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.
Arrrgh follows Rrrrip.
“Arrrgh – Monsters in Fashion”, a fashion exhibition featuring the clothes of Bernhard Willhelm, Walter Van Beirendonck, Rick Owens, Filep Motwary, Hyères graduates Jean Paul Lespagnard, Mareunrol and Mads Dinesen, and a 360 degree film installation from Bart Hess, is now opening at the Gaîté Lyrique digital center in Paris.
“Arrrgh” follows in the footsteps of “Rrrrip – Paper Fashion”, another internationally touring exhibit by Greek collective Atopos, whose founding member and curator, Vassilis Zidianakis, we met before the exhibit opening.
Left: Pictoplasma "Pictoorphanage Les Petites Bonhommes", 2006. Right: Manon Kuendig "Collection BLOWJOB", 2011
Antoine Asseraf: What was the starting point for this exhibit ?
Vassilis Zidianakis: In Hyères in 2006, where I was in the fashion jury. One of the designers, Amandine Labidoire, had a sketchbook with characters that started something in my head.
Then I asked Pictoplasma to write a text on character design, they saw my research on the subject and instead proposed to do a whole book about that idea, which became NOT A TOY, and then led to this exhibit.
When does this phenomenon start, in the 90’s with Leigh Bowery, Margiela, Walter Van Beirendonck… ?
Internet is the real starting point – avatars, different identities. People don’t show their face and instead create a character.
In fashion, you could say it started with Comme Des Garçons for the shape, and Margiela for the face – because when you hide the face you create a monster. But Schiaparelli, who was close to the surrealists, had already tried that, and you find it a lot in ethnographic clothing: each civilisation has costumes to dress up and become someone else. Today, it’s become a bit like Halloween, and clothes that are not meant to be worn on the street, but to go to parties, take pictures, it’s very marketing associated.
Character design as a whole comes from marketing, in the US and Japan – products talk to you, like yogurt, clothes, Michelin…
You also have to see the evolution of what we consider “monstruous”. For example, hoop dresses from the 18th century which are too wide to fit through a door – don’t you find that monstruous ?
Left: Alexis Themistocleus "Freaks", 2010. Right: Heiniek "Foamboys x Hyperbole@ Ludwig- TEDX AMS", 2012
Besides the rise of internet, the 90’s are also a decade of video games becoming mainstream, the emergence of adult animation…
It’s the idea we wanted to explpore with NOT A TOY, which led to this exhibition. If you read vinyl sex objects, it says “THIS IS NOT A TOY”, it’s for grown-ups.
Ultimately I’m very happy to show this outside of a fashion context, in a place like Gaîté Lyrique which is more technology related. The exhibit isn’t directly linked to technology, but shows the influence of technology on our bodies.
What is different about this exhibit than what was shown in Athens ?
After 3 years of research, we made a show at the Benaki Museum in Athens. Since then, a lot of new things have been produced around the idea, so for the Gaîté Lyrique we doubled the number of exhibited pieces on display.
We also commissioned Bart Hess a video for the 360º room, a special costume from Craig Green which serves as visual identity for the exhibtion,
and the fashion show of Jean-Paul Lespagnard which will be part of the parallel program.
Tell me more about the ancient Greek notion of “monster”…
Today “monster” has a negative connotation. But the original Greek word, “teras” (which gave “teratogen” and “teratology”) indicates a physical phenomenon in need of an explanation. So for example, to the ancient Greeks, a rainbow was a “monster”.
A bit like a UFO ?
yes, unidentified, and needing to be explained by us.
the theme of the monster is really about difference, about what we’re capable of accepting, because we’re attracted to strange things, but don’t know how to communicate with them.
ARRRGH ! MONSTERS IN FASHION
February 13 to April 7, 2013
3 bis rue Papin, Paris.
B is Belgium.
A is Africa.
Leave it to Jean Paul Lespagnard to connect the 2 in a fresh way for his SS2013 collection.
