#stella mccartney

ALT

Woodland Goddess - J.H. Lynch c.1960s

Source - anothermag.com/fashion-beauty/10646/the-mysterious-1960s-painter-whose-work-adorned-stella-mccartney-aw18mccartney-aw18

The Mysterious 1960s Painter Whose Work Adorned Stella McCartney A/W18

The Mysterious 1960s Painter Whose Work Adorned Stella McCartney A/W18

Tina, 1964 Artwork by J.H. Lynch

J.H. Lynch’s kitsch, mass-produced portraits of voluptuous women provided the prints for the designer’s inside-out collection

MARCH 06, 2018

TEXT Jack Moss

“ The artist Joseph Henry Lynch, slightly better recognised by his signature, J.H. Lynch, is almost entirely unknown – even though his paintings were once so ubiquitous you could buy them in Boots (or the prints, at least). Such was the case for his most remembered work, Tina, named for the voluptuous, kohl-eyed subject, painted in the saturated, sensual style of a B-movie poster.

Tina would go on to decorate the Abigail’s Party-style living rooms of aspirational urbanites in the 1960s onwards, mass-produced in its thousands (some, more generous estimates number millions) alongside Lynch’s other work, similar in both style and subject matter – Woodland Goddess, Nymph and Rose, to name a few. His women are immortalised, if you look closely enough, on the walls of Stanley Kubrick’s domestic interiors in A Clockwork Orange.

A Clockwork Orange, 1972 (Film still)

Strangely, though his work is lodged in the British cultural psyche, his popularity seemed to obscure the artist himself, to the point he barely seems to have existed. Rumours abound – in some accounts he is not a he at all, but a she – a nun named Julia Lynch from New Zealand – or, a different ‘he’ entirely – a Mexican artist Jesús Helguera. (They have the same initials, and paint in a similar style, or so the theory goes.) In recent years, thanks to the tireless research of Mario Klingemann, who runs jhlynch.org, these rumours have been disproven – J.H. Lynch was simply Joseph Henry Lynch, a British artist who died in 1989 to little fanfare.

In the years since, and with increasing interest in mid-century design, his works have become collectable for their kitsch imaginings of sexuality of the era. It is widely believed he used the archetypal model of the 1960s, Jean Shrimpton, as a basis for his women – but the mysterious identity of his subjects, and of the artist himself, only seems to add to the strange allure of the images.

Stella McCartney succumbed to just that, transposing Tina on to her A/W18 collection in Paris yesterday. Fascinated with the idea of the interiors of clothing – the most intimate parts of clothing; those that touch the skin – taking the linings of tailoring and turning them into diaphanous slip dresses, or stitching them on the exterior of tailored jackets, playing with the tropes of masculine and feminine dress in the process.

Stella McCartney A/W18Courtesy of Stella McCartney

The artworks themselves were glimpsed out from beneath blousy layers of tulle and lace. Obscured partially from sight, their latent sense of eroticism seemed to hint of the private desires that a woman might harbour. “We embrace realness here, and definitely sexy. We are not scared of being sexy,” McCartney said of the collection, which propositioned a sexuality of new and old, where bustiers, velvet and lingerie lace met blanket-like swathes of knitwear and patchwork faux fur.

Seductive too were the intensely hued postcards of the 1960s, reprinted here several times over, a counterpoint to Lynch’s women. Together, the prints spoke of the alluring appeal of kitsch – of bad taste made good – and the power it has to enliven a collection. As McCartney herself deemed it backstage – the charm of “something a little bit wrong”. ”

Unknown - J.H. Lynch 1963

“All Is Love”. A film by Mollie Mills for Stella McCartney’s breast cancer awareness initiative. Photos by Ana Sting, styled by PC Williams.

“All Is Love” film by Mollie Mills for Stella McCartney, featuring Idris Elba and styled by PC Williams

adidas x Stella McCartney UltraBOOST 20 S. Dust Rose/ Free Lemon/ CLBlue | Footshop

All images: Adidas 

By Idha Valeur 

The all-white clothes range for Wimbledon, designed by Stella McCartney, is also going green by using recycled materials. 

In this new range of tennis-wear Adidas and McCartney are taking steps towards sustainability by creating the clothes out of recycled polyester, a synthetic fibre created using waste materials like plastic bottles and previously used clothing items that have been cleaned and processed again to turn them into new fibres ready for a new purpose. 

As well as using recycled polyester, the collection is also made by using parley ocean plastic, which is a material developed from upcycled plastic waste which was picked up and hindered from entering the oceans at beaches and coastal areas before being turned into yarn, according to a press release. 

Not only is the clothes made from recycled materials, with a better environmental footprint, but the technology used to create the range – dope dye technology – is also greening the line. The method wastes less water by incorporating colour directly into the material mix at the beginning stage in the production process. 

‘Therefore, when the fibre is formed, it is already the desired colour and as a result, reduces wastewater by at least 10 litres per garment,’ the release stated. 

The range, sold by Adidas, is available to purchase online now and the range can be seen on Wimbledon players such as Angelique Kerber, Caroline Wozniacki and Alexander Zverev. 

Stella McCartney Fall 2020

Stella McCartney Fall 2020