For latest fashion film, we headed to… a Belgian butcher shop.
“LE SAVOIR-FAIRE” by The Stimuleye, a film for Jean-Paul Lespagnard’s #1/2015 collection,
with music by TEPR.
Besides the photo and fashion competitions, one of the Hyères festival’s strongpoints are the original exhibitions it curates. Amongst this year’s shows, Lacoste designer and 2002 Hyères winner Felipe Oliveira Baptista, up and coming photo/video/grapher Pierre Debusschere, 2001 Hyères winner photographer Charles Fréger, and ROUGH PROOF, a look at the early works of Guy Bourdin with special pieces from the private collection of Marie Laure de Noailles… of course.
A THE STIMULEYE PRODUCTION
directed by Antoine Asseraf
filmed & edited by Thibault Della Gaspera
interviews Filep Motwary
coordination Clementine Colson
sound design Ça Va Chéri
The Stimuleye is proud to present the Hyères 2013 teaser trailer – Welcome to Marie Laure’s, starring Suzanne von Aichinger as the reincarnation of the legendary Marie-Laure de Noailles. Of course.
International Fashion & Photography Festival 2013
Hyères – Teaser
April 26 – 29, 2013
Villa Noailles, Hyères
Film by Antoine Asseraf & René Habermacher
starring Suzanne von Aichinger
as Marie Laure de Noailles
Styling by Suzanne von Aichinger
assisted by Simon Gensowski & Laure Grandon
Hair by Panos Papandrianos @ CLM UK
Make-up by Min Kim @ Airport Agency
Sound design by Ca Va Cheri
It’s not everyday that an Arab woman is chosen by a major cosmetics brand as its global spokesperson…
The Stimuleye presents “Hanaa”, a film by Antoine Asseraf & René Habermacher, starring Tunisian model Hanaa Ben Abdesslem, spokesperson for Lancôme.
Antoine Asseraf: Where are you from, and how were you discovered ?
Hanaa Ben Abdesslem: I was raised in a town on the sea coast of Tunisia named Nabeul.
I dreamed of becoming a model since I was very young.
In 2009, I participated in a reality TV show for models in Lebanon. There I met Sophie GalaI, who would become my manager, and in 2010 she presented me to IMG Paris, who in turn presented me to Carine Roitfeld, at the time Editor-in-Chief of Vogue Paris.
Through her introduction to Ricardo Tisci , I was chosen as a Givenchy fashion show exclusive that same season.
AA: You’re becoming an icon representing the “middle-eastern woman” in the fashion world and beyond,
but which people are icons to you ? Can you tell us a bit about your relationship with Farida Khelfa ?
My icons are the Tunisian women in the fashion industry, whom I admire and whose accomplishments I respect, such as Liela Menshari, Hermes window designer — she received the Golden Dido Award for her contribution to Tunisian culture and influences in world, and Afef Jenifen, who fought for Arab women’s freedom of choice and continues to defend their rights.
Farida is a great support and she always has good advice, such as “stay true to yourself.”
a film by Antoine Asseraf & René Habermacher
starring Hanaa Ben Abdesslem
styling Yoko Miyake
hair Nicolas Eldin
make up Tracey Gray Mann
production by Clast
postproduction by The Stimuleye
text by Omar Khayyam
sound by Gnawa Diffusion
thanks Sophie Gallal
Look 1: Dolce & Gabbana
Look 2: Jil Sander by Raf Simons
Look 3: Chloé
Look 4: Stella McCartney
Big is beautiful.
Biggerest is beautifuller.
The Stimuleye is proud to announce its Film of the Season™ for Vogue Italia,
its first full collaboration with CLAST productions,
a special commission for curvy clothing line For.me Elena Miro,
Princess Cornflakes / ENGLISH VERSION
Princess Cornflakes / VERSION FRANÇAISE
Coming this week, a special collaboration with Vogue Italia,
The Stimuleye is proud to announce, with the support of Vogue Italia, an “erotic fashion epic” : Monsieur Chypre.
“HE KNOWS WOMEN, AND WOMEN KNOW HIM”
Erotokritos, it’s a strange name for a fashion brand.
It’s an even stranger name for a person.
And yet, he is truly called Erotokritos Antoniadis, named after the main protagonist of medieval epic poem, a hero “born from the labors of love”.
For 15 years, his label has been seducing women of all ages, drawn to collections that go back and forth between the sophistication of Paris and the dolce vita of Cyprus…
"come and get it."
“THEY CALL HIM MONSIEUR CHYPRE”
France and Cyprus, Paris and Nicosia, it’s a long-distance couple.
In Monsieur Chypre, by Antoine Asseraf & René Habermacher, they come to life:
Loan Chabanol, channeling the nostalgia of Marguerite Duras’ The Lover, plays the tormented Parisian woman, cracking at the surface,
while Constantino Kouyialis, in his first first on-screen role, is a revelation as the seductive eponym hero, a modern day Alexis Zorbas.
