Intervention 5.0 “The creative process”

This intervention was the most important one.
I went to see the process and finalize this collaboration between Deborah Lyons & Yulia Iosilzon.

I went to the Royale College of Art, at Battersea, in Yulia’s studio.
As my question is : How can the process of creative management develop a platform that combines artistic and brand identity ?
We wanted to add an artistic touch to the brand DL.

From A1 and A2 simple posters we went to masterpieces.
Yulia asked me to describe the brand in a few words, and then she let her imagination flow.

For the 1st poster : It was a rock n’roll stylish woman, waiting for her tube. With oil painting, she created a curtain made with a mix of colors, as the picture is very dark it brings some light and a unique originality to the poster.

For the 2nd poster : Yulia used some different sort of chalks, the model on the poster is sitting on a yellow sofa and it’s a very classic picture.
She made a very colorful world out of this, she added a vase next to the model ; where colors come out of it. From classic to a modern piece.

For the 3rd poster : She used again oil painting but with less colors this time. The model is in the center of the poster with a black leather dress. She made some sorts of flowers with red color (I find that red suits this image very nicely) and with pink hands that want to catch the model. From simplicity to originality.

In this context, Yulia integrated in her creative process an aesthetic of emotion, forms already invented belonging to a collective memory to create empathy of the viewer. This posters are a nice result between Fashion and Art, consumers nowadays are looking for unique and intimate experiences, which art makes possible through the enrichment of the imaginary and symbolic brands.

By linking fashion to the art world ”you jazz it up, you provide spectacle” says Lisa Koenigsberg, the director of programs in the arts at the New York University. ”And when it comes to that dazzling spectacle, who doesn’t want to be included?”




I also learned that incorporating ART everywhere could lead to excellent results.
With Maya and Estela, we wanted to do a photo shooting, as I’m passionate about photography.(and they are as well)

BUT what happens when we include something artsy to it ?
Some colours to the original picture ?
Some sparkles in our faces/ or part of our bodies ?

It just makes it more original, stylish, unique,… MEMORABLE


What I discovered, is that art brings 3 fundamental aspects
(for our professional life but also for ourselves in general) :
– Open mindedness (avoids prematurely discouraging other good wills, a bad idea sometimes serves as a stepping stone to a good one)
– Curiosity (raises sometimes useful questions)
– General Culture (provides an arsenal of potentially useful archetypes)

Evidence of intervention testing & outcomes

This digital connection between Valentina Arno and Diana d’Orville showed a good result.
At the beginning, this collaboration was aimed for a better communication of the brand, Valentina had to create a digital poster but after many thoughts, the brand decided to use her help from for the design of the clothes instead. The brand is focused on silk material, so to add an original pattern on it gives an artsy touch.

This connection couldn’t have been made without this facilitation/network between brands and artists. (BRANDTIST)
Diana d’Orville didn’t know that Valentina Arno was an artist, and that she would love to collaborate with the fashion world, and the other way around as well.

The process

I went to Royal College of Art to meet the artist Yulia Iosilzon.
Yulia Iosilzon’s paintings are narrative, figurative abstractions that pull inspiration from the artist’s Jewish background and female identity, as well as fashion, theatre, and children’s illustration.

Can you tell me a little bit about you?
I am a Jewish female painter born in Moscow in 1992. I grew up in London and I am still here. At the moment I am in my first year of MA Painting Program at the Royal College of Art. I received my Bachelors from the Slade School of Fine Art at UCL, where I spent unforgettable 4 years of doing everything from painting to sculpture. When I just enrolled to Slade I was very keen on doing sculpture being seriously inspired by Phyllida Barlow, Rachel Whiteread and others great women-sculptors. Then, I decided to take a challenge and transform my practice into 2D. From that moment I started doing painting, connecting “threads” with sculpture. I fell in love with mixing “un-mixable” materials on my paintings, that’s why I often use silicone, latex and glitter of course! Fun fact is, that sculpture and particularly Karla Black’s sculptures gave me the fundamental idea of my paintings to do them on transparent fabric or silk (with glitter and faux fur of course)

When did you first discover art, or realize you wanted to make it yourself?
I still re-wind this moment in my head. It was 10 years ago when I was still at school doing A-Levels. At some point I was reading some never ending history book and couldn’t believe that it would be forever like that. The only one thing I could spend ages doing – was studying my art books. Nothing could distract me from doing that. When the moment came and I had to choose the pathway I want to pursue – it was no question that ART is the only way forward. Then there was a difficult conversation with my dad, who honestly couldn’t understand why would I want to go into unchartered artist journey rather than settle for a more predictable path of a doctor or a lawyer.
So then I quit school and went to the art college with no family support. Then there was an interesting “expedition” from applying to CCW to do my foundation diploma to Slade Bachelors and then RCA Masters.

