In the daring interplay of flesh and leather, ORLAN intricately weaves herself into the rich materiality of Camille Fournet. Her lens, often navigating through the tactile and visual, proclaims: “the body is a bag, the body is a suit.” Here, the realms of luxury goods and visual arts daringly dance, dissolving rigid walls and unveiling porous borders between disparate practices.
ORLAN, unapologetically carnal and boldly feminist, crafts not just a collection, but an exquisite journey for the House. Drawing upon snippets from her pivotal piece, “Se vendre sur les marchés en petits morceaux” (“Selling oneself on the markets in small pieces”), she constructs a narrative where fragments of her body become a profound statement.
Venturing further into the essence of physicality and critical discourse, ORLAN consistently employs her own corporeal imagery to dissect and ponder upon prevailing social dynamics from a discerning distance. This is exhibited in her Equinoxes 9 piece, “L’éléphant de la forêt d’Afrique en voie de disparition,” and further echoed in her new creations: robots ingeniously shaped from recycled objects and materials for Camille Fournet.
Moreover, the “De corps en corps” leather goods capsule opens yet another dialogue. Envision bags, akin to prostheses, adorned by bodies and simultaneously bearing fragments of ORLAN’s own corporeal essence. Together, they embark on a global journey, traversing across realms, through epochs, threading a rich tapestry that defies the conventional, physical, and temporal boundaries.
Each piece from “De corps en corps” tells a story, individually crafted upon request, inviting the wearer to become a co-traveler in a voyage sculpted by flesh, form, and artistic rebellion.