“AN EROTIC FASHION EPIC” we call it.
“Erotic,” how could it not be with a name like Erotokritos ?
“Fashion,” of course: stylist Michaela Dosamantes, fresh from winning Best Fashion Award at La Jolla Fashion Film Festival for La Main Dans Le Sac, mixes the season’s classic looks to capture the heroine’s transformation from “bluesy” in Vuitton to “red-hot” in Valentino.
And “epic” ? What else do you call a fashion film 10 months in the making, taking place not only in Paris but in numerous locations in Nicosia, in the salt lake facing the Hala Sultan Tekke mosque in Larnaca, in the Almyra and Anassa deluxe hotels, in small taverns by the side of the road, or in the majestic monument carved directed in the stone, the tomb of the Kings in Paphos ?
“HIS VOICE IS A SONG”
So, now the tough questions.
Is Cyprus really like this ? A little bit. Not at all. It depends how you look at it.
It is an island of freedom in the east mediterranean, where couples from Israel and Lebanon come to escape religion. It is the birthplace of Aphrodite. You go, you decide.
So how can I meet this Mister Cyprus ? We hear that one a lot. From women (and men) of all ages. Maybe he’s real, maybe he’s a figment of our collective imagination, our repressed desires. One thing’s for sure — we can’t give you his number.
“ATTEMPTING TO CHARM HIM IS USELESS. HE IS THE ONE WHO WILL FIND.”
Musician Benjamin Esser & director Elisha Smith-Leverock are not just a dream couple, they’re a power couple.
She directs his music videos, he scores her fashion films.
Now as they prepare to release the first single/video from the upcoming second ESSER album, a radical shift from the first LP’s pop mood to darker synth pop, we talk to them about music, film, fashion, and what it’s like to work with your significant other.
Interview by Filep Motwary & Antoine Asseraf.
Benjamin Esser by Filep Motwary.
Since the release of your debut album back in 2009, what are the changes to the way you perceive your own music, and how it has evolved?
Benjamin Esser: I think the beauty in first records is naivety, which you can never regain.
But I feel a lot less pressure in a lot of ways with this second one, there’s a confidence that means I can let the music take its time.
I think people might immediately assume that I ‘discovered’ a whole genre of music that I’d never listened to before. But that’s not true, I’ve always been into bands like Cluster, Tones on Tail, Suicide, Add N To X (mixtape – coming soon!)…
What is inspiration for you ? Do you consider yourself as eccentric?
I find inspiration in repetition.
Inspiration for me isn’t about looking outwards its about looking further inwards – into the core of things.
No I definitely wouldn’t say I’m an eccentric, I guess I have my own ways of doing things. But everyone does.
People would tell you my views on organization and timekeeping are fairly abstract. I strongly disagree.
ESSER performing at Hyères 2012 Fashion & Photo Festival, with Stage of the Art.
What are you looking for in music? And how do you measure success?
I’m looking for complete submergence.
What does it mean to you to have an image change, beyond the need to convey a change musically?
Do you care about fashion or style?
Well I completely agree with artists like David Bowie. His concept of reinvention was incredible and the conceptual way he approached his records is a big influence for me.
Of course the amazing thing about fashion is anyone can become whoever they want to be – I could be a different person by tomorrow.
ESSER performing at Hyères 2012 Fashion & Photography Festival, by René Habermacher.
How is it to work with your wife – when she’s directing you around, when she’s making videos for other music acts or when you’re the one scoring her films?
I like it.
People always asume that you can’t be objective if you’re working with someone close to you, but I think it’s the complete opposite. We work together constantly actually and I’ll always ask her opinion on whatever I’m doing and vice-versa.
In fact we’re the only ones that can give each other honest opinions because we know each other so well.
As far as working on music for her films, she always has a really strong idea about what she wants. Which is great. It’s often a reinterpretation of a song (“I want muscle,” Donna Summers). So it’s always satisfying to do that.
What is the last thing that stimulated you?
Charles and Ray Eames.
COMING SOON : II : Elisha.
Thank you: Laurence Alvart, Pierre LeNy.
Exclusively on Vogue ItaliaMONSIEUR CHYPREA Short Film With Erotokritosa THE STIMULEYE productionSTARRINGCONSTANTINO KOUYIALIS as MONSIEUR CHYPRELOAN CHABANOL (ELITE) as MADEMOISELLE PARISPARIS UNITSTYLING – MICHAELA DOSAMANTESHAIR – ROMINA MANENTI @ AIRPORTMAKE-UP – TIINA ROIVANEN @ AIRPORTPRODUCTION ASSISTANT – LYNSEY PEISINGERLOCATION – HIROMI OTSUKACATERING – EROKITCHENVOICE by LYNSEY PEISINGERMUSIC by LORI SCHONBERG + SHANE ASPEGRENPOSTPRODUCTION by THE STIMULEYE
An erotic fashion epic, one year in the making, THE STIMULEYE is proud to present Monsieur Chypre – A Short Film With Erotokritos, coming April 11th on Vogue Italia.
