Share, , , Google Plus, Reddit, Pinterest, StumbleUpon


Posted in:

POLKA DOTS: High Art and High Fashion

Fashion Maniac: Keeping tabs on Buffalo’s fashion industry, including models, catwalks, retailers, designers, stylists, visual merchandisers and jewelers.

Fashion Maniac Team

Editorial: Phillip Johnson
Photography: Cheryl Gorski
Makeup : Mallory Stroos
Hair: Christianna Christiano
Social Media Director : Cassie Elsaesser
Kim Cohen : PR & Multi Media 

Photograph (Right) by Cheryl Gorski


By Phillip D. Johnson



Jewelry (For Photo-Shoot) Provided By AURUM Jewelers   



People are sometimes amazed at
what, from year to year, changes in the world of fashion and what draws a
popular response from the general public. In my previous report on the trends
from the spring/summer 2012 runways, I briefly, in the introduction, touched on
the influence of Pop Art in the fashion world.  Pop Art,
especially works that (at the time) simultaneously mocked and showed reverence
to modern life (see Andy Warhol’s Campbell’s
Soup Can paintings) has long had a place in fashion. At the spring 2012 shows, we saw its influence on the prints
shown on the runway. Another longstanding f
avorite, polka dots, also made a
good showing in September, one that can run the gamut from sweetly innoc
ent to
dangerously unsavory. Dots, or polka dots, had a strong showing at t
he spring
shows, and yes, it was duly noted by all.

They are a classic look that have
evolved right from their first appearance on M
innie Mouse to today’s glamorous
and popular designs on runways and red-carpet events. It’s a style for all seasons,
simply because it exudes an undeniably youthful style, and
yet remains an
incredibly timeless option for glamour girls of all ages. Dots are known to
bring a feeling of pleasure and joy to any outfit they adorn, and that was true
of the designs shown in September of last year. And there is, of course, a
ason why they continually reappear on the scene over and over again. Every
new  genera
tion views them, loves them and takes it upon themselves the credit
for being their “discoverer”.



Anna Sui, Jen Kao, Callula Lillibelle, Custo Barcelona (loved that green and black leopard spot jacket),
and Diane
von Furstenberg
all showed

gns with dots–and they were all quite beautiful. Other designers touched on
the dots theme, including
Vera Wang (who
showed a beautiful sheer white ke
yhole tunic that was a standout piece in the
collection) and Michelle
of Milly by Michelle Smith, who,
among the cacophony of col
ors and patterns, had one of the more cohesive
collections of the week. I particularly liked her pattern of overlapping dots in her various scarves, hats and long sleeve blouses and tops. 

Photograph (left) by Cheryl Gorski

It is certainly not a surprise
then that fashion designers who draw inspiration from vintage styling will turn
to various polka dots designs to draw attention to their work. The polka dots,
as seen on the runways, ranged from big and bold to micro-dots, appearing in a
wide variety of different colors. Furthermore, it really doesn’t matter whether
the intention of the wearer is to look quietly, understated and chic or to
boldly stand out in a crowd. Polka dots, whatever your intentions, will get the
job done just as you have planned. There is no question that they will attract
interest and attention.
Exactly how attention depends upon how they are
ed into the outfit; and will mark the final determination of how they
will be regarded b
y the public.


People should not be at all afraid
to experiment with polka dots on any type of outfit at all. It might be a dress
that is form fitting, an accentuating scarf, a black belt with white dot or
vice versa, costume jewelry, an outfit that is chic and casual or one that is a
vintage-inspired. Whatever the design or piece,  polka dots will certainly enhance and define it. Polka dots
will never go out of fashion. For every girl and woman, polka dots are a
fashion must-haves. Big, medium or small-sized, polka dots suit everyone. And
since the pattern is not restricted to one size, these dresses can be bold and
vibrant or soft and subtle in design.