You can also see one of the key outfits from the collection in action, as worn by Lynsey Peisinger, in the FIAC Paris 2012 teaser…
FIAC 2012 official teaser by The Stimuleye. Pants/overalls by Jean-Paul Lespagnard.
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
YELLE — Julie, Jean-François and Tanguy — burst onto the music scene in 2006 with their UFO bubble-gum-techno-rap “Je Veux Te Voir”. Since then they’ve collaborated with the likes of Katy Perry, Crookers and Robyn, and seduced audiences all over the world. They’re basically the first French-singing band to achieve international success since the Rita Mitsoukos. Now they return with their second album, SAFARI DISCO CLUB.
For this 3 part interview, René Habermacher shot Julie exclusively for THE STIMULEYE wearing the new MARIOS SCHWAB Fall/Winter 2011 collection. Styled by Ines Fendri, Make-Up by Akiko Sakamoto.
Yelle in Marios Schwab FW 2011. By René Habermacher, styling Ines Fendri, make-up by Akiko Sakamoto.
ANTOINE ASSERAF: Let’s talk about your new album first, SAFARI DISCO CLUB, there’s an immediate visual concept from the name to the album and on to the double music video…
JEAN-FRANÇOIS aka “GrandMarnier”: Actually it’s something that was not there to start with but added at the end. We found the name SAFARI DISCO CLUB very late into the process, at the last minute almost. We thought we should keep things simple, find 2 tracks from the album to start with.
The most inspiring track in terms of visual adaptation was SAFARI DISCO CLUB. This double-theme made us naturally think of Jean-Paul Lespagnard [whose styles had inspired the CE JEU video] and his penchant for double-themes, for juxtapositions. So we discussed it with him, with some references such as the final scene of Luc Besson’s SUBWAY, in explorer mode.
The only thing I remember about this film is Isabelle Adjani’s punk “fuck you” dinner scene…
JEAN-FRANÇOIS: It turns out that Julie’s hair in the video is not far from Isabelle Adjani’s, but that’s pure coincidence…
But the explorer look, that was something stuck in my head — it’s a bit why I started to get into music: I was such a big fan of Jean Reno playing the drums in the subway as a kid, it left an impression on me. So this final scene where they play music dressed like explorers was the starting points for Jean-Paul to work from…
So, do you feel that this SAFARI DISCO name applies to the album as a whole ?
JEAN-FRANÇOIS: It definitely gives a tinge — from the moment we had the title, we listened to the tracks differently, you hear the percussions more. The word “safari” also brings the meaning of “discovery,” which works because we had applied ourselves to making all the songs very distinct. We feel very much part of the compilation generation!
It all works out in the end, but once again it wasn’t thought out that way, we made the songs really one by one.
Safari Disco Club album cover by Grégoire Alexandre. Styling by Jean-Paul Lespagnard.
There are some African vibes in the title track and on LA MUSIQUE…
JEAN-FRANÇOIS: There is a percussion side, coming from the live… Julie has a Tom Bass, we have these suspended drums, we really base ourselves on the percussions for the live show, constructed a bit like a DJ set, with transitions — that really rubbed off on the way we composed for this album.
TANGUY “TEPR”: We didn’t want to copy anything, it’s just a slight tinge, nothing too ‘in your face’…
JEAN-FRANÇOIS: On SDC itself, the most obvious thing in terms of inspiration is the guitar gimmick which is almost Zouk.
Both LA MUSIQUE and SAFARI DISCO CLUB are very instrumental tracks, very percussion-driven, you’re in a sonic trip with words just guiding you on your way…
JEAN-FRANÇOIS: It’s less constructed.
JULIE: Less of a traditional song format.
JEAN-FRANÇOIS: The voice is used more like an instrument, on POP-UP it was more spoken.
TANGUY: Julie’s way of singing changed, not in a calculated way but gradually while writing — it was very spoken and broken on POP UP, on SAFARI DISCO you find this style only on one track really: COMME UN ENFANT. We wanted to try new things.