Starring Constantino Kouyialis & Loan Chabanol, styled by Michaela Dosamantes, and directed by Antoine Asseraf & René Habermacher.“He knows women, and women know him.”
Erotokritos, it’s a strange name for a fashion brand.It’s an even stranger name for a person.And yet, he is truly called Erotokritos Antoniadis, named after the main protagonist of medieval epic poem, a hero “born from the labors of love”. For 15 years, his label has been seducing women of all ages, drawn to collections that go back and forth between the sophistication of Paris and the dolce vita of Cyprus…“They call him Monsieur Chypre.”
France and Cyprus, Paris and Nicosia, it’s a long-distance couple.In Monsieur Chypre, by Antoine Asseraf & René Habermacher, they come to life: Loan Chabanol, channeling the nostalgia of Marguerite Duras’ The Lover, plays the tormented Parisian woman, cracking at the surface, while Constantino Kouyialis, in his first first on-screen role, is a revelation as the seductive eponym hero, a modern day Alexis Zorbas.“An erotic fashion epic” we call it.“Erotic,” how could it not be with a name like Erotokritos ?“Fashion,” of course: stylist Michaela Dosamantes, fresh from winning Best Fashion Award at La Jolla Fashion Film Festival for La Main Dans Le Sac, mixes the season’s classic looks to capture the heroine’s transformation from “bluesy” in Vuitton to “red-hot” in Valentino.And “epic” ? What else do you call a fashion film 10 months in the making, taking place not only in Paris but in numerous locations in Nicosia, in the salt lake facing the Hala Sultan Tekke mosque in Larnaca, in the Almyra and Anassa deluxe hotels, in small taverns by the side of the road, or in the majestic monument carved directed in the stone, the tomb of the Kings in Paphos ? And we haven’t even mentioned the upcoming almost 10 minutes long directors’ cut….“His voice is a song.”
All this, to the original soundtrack of Lori Schonberg and Shane Aspegren, members of transnational surrealist indie outfit The Berg Sans Nipple.So, now the tough questions.Is Cyprus really like this ? A little bit. Not at all. It depends how you look at it.It is an island of freedom in the east mediterranean, where couples from Israel and Lebanon come to escape religion. It is the birthplace of Aphrodite. You go, you decide.So how can I meet this Mister Cyprus ? We hear that one a lot. From women (and men) of all ages. Maybe he’s real, maybe he’s a figment of our collective imagination, our repressed desires. One thing’s for sure — we can’t give you his number.“Attempting to charm him is useless. He is the one who will find.”MONSIEUR CHYPREa film by ANTOINE ASSERAF & RENE HABERMACHERa THE STIMULEYE productionSTARRINGCONSTANTINO KOUYIALIS as MONSIEUR CHYPRELOAN CHABANOL (ELITE) as MADEMOISELLE PARISPARIS UNITSTYLING – MICHAELA DOSAMANTESHAIR – ROMINA MANENTIMAKE-UP – TIINA ROIVANENPRODUCTION ASSISTANT – LYNSEY PEISINGERLOCATION – HIROMI OTSUKACATERING – EROKITCHENVOICE by LYNSEY PEISINGERMUSIC by LORI SCHONBERG + SHANE ASPEGRENPOSTPRODUCTION by THE STIMULEYECYPRUS UNITALSO STARRINGMYRTO KOUYIALISDIVA MODELS:ALEXANDRA BUNETSKAYAKLELIA YIASEMIDOUANNA DOROTHEOULOCATIONS:ALMYRA & ANASSATHANOS HOTELSALL CLOTHES CYPRUS: EROTOKRITOS ARCHIVESPARIS CLOTHES featuringLOUIS VUITTON, EROTOKRITOS, LOUIS VUITTON JEWELRY, APERLAI, MARC JACOBS, DIOR, FELIPE OLIVEIRA BAPTISTA, AURELIE BIDERMAN, OLATZ, KIKI DE MONTPARNASSE, BURBERRY AND VALENTINOTHANK YOUDimitris Dimitriou / Cyprus Tourist Organisation in ParisPhilippos Philippou / Cyprus AirwaysPavlos Metaxas / Diva modelsAntonakis BarEleni ChrysostomidouLida PhilippidouMary NicolaidouMaroulla AntoniadouGallery Argo NicosiaKostas MantzalosThe city of NicosiaThe city of PaphosANDFilep Motwary
Part 2 of our spring fashion film series takes us to Vietnam, a land of mysterious fruits and exotic flowers.