Photograph (left) by Cheryl Gorski


Vincent van Gogh, Self Portrait, 1887, using pointillist technique.jpg

Of course, dots or polka dots have a more considered meaning and/or reputation in the art world. Pointillism is a technique of painting in which small, distinct dots of pure color are applied in patterns to form an image. Georges Seurat and Paul Signac developed the technique in 1886, branching out from Impressionism. Neo-impressionism was coined by French art critic Félix Fénéon in 1886 to describe Pontillism and the term Pointillism was first coined by art critics in the late 1880s to ridicule the works of these artists, and is now, of course, used without its earlier mocking connotation. Neo-impressionism and Divisionism are also terms used to describe this technique of painting.


Seurat’s greatest
A Sunday
Afternoon on the Island of La Grande Jatte
, marked the beginning of this
movement when it first made its appearance at an exhibition of the 
Société des Artistes Indépendants in Paris. Around this time,
the peak of France’s 
modern era emerged and many painters were in search of new
methods. Followers of neo-imp
ressionism, in particular, were drawn to modern
urban scenes as well as landscapes and
seashores. Science-based interpretation
of lines and colors influenced neo-impressionists’ characterization of their
contemporary artPointillism technique is often mentioned, because it was the
dominant technique in the beginning.


The technique reliA Sunday Afternoon on the Island of La Grande Jatte - Seurat.jpges on the
ability of the eye and mind of the viewer to blend the color spots into a
fuller range o
f tones. It is related to Divisionism, a more technical variant of the
method. Divisionism
is concerned with color theory, whereas pointillism is more
focused on the specific style of brush
work used to apply the paint. It is
a technique with few serious practitioners today, and is notably seen in the
works of 
Georges Seurat, Paul Signac, Henri-Edmond Cross, Charles
ngrand, John Roy, Maximilien
, Vincent van
, Camille
, Théo van Rysselberghe, Chuck Close, Georges
, Henri Delavallée and pointillism was clearly an
influence in Andy Warhol‘s early,
before the overwhelming fame and the Factory.


During the emergence of
neo-impressionism, Seurat and his followers strived to refine the impulsive and
intuitive artistic mannerisms of
impressionism. Neo-impressionists used disciplined networks of
dots in their desire to instill a sense of organization and permanence. In
further defining the movement, Seurat incorporated the recent explanation of
optic and color perceptions.


The development of color theory by Michel Eugène Chevreul and others by the late 19th
century played a pivotal role in shaping the neo-impressionist style. 
Ogden Rood‘s book, Modern
Chromatics, with Applications to Art and Industry
, acknowledged
the different behaviors exhibited by colored light and colored 
pigment. While the mixture of the former created a
white or gray color, the latter produced a dark, murky color. As painters,
neo-impressionists had to deal with colored pigments; and to avoid the
dullness, they devised a system of pure-color juxtaposition. Mixing of colors
was not necessary. The effective utilization of pointillism facilitated in
eliciting a distinct luminous effect, and from a distance, the dots came
together as a whole displaying maximum brilliance and conformity to actual
light conditions.


The practice of Pointillism is in
sharp contrast to the traditional methods of blending pigments on a 
palette. Pointillism is similar to the
CMYK printing process used by
some color printers and large presses that place dots of Cyan (blue), Magenta
(red), Yellow, and Key (black). Televisions and computer
monitors use an equivalent technique to represent image colors using 
Red, Green,
and Blue
 (RGB) colors.

If red, blue, and green light
additive primaries) are mixed, the result is
something close to white light (see 
Prism (optics)). Painting is inherently subtractive, but pointillist colors often
seem brighter than typical mixed subtractive colors. This may be partly because
subtractive mixing of the pigments is avoided, and partly because some of the
white canvas may be showing between the applied dots.

The painting technique used for
pointillist color mixing is at the expense of the traditional brushwork used to
texture; and as a result, the majority of
pointillism is done in oil paints. Anything may be used in its place, but oils
are preferred for their thickness and tendency not to run or bleed.

