In the claim that accompanies her name there is the magical synthesis of being and doing: Chiara Fantig, the one who weds Lipstick and Roses.
What does it means to wear on your lips the essence of the most renowned of flowers? What does it mean to combine the rose with the coloured lipstick holder, the outstanding element of female sensuousness?
It means that make up of the face, the world of colours, the beauty inherent in nature and the romantic spirit coexist in the expertise of a rare professional, whose work is already in itself a sublime aesthetic alchemy.
Now we can take a step back and begin at the beginning. We can do what Heraclitus said: we’ll start from the finite and arrive at the infinite.
Chiara was born and grew up in Italy, in the region of the North East, between Venice and Central Europe. So she is Italian by origin, family, heart, culture and spirit.
But when she was young she chose England and London, the homeland of non-conformism, where she began to discover the vastness of the creative processes.
Then it was came instant enchantment with France and Paris, where she discovered the fashion and beauty with Charlie en Particulier, Tibault Vabre, Terry, Tom Pecheux, Sonia Rykiel, Hilton Mc Connico, Bonetti e Garouste world and built up a wide-ranging professional career, which led to her becoming Art Director and Creative Director for Maquillage and Cosmetic Products with international brands like Nina Ricci, L’Occitane, Strand Cosmetiques, Fresh Look, VH Cosmetiques, Gamma Croma. From Paris she enlarged her professional horizons and began a close collaboration with Russia , with Faberlic: a great culture yearning to renew the ancient splendour through the new opportunities for development and trade.
But amid all these achievements a dream emerged ever more insistently. Chiara is happy to talk about: “I dreamt of a store of roses and lipsticks, I imagined it in one of those elegant cities measurable in footsteps. I imagined a space of information and thought that progressively reveal a style, of coincidences, of cultured curiosity. I imagined the essential joy of presenting fine colours that illuminate the face and seduce the mind. I wanted a space that was also a sort of ideal manifesto of romanticism, sensuousness and beauty.”
And so it was that after 25 years of rich metropolitan life she left Paris, where she still retains some prestigious consultancies, and returned to her homeland to realize her dream. In 2008 she opened a space never seen before in at Udine: ‘Bois de Rose’, which unites her work in colour design and make-up with that of floral decoration. In her ‘Bois de Rose’ Chiara Fantig cultivates creative thinking, she seeks and uses colour, pure matter, pigments, flowers, she combines tactile, olfactory and visual sensuousness.
In time Chiara also began to select and present some unique items keyed to the themes of her world, works that were the result of items crafted by artisans and artists, often of local in their matrix, but naturally universal in spirit.
In 2009 and 2010, Bois de Rose was enhanced with new professional skills and new secret splendors: an internationally renowned photographer and an enchanted garden. The period was marked by the official start of the collaboration between Bois de Rose and the French artist Matthias Parillaud, sublime photographer of fashions, flowers, food and beauty, the husband of Chiara and the father of her children.
A few steps away from her premises, Chiara has reopened a beautiful ancient garden of over 400 square meters, endowed with a nineteenth-century orangery, which is now the new realm of make-up and colors, as well as the living theatrical setting for small living cultural events, ceremonies and games.
So in less than three years Bois de Rose has become a catalyst of experience and knowledge, a concentration of lifestyle, a space of refined and impassioned aesthetics. A place where make-up courses are held, where the most sophisticated brides come for their maquillage and to choose a bouquet.
A public place, for the joy of the eyes and heart.