Norwegian Wood actress, Towai Tei-singer, and model Kiko Mizuhara lets us into her garden,
for Vivienne Tam.
Spring is in the air, so the time has come to see the films of the spring-summer collections which will soon hit the stores… A little wishful thinking has never hurt, has it ?
First up: Marios Schwab and his dark yet summery, very Lana Del Rey, “Chiaroscuro” collection, starring himself alongside Amy Bailey, in Antoine Asseraf & René Habermacher’s CHIARA SKURA.
For the 27th edition of the Hyères Fashion + Photo Festival, The Stimuleye presents choreographer Lynsey Peisinger’s PILLORY, a performance/video/installation hybrid.
Submit your 30 seconds maximum video before April 1st for a chance to have it featured in the installation, which launches April 27th at the 2012 Hyères Fashion + Photo Festival, next exhibits by Yohji Yamamoto, Jasons Evans, and Inez van Laamswerde + Vinoodh Matadin.
Imagine what lies beyond the wall of the PILLORY installation.
All submitted videos must be
no more than 30 seconds long,
from one angle/point of view,
and submitted before April 1st, 2012.
Fore more info and video guidelines: firstname.lastname@example.org
She’s French, but she acts in Greek.
ATTENBERG was her first film, but it won her a Lion at Venice in 2010 for Best Actress,
and the admiration of Quentin Tarantino and Sofia Coppola.
She loved the shooting, but hated the fame which followed.
Introducing Ariane Labed in
an exclusive film by Justin Anderson,
in collaboration with THE STIMULEYE and Giorgio Armani,
and original pictures by René Habermacher.
ARIANE, directed by Justin Anderson. Clothes - Giorgio Armani. Furniture - Armani Casa. Commissioned by THE STIMULEYE.
Antoine Asseraf : Bonjour!
Ariane Labed: Bonjour!
Are you currently in London ?
Yes, finally! I was supposed to move to London last September, but I’ve been moving around nonstop!
Do you often go back to Greece ?
I was in Greece in November to play with my troup VASISTAS, but now I’m more between Paris and London.
When did you first come to Greece, and what was your impression of the country at the time ?
I arrived in Greece 3 years ago, for a 9-month project of my troup with the National Theater of Athens, to put on a Faust.
I was born in Greece, lived there until I was 6, and I think I left part of my childhood there.
I dreamt of returning. When I met Argyro Chioti in college, a Greek theater director with whom we created the troup VASISTAS, I jumped onto the opportunity of going.
So instead of 9 months, I stayed for 3 years, meeting Athina [Rachel Tsangari] and Yorgos [Lanthimos] had something to do with hit. Beyond a purely sentimental attachment to this country, I was impressed by all the artists I met and their urgent need to create. Without expectations of getting anything in return, beyond any judgement to which they could be subjected, beyond thinking about breaking even.
If I have just left, it’s only because I need to live in a country where I feel foreign, where I lose myself in the streets. That’s what I’m doing in London. The day where I won’t lose myself anymore, I will leave again.
But I will always return to Greece.
Ariane Labed by René Habermacher.
The films of Yorgos Lanthimos and Athina Rachel Tsangari in which you starred have universal resonance, but we can nevertheless imagine that they come in a context, in reaction to precise things happening in Greek society: the influence of the Orthodox church (the impossibility of cremation), the need to break the myth of Greece as a postcard-perfect location (the desolate landscapes of Attenberg)…
As you said yourself the Greek audience doesn’t really support these films, and when reading the article in THE GUARDIAN regarding New Greek Cinema I found the comments left by the Greeks to be very virulent – do you think the films play a role in questioning Greek society ?
If Greeks have a difficulties situating themselves in films such as Dogtooth or Attenberg, it may be because they carry a truth about their country which hurts.
This young generation carries with them the failure of the previous generation, a generation who thought they offering through a notion of “progress”, and after the military dictatorship, a better life, without taking into account the contradictions of orthodox culture and the desire for revenge after several centuries of hardship when the Greek people were a strange gate to the East.
Being French, I love all these contradictions about Greece, but that is also where the complexity lies, and these are facets which the new generation denies or which the previous cannot accept.
What I also love in Greece is that it’s non-colonial, as luckily they could never afford to be colonial, but it is painful to see and hear the Greek racism against the recent wave of immigration. I think the Greeks are overwhelmed by a lot of things today, and it’s evidently linked to the government which “enjoyed” European aid for decades, including the Olympics of 2004.
Though all this is probably only the beginning of what is slowly happening all over Europe.
ATTENBERG by Rachel Athina Tsangari - Trailer. Best Actress award at 2010 Venice International festival.
