The World is Blue


You’ll see all sorts of things in today’s magazines– the color of the season, the fact that skinny jeans are no longer in, and the “must buy” coat. However, instead of presenting all of my views on what’s in or not (I am wearing black skinny jeans as I write this), I will instead zoom in on just one color. The color blue. Instead of me explaining how it is in, I will be giving blue some greatly needed love because it isn’t in the magazines at all this month.

Blue has always been my favorite color. I like to think of it as the sky or the ocean. Blue is a color that in all of its forms, seems expansive. I find it funny how magazines present colors as in or out, because really, colors seem to hit a more personal chord than any of the other variables of pattern or cut. Colors are often thought about as places or states of mind. There is always some greater sense of emotional attachment. I find yellow pleasant, black comforting, brown subtle, and red lustful. And of course, some of my ideas about these colors have more of an overarching stereotype that we impose to their paint swatch.

However, implications aside, blue is one of the most striking colors there is. I have never met anyone who didn’t look great in blue. Perhaps french modernist artist Yves Klein was right when he said, “The world is blue.” In the pictures below I am wearing Junya Watanabe Comme des Garçon and sunglasses in color “International Klein Blue” as a nod to Klein’s work  with glasses brand Etnia Barcelona. This is the color that French modernist artist Yves Klein created. Much of Klein’s work, aside from his photography, is done solely in this shade of blue. Klein was said to have invented the color when he was 19. He made many monochrome works in this shade. As an abstract piece, the viewer would look into the shade as if it was a void, “Blue has no dimensions; it is beyond dimensions, whereas the other colours are not… All colours arouse specific associative ideas… while blue suggests at most the sea and sky, and they, after all, are in actual, visible nature what is most abstract.”

I like the idea of wearing an outfit that seems abstract. Strangely, abstract work is most definable as such with the absence of a person. Can an outfit be abstract? Or perhaps is it limited to simply being avant-garde because of its medium? However interestingly sewn or constructed, the fabric still fits around a figure. This outfit I am wearing in the next couple of photos I still might call abstract. My form is barley distinguishable under the fabric, and so although my face is still seen, I think that the outfit itself is resonant to Klein’s inspiration. And so in Los Angeles this past weekend, the modernist architecture of the Getty museum as a backdrop, my dress becomes separate from the emotion of blue, and my mind wanders back to the paintings inside the museum.


Cecilia Roses

My Look: Comme des Garçons dress, Yves Klein collaboration sunglasses, Zara shoes, and Gucci rings