CHRISTOPHER JOHN ROGERS

We ask fashion’s preeminent talents to mine their inspirations and curate their world through style. Here, Brooklynbased designer Christopher John Rogers reflects on the seminal works that have shaped his positive design outlook.

“I’ve always been inspired by mid-century interiors and furniture design. Wendell Castle’s lamps are quirky, colourful, dramatic yet functional, and a must-have for me!”

“I’m always thinking about colour and proportions of specific hues in space, more so than anything representative of a particular period. Lynda Benglis’s fallen paintings feel incredibly modern. The intentionality of the placement of pigment is balanced by the naivety of colour, and the idea of painting on a floor.”

“You rarely associate images or artworks from the 20s with vibrant colour, and that’s one of the reasons I love Series VIII. Picture of the Starting Point (1920) from Hilma af Klint.”

“Nils-Udo’s artwork Sans titre (1999), is simple but effective, and I enjoy the graphics applied to something organic and natural.”

“Intentionally kitschy and self-aware work gets me going and Palettable (1971) by Man Ray is no exception. Primary colours are some of my favourites to use, so it’s exciting to see them as a main focus on this piece.”

“I’ve never watched Midsommar (2019) since I’m way too scared, but I love the contrast of Florence Pugh’s terrified emotion with her floral, jubilant surroundings.”

“I grew up on Sesame Street, and it shaped the way that I see the world. Growing up in Baton Rouge, Louisiana, I was surrounded by many different types of people and it was exciting to see that reflected.”

“Das Triadisches Ballett (1970) by Oskar Schlemmer was crafted in the 20s, but refilmed in Technicolor. The blend of Bauhaus visuals, translated into graphic movements, and the optimistic colours tinged by the quality of film, hits a sweet spot.”

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