The beautiful thing about this chaos is that, these artists, without means, who expect nothing from the government, find the strength to meet and trust each other enought to creat together. That’s the case for HAOS, the production company created by Athina, which led to collaborations with Yorgos Lanthimos on DOGTOOTH and ALPS, and EMBROS, a new squat which just opened and brings together theater, danse, performance, critiques, writers, etc… Greek artists have never collaborated as much as they do today.
Of course the films of Athina [Rachel Tsangrai] and Yorgos [Lanthimos] carry and will continue to be denounced by a society which closes its eyes, much like other Western socities. That may be why they are recognized abroad but considered “weird” and barely tolerated in their home country. The taboos touched upon in Attenberg – death, cremation, incestuous desire, lesbian sexuality, are topics on which one can hardly have a dialog in Greece.
But it is difficult for me to criticize Greece… Beyond the corruption of the government and the misery into which it has dragged the people, which I can intellectually denounce, there remains for me an unspeakable element, a vibration I feel only there. A chaos which I find appeasing.
Ariane Labed by René Habermacher.
How did you live this experience of the “fashion film”, between actress and model, with Justin Anderson ?
I was quite reticent at first… but once I met Justin [Anderson] and he told me the concept, with the slow motion, I became quite excited. In the end it was a beautiful experience.
What are your current projects ? Can you tell me about your play with VASISTAS ?
The big news is that I’m about to shoot a film in France. The first film in my native tongue !
It took quite a while for people to figure out I’m French. My first 2 films, ATTENBERG and ALPS, are both in Greek, so everyone thought I was Greek. It doesn’t bother me at all, but really it’s quite a different exercise to play in a foreign tongue.
Congratulations. Are the plays with VASISTAS also in Greek ?
I’ve worked with my troup for 5 years now. We are 3 women: 1 Greek, 1 Mexican and myself. We met in college at Aix-en-Provence and created a troup. We work in different languages, centering on the body, on the impossibility of communicating with words. We don’t work from existing plays but rather from an editing of texts ranging from Deleuze to advertising… I play in French most of the time, but the text is there to relate to meaninglessness… My work is rather physical.
So it’s your own creations ?
Yes. The last show was called “spectacle” [“show”]. www.vas.eu.com
This impossibility to communicate is also an important theme in Attenberg, your character is very physical but has difficulties communicating with others —did your theater experience push the role in this direction or was it already thought out this way ?
The writing of Attenberg didn’t change much…but it wasn’t written for a foreigner, so maybe inadvertently we pushed this Marina towards another manner of communicating. Certainly, with Athina we didn’t want to approach the character psychologically. There’s always a great deal of physicality in my approach.
Ariane Labed by René Habermacher.
Where does this physicality come from, is it because you’ve practiced ballet, or did you practice ballet because it was in you ?
I did 10 years of classical ballet. I stopped when I was 16 because I could no longer stand the way the body was dealt with. It’s a strange contradiction, I was and remain persuaded that ballet is a sublime and fair form of expression, but I can’t deal with the instrumentalised body. In ALPS, I play the role of a competitive gymnast, it was a superb challenge to have to return to this physical condition, and yet a real nightmare !
So you keep this tension within you, between the habits of ballet, the need to express yourself physically, and the rejection of the classical dance system….
Yes, something like that.
When we spoke for the first time by email over a year ago, I wasn’t aware that you were at the time going through a “reaction”.
Reaction, or crisis, ou questioning ?
Was it the reaction to cinema ? to the success of Attenberg ? or to the rigors of a gymnast’s discipline ?
Yes, it was shortly after my award in Venice… I was lost. I did not know how to deal with anything — I didn’t expect and wasn’t prepared for such a level of display. I locked myself into work (the preparation of the role in ALPS) and fled the journalists. It took me a long time to realise that it could be a gift in my life.
That’s when I decided to get an agent in Paris to continue film-making. When I made Attenberg, I didn’t think I had a place on a screen. I’d loved the shooting, but I couldn’t picture myself fitting in. This award led me to hope I could continue, and now I only dream of shooting again.
Before Attenberg, was there something you found repulsive in cinema, or was it an attachment to the physicality of theater ?
I didn’t think you could find the intensity you have in front of the public. That moment when you lose the notion of time.
And paradoxically what troubled you after Attenberg was the intensity of the public scrutiny !
Being exposed in a work of art has nothing to do with being exposed as yourself holding a world cup trophy.
I can be naked, raw, give myself completely for a scene or a film, but to expose myself as Ariane Labed in the press is something I find completely uninteresting.
ALPS by Yorgos Lanthimos - trailer. Best Screenplay at 2011 Venice International festival.
So it’s rather the status of the “star” that troubles you rather than shooting itself ?
Shooting is sublime. But I’m not sure of what the actress’ status is. I don’t think there’s a rule. It’s a crazy job, and I hope you can go about it your own way. At least that’s what I’m trying to do.