What ideas are you exploring in your practice?
The most recent direction that I am challenging myself to take is to do some large-scale portraits with a lot of fabrics hanging, embroidery, coloured faux fur, spray painting and all of that jumbled together. Now I am into chaos and massive mix-up of things in my paintings. Some of my paintings are so “celebratory”, that I even started developing ceramics sculptures with certain emblems and frozen moments from the paintings. It has always been about symbols, storylines and emblems.  The re-occurring themes of my paintings feel like vicious circle. It is based on children’s illustration, fashion and theatre. I love engineering my own environments on the “stage” of fragmentary narratives.  Clear linear figuration, cartoon motifs and comic-strip demarcations of colour are fully exploited to construct carefully framed sequences in which I invite the viewer to complete the still-born image.

Where does your interest or influence from fashion come from? Were you always influenced by it, or did you start to look to it as you experimented with your own work?
I guess it’s natural to have some “guilty pleasure” ways to get inspiration. Sometimes when my “eye radar” looking at paintings or sculptures is off, then I can easily switch and get my inspiration from fashion online and offline from people on the streets. The way they dress, the way colours are layered, how prints match or what embroidery is used can usually be an unexpected starting point for a new painting. It makes me constantly brainstorm about colour, texture and ask questions about my work and its existence in space.

What do you find most daunting, challenging, or frustrating about pursuing art?
Most daunting thing is that the art universities in the UK don’t support students after they graduate from the university in the same way that, say, social sciences universities or business schools do. There are no platforms that take you on board. Once you graduate you have almost no support, no established pathways and you need to survive in the real world. In other words, there is a kind of cliff edge when you face graduation, meaning – no well-defined development paths, no graduate programs like they have in some other sectors. You have to act based on your intuition and if you are lucky enough and/or you have your family to support you to pursue your dream, then you have a shot to become an excellent artist. How many artists had to pursue other careers (and the world will never know about them) because of the lack of funding and therefore failed to develop their artistic potential? None knows and I think that’s painful. I feel that the art is a long-term game and many people don’t get to the end of it because reality confronts them and pushes them to quit prematurely. The main challenge is to stay liquid to be able to support yourself until you become relevant. We all know many of the great artists that flourished only in their 50s or even 60s … Many of my fellow young artists struggle to make a difference because of the lack of funding to support themselves. I think we lose a lot of promising artists that have to quit before they reach a pinnacle as they face a reality of life: they have to support their family, generate cash flows. This race for money could also divert artists from the type of work that they really want to do and pursue the type of work that has a higher commercial potential. I see a void in the art’s market place. There should be more art platforms like yours to support young artists to gain recognition and hopefully, let’s face it, generate sales to fund their practice and have liquidity to support themselves while developing.

What are three words you would use to describe your work?
unity celebration glitter


The goal of today was to see the process and the creation of a digital poster for the brand Deborah Lyons.
I presented her in details my project (again).
This session was about BRAINSTORMING
(which style of art would fit the brand, which colors, how to make it more original,…)
Then we started the process with some drawings at first, but we will definitely need more time to have a final result on this. As I’m seeing the process in live, I prefer not to rush it. We will meet again in her studio in some days

The brief

BrandTist is an international platform based on the connectivity of artists and fashion brands.
The founder, Claudia Bargagli-Petrucci, created this project during her master at Central Saint Martins.

The world keeps on changing everyday, new technologies are born and innovations are part of our lifes. Everything needs to be imminent and done directly.

That’s why this platform was created. It is inspired by a bumble model in order to facilitate the collaborations between art and fashion.
Those collaborations can be for anything, from designing a product to a digital communication, it depends on the need from the brand.
And this allows upcoming artists like you, to create and exhibit your work on a larger scale than before.

BrandTist is new and is seeking creative people to be part of this adventure.

Last Intervention

I did an intervention Saturday 1st of September in the afternoon, in Regents Park.
I came with a card board, and a picture in black and white of a stylish woman.
I brought some colors pens, feathers, magazines, and art material.

I asked a random woman passing by;
How would she finish this artsy ad ? normal way ? original way ?
Would she do a normal XXS skirt with long legs or let her imagination flow?

The result was very cool.
She used blue electric feather, and made some drawings all in blue next to it.
This is what I can call art, mixed with fashion and mixed with advertising.