For its 29th edition, the fashion and photography festival reached new heights. More sunshine, more stars, more exhibitions, more public, more.
Here’s a wrap up of everything The Stimuleye covered in Hyères for those who missed it.
LORENZO VITTURI, GRAND JURY PRIZE
Italian photographer living in London Lorenzo Vitturi is the first to win 15 000 euros donated by Chanel, for his series “Dalston Anatomy.”
ORIANNE LOPES, SCHOOL OF VISUAL ARTS FUND
Orianne wins a scholarship to attend the School of Visual Arts’ “Photo Global” program in NYC.
VIRGINIE REBETEZ, SPECIAL MENTION OF THE JURY
Virginie wins a Leica S2 camera.
MARIE RIME, CITY OF HYERES AWARD
Awarded by the votes of the public of Hyères.
All the photographers in competition:
CORALIE MARABELLE, CITY OF HYERES AWARD
Awarded by the votes of the public of Hyères.
YULIA YEFIMTCHUK, SPECIAL MENTION OF THE JURY
Yulia’s collection will be carried by Opening Ceremony for the next 2 seasons.
This year 2 Chloe prizes were awarded, each with a 15 000 euros fund:
KENTA MATSHUSHIGE, GRAND PRIX DU JURY PREMIERE VISION
Kenta, who is from Japan but living and working in Paris, wins 15 000 euros given by Première Vision,
as well as a collaboration with Chanel Metiers d’Arts worth up to 15 000 euros, and a collaboration with Petit Bateau.
ALL DESIGNERS IN COMPETITION + BONUS
THE FASHION SHOW
EXHIBITIONS – UNTIL MAY 25th
Villa Noailles, Hyères
The film directed by Antoine Asseraf & Julien Pujol about 2013 winner Satu Maaranen’s collaboration with Petit Bateau.
American designers Humberto Leon and Carol Lim surged into the global spotlight in 2002, as the co-founders of New York City’s preeminent boutique, Opening Ceremony. With its keenly curated selection of luxury brands, the shop quickly attracted the attention of the fashion world at large, and in July 2011, Leon and Lim were appointed as the creative directors of Parisian label KENZO.
Humberto Leon and Carol Lim, by Filep Motwary.
The strong friendship shared by this creative duo dates back to their years at UC Berkeley in California, where they met as students in early 2000. After a decade of successful project launches and hotly anticipated collaborations with other labels and designers, they continue to challenge fashion habits and to conceive new methods of design.
Today, both are enthralled by the KENZO spirit, which they perceive as a lifestyle all its own, and the label is shaped by the singular creativity born of their partnership. The originality and diversity of patterns and prints, the bright colours, music and rhythms of disparate cultures from around the world are all inspirations behind KENZO’s revival: under the guidance of Leon and Lim, it strives to achieve a universality which will seduce men and women of all ages.
Fashion has been a catalyst and playground for socio-cultural movements. Today’s trends are tracked from street to runway and back again at such speed that subcultures can barely exist beyond the brands. In what way do you feel today’s fashion is relevant?
Fashion has and always will be one of the easiest ways people can express themselves. We love drawing inspiration from everything around us: culture, art, music, food, travel, and from seeing what people are wearing on the streets. Today’s fashion, the product of a more connected world, is extremely relevant for what KENZO stands for today. That connectivity is what brings people together: streetwear melding with tailoring, night and day, comfort and style. All of these elements and more make fashion right now an extremely exciting place to be.
Do you think that something originally pegged as a luxury fashion brand could evolve into something that ends up being a mainstream feature? Is it a good thing being mainstream or not?
What some people seem to forget is that KENZO as a brand was never intended to be “luxury.” Kenzo Takada, when he founded the brand, dreamt of creating collections accessible to the street. We feel that mainstream isn’t a negative word and that mainstream fashion can still be heavily design oriented. KENZO has always been democratic, and since joining the company in 2011, we wanted people to remember this. Mainstream usually means something collectively appreciated and that is something we like to celebrate. We would love for KENZO to be a household name around the world.
Carol Lim, by The Stimuleye.
Do you think it’s always advisable for designers to be very visible, seemingly available to and engaged with their audience? Should relatability, especially in this age of social media and hyper connectivity, always be a goal? How should a designer understand himself or herself in relation to the consumer?
It really depends on the brand. For us at KENZO we love engaging with the customer because that is where you see if your collections are something people will want to buy and wear. We want people to understand who we are as a company, and in order to do that, we have to understand who they are as clients. Social media gives us a direct link to our customers and we love being able to have a dialogue with them. They can ask questions, discover more about our world and become a part of the KENZO community.
Humberto Leon, by The Stimuleye.
You’re surrounded by collaborators coming from very different directions. For KENZO, how important is the idea of “family,” and the creative exchange with its members?
It’s super important for us. Both at KENZO and Opening Ceremony we work with our friends. It creates an open dialogue and brings out the best ideas. Working with collaborators such as Spike Jonze or Chloe Sevigny, people we have known for such a long time, is a joy. It’s important to love what you do, and what could be better than brainstorming or working on projects with people you admire and respect on both a personal and professional level?
