Rowan Mills deconstructs material released by the fashion industry, be that magazines, commercials or texts. By meticulously deconstructing and reconstructing, she unpicks their mediated narratives.
More recently, the artist consults films released by big-label designers, particularly Chanel. Many of these films serve as historical recreations, idolizing their founder. The artist is interested in the way history is rewritten by whoever has undertaken the legacy of the brand, in this case Karl Lagerfeld. With Coco Chanel dead, Lagerfeld is free to spin her story in whatever way he wishes. Chanel after all is no longer a person but a brand, under his ownership.
Using Chanel as a case study, the artist collects and dissects various forms of information to build a bigger picture. Visual means are used to compare and contrast these portrayals, with completely oppositional narratives often combined within the same field of vision. The effects are dizzying and disjointed with an overall feeling of “Information-overload.”