3 million years ago, I wrote on the impact of colour in your field of vision. A new case in point: Prada SS16
Approximately three million years ago, I wrote about the importance of colour in your field of vision.
It was to do with a new shirt I’d got by Shaun Samson, and how jolly it was for me to see orange as I went about my day to day (fascinatingly, that included making porridge and watering my pots).
As with all earth-shattering thoughts, it’s not really something I’ve considered for a while.
Then yesterday I got my new season Prada zip-up jacket.
Here’s how it looked on the catwalk twelve million years ago or whenever the SS16 shows were.
++++UPSIDE DOWN PHOTO ALERT++++
****AS WITH ALL CATWALK PHOTOGRAPHY, I TURN IT UPSIDE DOWN****
^^^^SO YOU CAN LOOK THROUGH THE ALREADY RECOGNISABLE IMAGE TO SEE THE CLOTHES^^^^
(Photo nicked from voguerunway.com obvs)
It was one of those moments at the shows when I switched from critic to consumer.
Prada let me pre-order it.
This is me trying it on with the shorts from another look.
(I’ve got the matching trousers too though)
It arrived yesterday.
Within an hour, I was wearing it.
And what immediately struck was the impact on my field of vision.
As in, the lower half of my vision was dominated by a big band of lovely turquoise blue.
So often, our clothing is considered on how we look to others.
The message we send out, often without knowing.
Our smartness or dishevelled state.
Flirtation or smothered emotion.
Calm or agitated.
All well and good.
But rarely is it considered the effect of clothing on our own field of vision.
A more personal, private, individual experience of clothing.
What we see, even if we’re not focused on it.
Maybe this is why Breton stripes are so popular.
Because they provide such a strong frame to our field of vision.
Order and clarity added to the base of what we perceive.
I love blue.
I’ve considered moving to LA just to have permanent blue sky.
It was after seeing the John Baldessari show at the Tate a few years ago.
I kept going back to it, and couldn’t work out why.
Then it twigged.
It was the amount of blue in his work.
Because he took images in his home town.
An image from that show’s catalogue, shot in gloomy London light.
(The work is called Structure by Color Series: Imperfect Drawing Based on the Shape of a Cone (with Cylinders and Rods) from 1975)
But I’ve stayed here in London.
I’m wearing the Prada jacket now.
Having this stripe of turquoise blue in my lower field of vision is an absolute boon.
An attempt to recreate what I can see in my field of vision in this gloomy London light by laying my iPhone flat on my head.
So there you go.
Colour in field of vision.
Something I’ll probably forget about for another three million years.