Design / Styling

 

ORLAN X  CAMILLE FOURNET, “De corps en corps” capsule collection                                                                                                        

An eye, a mouth, a nose: “the body is a bag, the body is a suit”. With this new creation, ORLAN becomes part of the leather and flesh of the Camille Fournet house. This encounter enables the artist to break down the ice walls between practices, creating porosities between the visual arts, luxury goods and leather goods.
An international artist, carnal, feminist and always in capital letters, ORLAN has created an exceptional collection for the Maison, featuring fragments of her body in quotations from her landmark work “Se vendre sur les marchés en petits morceaux” (“Selling oneself in small pieces on the market”).

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Artist’s Slow costume, by Beñat Moreno,2023

For the launch of her first musical album, Le Slow de l’Artiste, ORLAN collaborated with Beñat Moreno to create a costume that she uses for promotion, clips and live performances. He created a lycra dress and muslin cape with a textile print featuring the project’s slogans, “JE SUIS SLOWSEXUEL.LE”, “NOUS SOMMES SLOWSEXUEL.LE.S”, “JE SUIS ARTSEXUEL.LE”, “NOUS SOMMES ARTSEXUEL.LE.S”, all in black and white. With this costume, ORLAN becomes a manifesto, visually embodying her concept.

Prototype shoes, motifs from self-hybridization between women 2022

ORLAN has always had a conflictual relationship with fashion, which very often feeds the beauty stereotypes she fights against. Nevertheless, it’s a creative tool that ORLAN sometimes questions with the right concept and critical distance.
In 2022, she creates shoe prototypes with her self-hybridizations between women.

MASKS OF ORLAN, 1984-2020                                                                                                                      

For ORLAN, the body is just a bag, the body is just a costume. She has worked extensively on the subject, and in particular on the mask in her work. 

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MUGS, 2014-2023

ORLAN has produced mugs as merchandising for her work on several occasions.

In 2014, she made her first mugs around her series on Le Plan du Film for her solo show at the Museum of Decorative Arts and Design in Riga, Latvia, European City of Culture, curated by Inese Baranovska.

In 2018, she is making mugs with each of the works from her Self-hybridations between women.

In 2023, she produced two new models to mark the launch of her album Le Slow de l’Artiste, as well as condoms.

Nouveaux Bâtiments OMICS, Institut PASTEUR, artistic intervention, invitation as part of Fabrice Hyber’s ORGANOÏDE, “LES PHAGES D’ORLAN”, 2018

Following her exhibition Le boeuf sur la langue (2010), ORLAN had the pleasure of being invited to take part in the ORGANOÏDE project created by her friend and academician Fabrice Hyber and Olivier Schwartz. This is a database of images created by artists to support Institut Pasteur’s scientific research. 

As part of this project, she had the opportunity to collaborate with researcher Shahragim Tajbakhsh, head and expert of the Stem Cells and Development unit, which ORLAN is passionate about.

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ORLAN X NUBI, “Du drapé au pli numérique”, 2016 Animated digital brooch OLED screen, stainless steel and black glass paste 3,8cm x 3,8cm x 1,6cm Published in 12 copies / “CELLULES” 2016 Animated digital necklace OLED screen, stainless steel and black glass paste 3,8cm x 3,8cm x 1,6cm Published in 222 copies

 

 

ORLAN x Brochier Soieries, Carrée de soie, Self-hybridations Masques de l’Opéra de Pékin, Facing Designs and augmented reality n°1, 2016, 90×90 cm

ORLAN and Brochier silks collaborated to create silk scarves based on her series of Self-hybridations of Peking Opera masks, 2014. In this opera, women are outlawed and men play their roles. 

Like the artwork, the scarf serves as a QR code. The customer can scan it and see an ORLAN avatar appear, stepping out of the frame of the work and performing the acrobatics of the Peking Opera. 

You can then take photos of yourself, your friends and your avatar, and send them around the world just like any other selfie.

 

DEUX DOIGTS BAROQUE POUR UNE BELLE MAIN, Ring in sterling silver, 4.3 x 6 x 3.2 cm, Edition of 12,2015

In 2015, ORLAN created DEUX DOIGTS BAROQUE POUR UNE BELLE MAIN, a solid silver ring in keeping with her work on Baroque drapery. She creates volumes with organic shapes, curves and counter-curves…

 

 
ORLAN x Diane Venet, Tête de fou, 2010, gold and silver, 8.5×10.5×3 cm
Brooch from the work Disfiguration-Refiguration, African self-hybridization, Ejagham Nigeria ancient dance crest and Euro-Stephanoise woman’s face
 
This series consists of a series of black and white photographs based on ethnographic photography, the first photos in which the Other is photographed. In 2010, ORLAN collaborates with Diane Venet. These are the gold and silver Tête de fou brooches created from the work Défiguration-Refuguration, Self-hybridations Africaines, Cimier ancien de danse Ejagham Nigéria and visage de femme euro-stéphanoise.
 

Un Boeuf Sur La Langue, Musée des Beaux Arts de Nantes, Chapelle de l’Oratoire, France, 2010

In 2010, ORLAN created the exhibition Un boeuf sur la langue (An ox on the tongue).for which she created a silk velvet printed by Brochier silk mills with a design showing viruses, phages, blood, skin and muscle cells, almost purely for the pleasure of touching and seeing this highly vibratory, highly pictorial material with which she created seats, dresses, works and spaces imitating stained glass.

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Suture-Hybridization-Recycling, Espacio Artes Visuales, Murcia, Spain,2009

Virtually all of ORLAN’s work can be read through the prism of dress, costume and cross-dressing. For the artist, clothing is a better interface than skin. You can’t choose your skin, but thanks to clothing, you can create a second skin, a calling card as close as possible to who you are, to the image you want to produce, to your culture, to your tastes, to build your calling card and who you want to be. 

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Pièce À Conviction,1993

On May 30, 1990, in a desecrated church called “All Saints” in Newcastle, England, ORLAN announced her decision to undertake Opérations-Chirurgicales-Performances in an inaugural performance-ritual, reading from her manifesto of Charnel Art, which she had written in 1989. 

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Dressing in your own nakedness, Caldas da Rainha, Portugal, 1976-77

In the performance S’habiller de sa propre nudité (1976-77), ORLAN wanders through public gardens in Portugal, wearing a photograph of her naked body in the form of a photographic canvas dress covering her entirely.

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