You returned to Venice for ALPS, which won the prize for Best Scenario, how was it this time ?
It was a holiday ! I took a lot of pleasure, and I was very happy for Yorgos Lanthimos and Efthimis Filipou [the writers].
Let’s quickly talk about ALPS – when does the film come out ?
In France I’m not sure, but in the UK in the Spring.
How was this second film for you ?
I was afraid. After the success of Attenberg, I put a lot of pressure on myself… I was telling myself again that maybe Tarantino was wrong, maybe I shouldn’t be on screens anymore….but it helped me to work even more. It was a small role in ALPS, but which required 3 months of intense preparation, so I tried to make the most of shooting days and give my best. It was a very different experience. Yorgos doesn’t work like Athina at all, he leaves the actors with a lot of doubt, and captures everything that slips through.
The Stimuleye is proud to announce the release of the latest film of the Vogue.it – A Short Film With series, CHIARA SKURA, a collaboration with Marios Schwab featuring his hot Spring Summer 2012 collection.
Watch it here.
Come celebrate the release of CHIARA SKURA with Marios Schwab and friends,
Friday October 30th, 10pm – 2am
at Le Pompon,
39 rue des Petites Écuries, 75010 Paris
Metro: Bonne Nouvelle
Hot on the heels of Marios Schwab’s breakthrough SS12 collection “chiaroscuro”, The Stimuleye is proud to announce “CHIARA SKURA – A Short Film With Marios Schwab” for Vogue Italia, coming September 28th…
Directed by Antoine Asseraf & René Habermacher
Starring Amy Bailey
Once upon a time, we made a fashion film shoot with some of the best men’s designs around.
Givenchy, Raf Simons, Ann Demeulemeester, Rick Owens, Gareth Pugh, Comme des Garçons…we had it all. We also had a great concept (think butoh meets inception), a fantastic cast (Ippei is an amazing butoh performer, while Matvey and Willy, both top men’s models, would film Woodkid’s IRON video a few days later), great hair and great make-up, everything great.
RAEVE stroke-inducing poster by Clément Roncier.
Only problem was, we never really found the time to edit it.
So without further ado, ræve.
by Antoine Asseraf & René Habermacher
starring Ippei Hosuka + Willy Cartier @ Success Paris + Matvey Lykov@ Success Paris
styling Jean-Luc Française / photo assistant Laurent Dubain / styling assistant Tiphaine Menon / hair Tanya Koch @ B Agency /make-up Akiko Sakamoto / studio Le Petit Oiseau Va Sortir
editing Axelle Zecevic / Clément Roncier / postproduction Clément Roncier / music Oedo Sukeroku “Shunrai” + John Cage “Sonata V” / special thanks Jean-Marc Locatelli
For your embeddable pleasure, a story of bags, fashion, crime, and more bags, commissioned by Vogue Italia.
Who is hiding behind those Prada shades ? What is she doing ? Will she get caught ?
A Short Film With
LA MAIN DANS LE SAC
Quinta Witzel @ IMG Paris
Romina Manenti @ Airport
Shane Aspegren & Lori Schonberg
The Berg Sans Nipple
They’re not even close to turning 30.
And yet they are releasing their third fashion film superproduction, IS THIS REAL LIFE for designers Mastori and Motwary, on Vogue Italia; and doing the cover story for UNDER THE INFLUENCE, out on Friday.
They are… Suzie Q and Leo Siboni.
Antoine Asseraf: how did the two of you meet ?
Suzie Q & Leo Siboni: We met while studying at Ecole des Gobelins, Paris, in 2005. At first we helped each other out for our personal projects, and then in 2007 we started working together.
And what was your first project as a duo ?
It was a photo series for the fashion magazine DOUBLE, named SCREENPLAY. We used different films by John Ford, projected as a background.
The idea was to establish a relationship between John Wayne and the model.
At Gobelins, did you both study photography ? And why did you start with fashion photography ?
Yes, we both studied photography. For us fashion is a way to experiment, fashion imagery is about mise-en-scène, putting the clothes forward.
Paradoxically, what we like the most are the constraints.
It helps you create, pressures you to act quickly. It’s rather intense.
Funny that your photo series should be about cinema…
Cinema inspires us a lot. We work more and more with the idea of an image within the image, of a certain depth, a frame within the frame. In the end I think we’re attached to the idea of the screen.
At last, at last. After an epic ping pong interview months in the making, here it is. Painter – turned video artist turned – precocious fashion film director Justin Anderson.
He has a bum fetish, just like everyone else.
BIKE by Justin Anderson, for Armani Jeans. Still by René Habermacher.
Antoine Asseraf: What is the last thing that stimulated you ?
Justin Anderson: On Friday night – I watched a film by Jean Pierre Melville – ARMY OF SHADOWS.
