The aim of the prints conceived according to the aesthetics of different Art Nouveau artists is to combine the attractiveness of their curved lines and biophilic aesthetics — that is, those that demonstrate the love of living things, as explained by E. O. Wilson, biologist and theorist of Harvard — to the principles of sustainability, valuing the quality of materials and humanized production, elements defended both by thinkers of the movement and by the brand Blume.
Studies were conducted on the history of the Art Nouveau movement, textile printing, competitors in the sustainable fashion industry, and print trends. These studies assisted in establishing a connection between materials, sustainable techniques, and relevant and appealing themes to the target audience.
After establishing the aesthetic of the lines based on William Morris, Aubrey Beardsley, René Lalique, Gustav Klimt, and Alphonse Mucha, digital manual illustrations were created, resulting in over 25 prints for the final collection.
Through attention to detail, knowledge of color theory, drawing, and painting, the project presents harmonious clothing pieces that cater to the desires of consumers with different profiles and preferences but share a common interest: love for authenticity and sustainability.
One of the main stimuli for the project was the research and experimentation phase. Using the methodology of Munari and Manzini, studies were conducted on the history of the Art Nouveau movement, textile printing, competitors in the sustainable fashion industry, and print trends. These studies helped establish a connection between materials, sustainable techniques, and relevant and appealing themes to the target audience.
During the final stage of the project, packaging and explanatory graphic materials were also developed, such as tags and small cards, which highlighted information about Art Nouveau, sustainability, and the Blume brand and its mission.
