Inspired by LBTY: Wild Rosinda by Lucy Mahon
How the multimedia artist turned her playful aesthetic to Liberty LBTY. Fragrance's seductive scent
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Inspired by LBTY: Wild Rosinda by Lucy Mahon
How the multimedia artist turned her playful aesthetic to Liberty LBTY. Fragrance's seductive scent
Portrait by Catarina Mira-Rose
A deep-rooted passion for artistic expression lies at the heart of Liberty, from the Tudor foundations of our store upwards and outwards. The exquisite world of Liberty’s LBTY. Fragrance is no exception, guided by a passion for creativity and collaboration, celebrating history and heritage with an eye to the future.
And what better way to explore the intricacies of the Liberty’s LBTY. Fragrance collection than by continuing our close collaboration with the creative world? This year, we’re tasking a series of contemporary creatives with reimagining each scent through their unique artistic media as part of our Inspired by LBTY. series.
Lucy Mahon describes her artworks as “visual love letters to the world we live in”. Born in Watford, and now based in London, her playful, contemporary creations capture a distinctly modern sense of nostalgia – evoking what she describes as a feeling of “home”.
Drawing inspiration from a vast array of influences, from architecture to nature Mahon combines her visual illustrations with words and phrases that capture her own personal experiences and has a knack for mirroring the mood of the moment.
Who better then, to reimagine Liberty LBTY. Fragrance’s Wild Rosinda, a captivating reinterpretation of a traditional rose fragrance – brought into the modern day by the master perfumers of LBTY.
Entitled “A Kaleidoscope of Confetti”, Mahon’s artwork was created using pigment pen, acrylic pens, wax crayon and pencil on canvas.
MEET THE ARTIST: LUCY MAHON
Lucy Mahon; A Kaleidoscope of Confetti. Pigment pen, acrylic pens, wax crayon and pencil on canvas. 165x130cm
Can you describe your work and your style? Why and how do you do what you do?
My work spans a real variety of mediums depending on what works best for the collection or idea. Thematically, much of it’s based around rituals or places that bring about a feeling of comfort or home.
I always gravitate back to drawing over anything else, be it on paper or directly onto canvas like this piece. It’s very much about the process for me; I find drawing is the most liberating and uninhibited way of communicating my ideas. I love the immediacy of it, and making pieces on loose, unstretched canvas fabric means I can move them around easily, often drawing on the floor like I would when I was little.
I didn’t formally study art, instead taking History of Art and English followed by a stint in advertising. I’ve always loved making things though, be it pictures or gifts for friends, embroidered veils, party hats, story books. Eventually, in 2020 I made a bit of a leap to pursue art full time and my studio practice has grown from there. My studio is one of my favourite places in the world.
Tell us about this artwork – how did you bring the scent to life?
The piece is called ‘A kaleidoscope of confetti’, a phrase used to describe the falling of scarlet petals in the description of the scent. I was immediately drawn to the idea of creating a walled garden, full of unruly roses and peonies, somewhere to be explored after dusk. I started by sketching very loose layouts on paper and found a great vintage book on roses in my studio. I then started the process of drawing layers and layers of pigment pens, acrylic pens, wax crayons and pencil onto the canvas material.
The piece is in the same visual world of my most recent collection, the style inspired by the warmth and comfort of vintage storybook illustrations. There’s something reassuring and nostalgic about storybook rituals from growing up, stories we remember to this day. I’m interested in the perspectives of childhood and adulthood and how we move between those states as adults. It’s also about storytelling more broadly - how much of what we think and communicate are really stories. Passed down either over years or being told over dinner tables. With these pieces, I’m setting page scenes for the viewer to imagine and project their own stories onto.
Can you talk us through your creation? What is the meaning behind the elements of the artwork?
The scale of the piece (165x130cm) is designed to envelop the person standing in front of it. The composition has been created in a way that so that some things are slightly obscured, open for people to imagine their own narrative. The glimpses of illuminated homes for example - we can’t tell who’s there, who lives there, but there’s definitely life going on. The petals suspended mid air, sometimes appearing as if they’re moons, capture a moment of flurry and activity frozen in time. The colours are slightly richer and darker than usual, including the sky. For me, this scent has a bit of darkness and mystery to it.
Liberty LBTY. Fragrance Wild Rosinda 100ml, £225
Where do you find your inspiration?
A lot of everyday things! In lockdown I started my ‘pastel a day’ project. I drew anything that was going on that day - what I ate for lunch, observations from daily walks and human behaviour, new rituals, words from phone calls, acts of neighbourhood kindness, the random highlights. It was all a lot closer to home and driven more by my own daily experience than my previous line drawing work. That project really evolved my work and process; I’ve always made diary notes but now some of those snippets get channelled into artwork.
I get loads of inspiration from books and charity shops often have a great selection. Old storybooks filled with illustrations are such great references for me; there are stacks of them in my studio and I enjoy having these physical references. My studio is filled with objects and things I’ve collected over the years. It could be anything from colourful mini windmills, obscure household objects, interesting fabrics and vintage clothes, crochet flowers to old sporting pennants and obscure household objects. Things that tell tales of somewhere else; they’re often second hand and I like that these objects have past lives and will be full of stories.
I also think the wonder or specialness of day to day things can become dulled because of familiarity. So a lot of what I make, especially the print pieces with words on, can be about reminding myself how great or fun or interesting these things are.
Rituals and nostalgia inform a lot of your work - why is that something you like to focus on?
I’m definitely a creature of habit. There’s something comforting about rituals and repeating things, elements of my life that are constant. This could be a daily chat I have with someone in a coffee shop or a phrase me and my friends have said to one another over the years.
I also think the wonder or specialness of day to day things can become dulled because of familiarity. So a lot of what I make, especially the print pieces with words on, can be about reminding myself how great or fun or interesting these things are. My surroundings, things I get to do that I enjoy, things my family say, community, somewhere safe to call home and also very niche memories with friends. I don’t want to talk for other people, but I think people will often choose prints that they can attach their own story or memory to. In that sense the design becomes personal to them and their life and takes on a completely new meaning.
Read More: Inspired by LBTY: Tudor by Wilfrid Wood
Which contemporary designers or artists are you enjoying at the moment?
I love Mary Stephenson’s work, her use of colour is incredible and if you ever get to see her ethereal pieces in real life, do! Shuvinai Ashoona’s large scale pen and pencil drawings at The Perimeter really inspired me, as did Lauren dela Roche’s ‘No Man’s Land’ show in New York earlier this summer. I also really admire artists who translate their work across various creative disciplines - Yinka Ilori, Alec Doherty and Oliver Jeffers come to mind, be it illustration, sculpture, public artwork, storybooks, fine art or jewellery.
What does it mean to you to be working with Liberty?
It’s a really special brief. The building itself was one of the first larger scale architectural drawings I did after I’d decided to pursue art full time. I remember all of the details including the golden weathervane and the geometric chimneys. The whole building is so full of craftsmanship and creative history and I love that just walking around it is an experience in itself without even buying anything. I couldn’t wait to tell my mum about this one.
How does this fragrance make you feel?
It’s comforting and warm. I usually wear quite masculine scents and this feels like a welcome modern take on florals with its woody tones. I’ve been wearing it as I made the artwork so it really filled the studio. In the same way I associate certain artworks with exact songs and albums I listened to (repeatedly) while making them, this piece now conjures up a Wild Rosinda smell memory for me.