It had a big effect on me. It is brutal but very paired down without any melodrama. None of the actors either particularly young or good looking, the direction is tight and the subject really tough. It is about the French resistance to German occupation – it is about death, betrayal and torture.
The film was gripping was absolutely masterful. What I love is that I discovered this film because I loved the way Alain Delon looked in LE FLIC in his raincoat – which then led me to such a film. I feel very lucky to live in a time in which it is so easy to discover these kinds of gems and I love the fluid way you can to move from one to the other.
So, which would you say are you main influences in film-making – classic films such as the ones you just mentioned, or more experimental fare ?
All kinds of image making influence me particularly fine art – which is how I trained. I would say the paintings of Fontana, Morandi, Barnett Newman, Stella, Ryman, the sculptures of Brancusi, Donald Judd artist like Walter de Maria. Dan Graham, Bruce Nauman were particular influence to me. These have all impacted on my filmmaking as much or more so than other film makers because that is what I studied for years. I suppose my taste currently in film making are as you say classics. I was hugely influenced by Buñuel when I was introduced to it as a 14 year old boy by a very good art teacher at school – he knew exactly how to stimulate a 14 year old boy.
Currently I working my way through the classic European film makers of the last century, Bergman, Antonioni, Chabrol, Renoir and recently Melville. Having not studied film I feel like I have a lot to catch up on.
UNTITLED VIDEO STILL by Justin Anderson. Courtesy of Gerwerbe Karl Marx Gallery, Berlin.
So how did you transition from fine art – painting if I’m correct – to video ?
I started working in video quite along time ago whilst still studying at the Rijksakademie in Amsterdam. The work was structuralist and minimal – I chewed gum live on television for 5 minutes, made a video in NYC where I drew the lines of a huge tennis court across midtown Manhattan and the dove them with a camera attached to the roof of a car. The video camera was moved through space like making a drawing – instead of leaving a marking on the space you were recording what is there.
I made a video of a guy dressed in protective sports gear standing against a wall and shouting “Just do it” in German whilst I served tennis balls at him as hard as I could. It was quite violent (our friendship ended soon after!).
At the time I was making very large paintings of the lines on parts of sports courts- it all seemed to flow from one to another- the video camera was just another from of mark making. The videos had virtually no editing and certainly no close ups or variants in the shots.
Bags ! Lanvin ! Prada ! Crime ! Dries Van Noten ! More Bags !
It’s LA MAIN DANS LE SAC / CAUGHT RED HANDED !
TEASER - LA MAIN DANS LE SAC by Antoine Asseraf & Rene Habermacher, A Short Film With Jamin Puech for Vogue Italia.
Coming July 1st on the THE STIMULEYE, playing exclusively on Vogue Italia, our short film commissioned by Vogue Italia for bag designers Jamin Puech, “LA MAIN DANS LE SAC / CAUGHT RED HANDED”.
Stimuleyees and Stimuleyettes, at last, here it is – the Vogue Italia film commission for bag designers Jamin Puech… La Main Dans Le Sac / “Caught Red-Handed”When Vogue Italia asked us to make a film for their A Short Film With section with bag designers Jamin Puech, we were at first a bit puzzled. Up to that point, all the films in the section were built around designers preparing their fashion shows, but Jamin Puech didn’t have fashion shows.So we drew inspiration from the opening scenes of Hitchcock’s MARNIE – we never see the face of Tippi Hedren who plays a con artist opposite Sean Connery. We only see a silhouette do questionable things with different bags, purses and luggages… Together with stylist Michaela Dosamantes we built graphic and cinematic scenes around each bag, building up to the moment she gets caught.
Bag by Jamin Puech, glove by George Morand, suit by Max Mara, necklace and ring by Karry' O, bracelet by Andra Neen. Photo by René Habermacher.The title is a French expression meaning “the hand in the bag” which means that you’ve been caught in the act.It was too perfect a title.
Left: jacket and trousers by Carven, blouse by Equipment, sunglasses by Prada, necklace by Andra Neen. Right: coat and belt by Dries Van Noten, gloves by George Moran, necklace by Andra Neen. Photos by René Habermacher.Though we loved the Hitchcock soundtracks, and used it to set the mood while editing, we wanted something more contemporary and original for the sound, so we asked our past collaborator Lori Schonberg and his colleague Shane Aspegren of the Berg Sans Nipple to write something for us.
Top + pants by Giambatista Valli, Fendi belt, Pierre Hardy shoes and Karry’O earrings.
Photo by René Habermacher.Of course the film also benefits from the setting : caviar and seafood restaurant Prunier, by the Arc de Triomphe in Paris, where you can treat yourself to “all that comes from the sea”, including delicacies such as the “Christian Dior” oeuf en gelée with Tradition caviar. Designed in 1925, and owned by Pierre Bergé since 2000, the restaurant is an Art Déco jewel, featuring the work of the best artists of the time, such as I.M. Cassandre, but also of modern artists like Bob Wilson, whose installation sits at the bar.