Georges Lemmen, The Beach at Heist, c. 1891-2, Musée d'Orsay Paris.jpg


At the start of the movement,
neo-Impressionism was not welcomed by the art world and the general public. In
1886, when Seurat first exhibited his now most famous work, A Sunday
Afternoon on the Island of La Grande Jatte
, there was an
overwhelming effect of negative feelings. The commotion evoked by this artwork
could only be described with words like “bedlam” and

Neo-Impressionists’ use of tiny
dots to compose a whole picture was considered even more 
controversial than its preceding movement, impressionism.
Impressionism had been notorious for its spontaneous representation of fleeting
moments and roughness in brushwork. Neo-impressionism provoked
similar responses for opposite reasons. The meticulously calculated regularity
of brush strokes was deemed to be too mechanical. This style of
painting was far from the commonly accepted notions of creative processes set
for the nineteenth century.


Some of the most famous pieces of
artwork in the neo-impressionist/pointillism movement includes the
A Sunday Afternoon on the Island of La Grande Jatte by Georges Seurat,
Bathing at Asnieres by Georges Seurat,
The Windmills at Overschie by 
Paul Signac,
Banks of Seine by 
Georges Seurat,
Une baignade, Asnières by 
Georges Seurat,
A Coastal Scene by 
Theo Van Rysselberghe, Family in the Orchard by Theo Van Rysselberghe, Countryside at Noon by Theo Van Rysselberghe, Vase of Flowers by Georges Lemmen,
, Afternoon at Pardigon by 
Henri-Edmond Cross, Rio San Trovaso, Venice by Henri-Edmond Cross, The Seine in front of the
Henri-Edmond Cross, The Pine Tree at St. Tropez by Paul Signac,
Against the Enamel of Background Rhythmic with Beats and Angels by 
Paul Signac,
The Yellow Sail, Venice by 
Paul Signac,
Notre Dame Cathedral by 
Maximilien Luce,
Le Pont De Pierre, Rouen by 
Charles Angrand,
The Beach at Heist by Georges Lemmen,
and Aline Marechal by 
Georges Lemmen




Thumbnail image for Thumbnail image for Yayoi Kusama for Louis Vuiiton (2).jpg

Back in the fashion world, Polka Dots will be sprouting across the globe
this summer as Marc
and  Louis Vuitton rolls
out seven pop-up shops to mark the launch of  its capsule collection with Japanese avant-garde artist Yayoi Kusama


The first shop is set to open
inside the Louis
boutique in New York on July 10,
two days before Yayoi Kusama’s touring retrospective opens at the Whitney Museum
of American Art (945 Madison Avenue at 75th Street, New York City)
(see information on exhibit below.) Next, Polka
– Kusama’s signature motif – will spring up in Asia, at Pacific Place in Hong Kong, Ngee Ann City
in Singapore, and Isetan‘s Shinjuku branch in Tokyo.


Following those launches, Tokyo, the city Kusama calls home, will
get a second location in Dover Street Market
in Ginza. Then the two
largest Kusama
concept stores will open at two department stores: an 860-square-feet shop in Printemps
in Paris on August 23; and a
1,375-square-feet boutique in Selfridges in London on August 24. The Paris location
will be centered on polka dots, while the
London shop will revolve around Kusama’s
famous pumpkin sculptures.


The pop-up outlets will beYayoi Kusama for Louis Vuiiton (1).jpg open
for one to two months, offering a range of spotted trench coats, handbags, and
other accessories created w
ith the artist for Louis Vuitton. The European
branches will also exclusively offer tentacle-festooned handbags two months
ahead of their scheduled October worldwide launch date.

Louis Vuitton creative director Marc Jacobs is a well-known
contemporary art collector; and
he first met Miss Kusama when she presented him
with a customized Louis Vuitton Ellipse bag during his first visit to her
studio 2006. Out of the other designer-artist collaborations that came befo
Yayoi Kusama for Louis Vuiiton (5).jpgre –
, Takashi Murakami, and Richard Prince Yayoi Kusama is
the only one to have multiple pop-up shops in her line’s honor.


Polka  Dot Photo Shoot Credits:

Photographed by: Cheryl Gorski | Photographer & Creative
Director | 716-895-1689 | 716-903-0600 | | Also on Facebook specializing in: Fashion, head
shots/modeling/acting, editorial, portraits, bands/CD Press Kits, corporate
events, Web photography, runway

Styled by: Cheryl Gorski | Photographer & Creative Director | 716-895-1689 |
716-903-0600 |

Hair: Christiana Christiano,

Makeup: Mallory Stoos, Makeup Artist | | (716) 870-2305 |Make
Up artist specializing in Editorial, Special Effects, Color Correction, Beauty,
Runway, Airbrush, HD/Media.