Talent is an obvious thing to look for in a contestant, but what other qualities do you think will be important to look for in a designer, right now, in 2014?
We will look for a strong point of view as well as for someone who understands the importance of the whole process of design. It is important to be able to understand the business aspects as well as all the creative ones. Also, we will look for someone who has both drive and a sense of humility.
What is the last thing you saw, read, heard or felt that stimulated you?
Carol: Nausicaa and the Valley of the Wind, an animated film by Miyazaki.
Humberto: Seeing The XX perform an 40 person intimate show in New York.
Steve Hiett pursued a Masters Degree from the Royal College of Art Graphic Design before his Swinging London years, which saw him travelling the world as the lead guitarist of Britain’s psych/pop group The Pyramid.
But it was not until an unfortunate accident on stage deprived him temporarily of his Fender—namely, electrocution from an ungrounded microphone—that he turned back toward his roots in the visual arts, and picked up a camera. Initially documenting his own group while on tour, he was soon photographing the international rock scene at large.
Steve Hiett, by The Stimuleye.
Over the past four decades, Hiett has pioneered a signature style that has become instrumental to the global world of fashion photography. Favoringover-saturated images, off-centre framing, unconventional compositions, and dazzling flash work, his work has been featured regularly in renowned magazines worldwide—from Nova and Queen to British Vogue, Vogue Paris, Elle, and Marie Claire.
The Hyères festival 2014 will present the first major exhibition of Hiett’s oeuvre, emphasizing the unsung aspects of his images and re-establishing him as a figurehead in the history of contemporary photography.
Steve Hiett lives in Paris, where he continues to work as a photographer for renowned fashion publications (notably for Vogue Italy), as well as a musician, graphic designer, and art director.
What was the process behind selecting the images for your exhibition at Hyeres? What will the visitors see?
Steve Hiett: Raphaëlle Stopin came to my place and looked through everything I could find. She selected the images.
Steve Hiett, Vogue, 1979.
You didn’t plan to become a photographer, and it seems that your early photography was informed by your circumstances while you were on tour. Considering how digital and technological developments throughout media have changed the landscape of photography, what kind of career path do you think you would find yourself upon if you were only beginning your career in the present day? How would a young Steve Hiett go about his business in 2014?
SH: Starting today? I have no idea. Fashion photography is such a complex thing now; lots of politics and all the digital processes, which makes doing a photo so long and complicated. When I started, you just walked into a magazine and the art director would give you a job. I don’t think you can do that now. Also, to take a photo, you took a light reading, pressed the button and that was it; what you got back from the lab was it—end of story. Now you are dealing with all sorts of choices and the new world of retouching, which can go on for days. I worked for 30 years and never retouched anything. It never entered my head (or any other fashion photographer) as even a possibility.
Steve Hiett, 1979.
Looking back over your career as fashion photographer, is there a certain period in time that stands out for you in particular?
SH:Starting. I knew nothing, but it didn’t matter.
Having worked through the last few decades of fashion photography, what kinds of major aesthetic shifts have you noticed?
SH: Now the boss is the fashion editor. They decide who works and who doesn’t, but before it was the art director.
Steve Hiett, 1979.
There is always some sort of tension in your photography. How do you achieve it?
SH: Tension in my pictures? That must be subconscious: I never look for tension. I look for the right feeling.
What is the last thing that stimulated you?
SH:The last thing that stimulated me? Steve Cropper’s guitar solo on “Green Onions,” which I have listened to 1000 times. I listened to it again last night; still has that magic. OK, I know the notes he plays, but it goes way beyond that—it’s a magic thing.
Hyères Hyères, Hyères-Hyères Hyères Hyères !
(Translation: and now it’s time for our 2014 Hyères preview)
Starring jury members Carol Lim & Humberto Leon of KENZO, photographer Steve Hiett, Chloé Sevigny, Manish Arora, and many more…
Of course, we’ll be keeping you up to date with all the news from the festival in the weeks to come… #AllEyesOnHyères
Directed by Antoine Asseraf for The Stimuleye
Set by Mathilde Nivet
Last Hyères before it turns 30.
For its 29th edition, Villa Noailles director and Fashion + Photography founder Jean-Pierre Blanc invited the American duo of Humberto Leon and Carol Lim, Kenzo designers and Opening Ceremony founders, to preside the Fashion Jury.
Amidst hundred’s of applicants from 55 different countries, here are the 10 finalists they picked.
Official lookbook by The Stimuleye.
Hyères 2014 - ALL EYES ON HYERES - by The Stimuleye.
All 10 designers were selected on the basis of a dossier and a full outfit, first by art director Maida Gregory-Boina, Maria Luisa buyer Robin Schulié and The Stimuleye colleague Filep Motwary, then by the jury presidents and their guests: Jay Massacret (V Man), Eric Wilson (InStyle), Carol Song (Opening Ceremony) and actress Chloé Sevigny.