La Main Dans Le Sac by Antoine Asseraf & René Habermacher – more info, full fashion and production credits: www.maindanssac.comBuild with Erosion, by The Berg Sans Nipple.Special performance at Musée du Quai Branly on June 12, 2011.
The Stimuleye is proud to announce its upcoming film for Vogue Italia, La Main Dans Le Sac.
Literally, “the hand in the bag”, as in “caught in the act”.
Made in collaboration with bag makers Jamin Puech, the film will debut on Vogue.it’s A Short Film With section,
featuring original music by Berg Sans Nipple.
LA MAIN DANS LE SAC
A Short Film With Jamin Puech ⎜ Directed by Antoine Asseraf & René Habermacher for Vogue Italia – Talents
Styled by Michaela Dosamantes Featuring looks by Prada, Jil Sander, Lanvin… ⎜ Starring Quinta @ IMG
Original soundtrack by Lori Schonberg & Shane Aspegren of the Berg Sans Nipple
Filmed at Prunier Paris
In a joint interview with Caroline Daily, we talk with Yelle collaborator and 2008 Hyères winner Jean-Paul Lespagnard about his first Paris Fashion Week presentation…
I Could Be Yours - Fall/Winter 2011/12 presentation, filmed by Antoine Asseraf & René Habermacher.
Antoine Asseraf: Did your presentation go well this week?
Jean-Paul Lespagnard: It went really well. The feedback is really good. It was very difficult to organize, obviously, but as I always say “we learn from our mistakes”. ha ha. In the beginning I wanted to do something simple and small and in the end, I found myself doing 7 shows in one day! My assistants tell me all the time that when I tell them something, I think that it is really simple, when in fact it isn’t. So when I tell them that we are going to do something difficult, but that we will succeed, they know that it is going to be a mountain of work! But really really happy with how everything went. The people from the press are really enthusiastic. The people that came by the showroom are very enthusiastic too. I had some buyers–one from a boutique in NY, one from a boutique in Hong Kong, among others.
Was it complicated to plan?
It was a personal choice to put myself in the “off” on presentations by appointment. And i think that I will continue to do that. Because, this idea of doing 6 shows in one day was difficult and I launched myself into a crazy adventure, but I really want to do it again. I think its great because people can come whenever they want to. There is something that I like about not having chairs, it was standing only. I think that the next time, what I could do is have little portable stools for people that want to sit down. I just really like the idea of something spontaneous like what we did. So something that I am going to work on and try to perfect for next time. This defilé was meant as a way for me to come back after the festival and to present my work to buyers. When the buyers came to my showroom, they said “its great, its fresh, we have never seen this before, but we are not sure where to place your work for the moment” This is good actually because now, they have 6 months to digest what they say and to think about ideas for where to place my collection and about where my stuff fits in with other designers. I really very very happy with my fashion week in Paris!
Less than one week before the launch of the 26th edition of the Hyères International Fashion & Photography Festival, The Stimuleye brings you “25 Hyères” covering the 2010 edition – including interviews of Dries Van Noten, Walter Pfeiffer, Olivier Lalanne, Théo Mercier and many others.
“25 Hyères” premiered on POP, where you can also read an exclusive interview.
THE STIMULEYE presents
2010 Hyères International Fashion + Photography Festival
Video and interview on THE POP.COM
A film by Antoine Asseraf
For the last few months, I’ve had the pleasure of working with director Justin Anderson of Ponyboy on a series of films commissioned by Armani: the Chase Trilogy.
Still from Justin Anderson's Chase film, by René Habermacher.
Garden for Emporio Armani, starring Theoharis Iannidis & Dafne
Chase for Armani/EA7
Bike for Armani Jeans
The last thing which stimulated Justin:
On Friday night- I watched a film by Jean Pierre Melville- Army of Shadows.
It had a big effect on me. It is brutal but very paired down without any melodrama. None of the actors either particularly young or good looking, the direction is tight and the subject really tough. It is about the French resistance to German occupation- it is about death, betrayal and torture.
The film was gripping was absolutely masterful.
What I love is that I discovered this film because I loved the way Alain Delon looked in LE FLIC in his raincoat – which then led me to such a film. I feel very lucky to live in a time in which it is so easy to discover these kinds of gems and I love the fluid way you can to move from one to the other.
Starring: Theoharris Ioannidis, Dafne, Aline, Nastasia and Bo.
Styling/Fashion director: Isabelle Kountoure
Assisted by Tui Lin
Make-up: Yannis Siskos
Producer: Jason Scanlon
DoP: Ross McLennan
Local producers: Angela Tsepas/Andreas Mitsopoulos