Model Casting: Kimberly Cohen, Casting Director & model/actress for movies,
plays, photography and films., Twitter: kmcohen, Facebook:
Kimberly Cohen


Model: Shannon Lee


Accessory Used in
the Shoot
: 14k
yellow gold rope chain necklace with 14k yellow gold circle slide pendant set
with 34 round diamonds and one 10mm round faceted Swiss blue topaz, 8mm round Swiss
blue & 14k yellow gold stud earrings, and Black carved onyx earrings inlaid
with cultured pearl in 14k yellow gold bezel

AURUM Jewelers, 487 Elmwood Ave, 716-886-1300,,


images of the Yayoi Kusama-Louis Vuitton Capsule Collection was provided by
Louis Vuitton.

Follow us on Facebook & twitter
– I’d like to introduce to you our latest edition. Our team has been
working on the latest fashion spreads, providing you with the latest
runway trends, from Mercedes Benz Fashion Week New York for over 2
years. Our mission is to help you with your shopping sprees. We want to
be your source to keep you current, showing how accessories, and
clothing can be bought, and worn locally. – Cheryl Gorski


Cheryl Gorski | Photographer & Creative Director | 716-895-1689 | 716-903-0600 |
| Also on Facebook specializing in: Fashion, head
shots/modeling/acting, editorial, portraits, bands/CD Press Kits,
corporate events, Web photography, runway

Cassie Rose: specializing in visual merchandising, styling,
fashion editorial and Media arts, personal shopper, and blogger. E-mail
is | facebook-Cassie Rose | Twitter- CassieRosee

Dani Weiser: Make Up Artist | | 716-348-1239 | Make-up teacher, weddings, TV, film, print and SFX. Hollywood Sunless Tanning, for appointments. Website is Please call for any questions.

Lucy Perrone-Mancuso: Prop Stylist | Owner of Moda 1509 Hertel Ave | 716-725-6636 | Specializing in accessories, antiques, jewelry, furnishings, buy & sell, motion pictures/films, photo shoots.

Todd Warfield: Prop Stylist Extraordinaire | 716-289-1078 | Specializing in special effects, production of designing and building sets, theatre and photo shoots.

Phillip Johnson: Freelance writer specializing in the fashion industry, and beauty, | 716-512-2528

Michael Merisola: Set stylist & expert in Antiques/Modern Furniture: Owner of Coo Coo U 1478 Hertel Ave, Bflo | 716-432-6216 |

Andrew Brown: Hair & make up stylist and owner of Salon Rouge | 700 Elmwood Ave 716-884-1020. Specializing in Up Do’s for weddings, color, cuts, Halloween, runway, and photo shoots.

Kimberly Cohen: Casting director and model/actress for movies, plays, photography and films., Twitter: kmcohen, Facebook: Kimberly Cohen

Stephen L. Phillips of The Lodge Auction House & Banquet Center 212 Cazenovia St. Buffalo NY 14210 | 716-826-0168 | Specializing in: Estate & Business Liquidation, Antique Consignment, On-Site Auctions, Estate Sales

John Marfoglia: Prop Stylist specializing in antiques, art, vintage men’s clothing, uniforms, instruments, gold buyers | 716-913-8549 | | 1484 Hertel Ave | Buffalo

Shon O’Connor: Men’s Editor / Stylist, specializing in men’s apparel, editorial, casting, modeling | 305-509-0625 |

David Fernan: Costume & Prop Stylist specializing in vintage
furniture & clothing, set design for photo shoots and movies |

Susan Morreale: Stylist specializing in fashion editorial shoots,
accessories, window displays, & boutique owner of Lotions &
Potions 789 Elmwood Ave, Buffalo | 716-886-6457 | |

Christianna Christiano : Hair Stylist specializing in fashion editorial shoots, weddings, run-way, hair extentions, up-dos. , 716-573-6826


Hide Comments
Show Comments