light is not the same in summer or in winter. The path of sunlight through the atmosphere being longer in winter, because the incident rays reach the earth with a bigger angle. The sunlight gradually looses blue, those radiations are diffused by the air, giving the sky its blue color and the light finally arriving on the earth a more orange hue in winter, warmer. A garment will appear more bluish in summer and more orange in winter.

It is this tiny variation of hue that we proposed to highlight for the presentation in Paris of Flora Miranda, by creating in two separate rooms, a more winter atmosphere in the first room and therefore a warmer light, and in the second room, a colder, more bluish, more summery light. Two distinct atmospheres create the physical setting of fashion, in the manner of the autumn-winter and spring-summer collections, in which we can perceive the slight variation of hue of the same garment, depending on whether it is worn in summer or winter.

To build this light, we doubled the natural light coming from the windows by 6 fluorescent tubes set on the ground. In the winter chamber, the color temperature of the fluorescent tubes was warm, between 2700 and 3000 ° Kelvin. In the summer room, the color temperature of the fluorescent tubes were cold, between 5500 and 6500 ° Kelvin. 


Sign-up for a weekly roundup of our stories delivered every friday to your inbox.
First Name
Last Name
Email address