At MODE we are currently working on a branding initiative for the Bechtler Museum of Modern Art. In researching Andy Warhol, one of the artists in the collection, I was both reminded and newly informed about his fascination with Grace Jones.

As two forces who had coined themselves via a combination of enigmatic privacy and “celebriality” of distinct self-expression in the public eye (and ear), artist Andy Warhol as well as his friend, confidant, and photographic muse Grace Jones existed as both dichotomies and harmonies.

Not new to glorification as a muse from her relationship with Jean-Paul Goude, Jones exemplified unisex versatility and awkwardly flamboyant individuality that challenged conservative perceptions of the scorning public, while earning her much celebration. She was often fetishized for her worldly afrocentrism, striking features and special love for fur coats. Her chameleon-like existence that exhibited itself in runway modeling, singing or performance art, helped her gain quite a bit of respect from Warhol, who saw value in cross-talent being a vital ingredient to prolonged fame.

There was an unspoken understanding between the pop artist and Jones, a natural acceptance that sourced from his own idiosyncratic nature and participation in wildly diverse social circles. It is not surprising that Jones and he found their connection an accord that became a gratifying and natural extension of their characters.

Nomadic in my search for inspiration in design and adamant in having recurring muses in my photographic portraiture work, I found Warhol and Jones’ connection interesting and uniquely inspiring. It demonstrates the wealth of sensations and the vision-igniting peculiarities almost necessary in a liberally creative relationship. I am   enthused about the breadth of individualities found in the collection of the Bechtler.