Posts tagged with ‘Fashion Film’

The Stimuleye is a creative workshop.
This is the blog of The Stimuleye.

  • EYE CANDY

    LE SAVOIR-FAIRE

    - by admin

    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.

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  • EYE 2 EYE

    HYERES 2013 EXPRESS 03 EXHIBITIONS

    - by antoine

    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

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  • GOOGLY EYE

    welcome to marie laure’s

    - by antoine

    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

    http://www.villanoailles-hyeres.com/2013/

    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

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  • EYE CANDY

    7 women, 1 star goat: the capsule

    - by rene

    Experimental film. Feature film. Art film. Fashion Film.
    Greek, English, German, French, Turkish.
    For her latest project, director Athina Rachel Tsangari lets neither labels nor languages get in the way.
    Rather, she encourages pandemonium, while unleashing discipline on her 7 international actresses, and the 7 goats which co-star with them in “The Capsule.”
    As a special envoy for The Stimuleye, René Habermacher spent some time with them and the biggest diva on set: Bekos, the star goat.

    02_THE_CAPSULE_RENE_HABERMACHER_THE_STIMULEYE
    The headmistress unleashes the beast: Ariane Labed, French but Athens-born actress known from "Attenberg" 
    and her favourite: Bekos, the beehive-tressed star-goat. Photo by René Habermacher
    The sun’s first hot rays glisten over the aquamarine waters, parted by the approaching speedboat.
    The destination: a barren island in the Aegean sea, named Hydra.
    Hydra once harbored pirates but now hosts the “classy” summer retreats of wealthy Athenian families, low-profile expatriates and not-so-low-profile socialites.
    Between dark needles of cypress trees, remnants of other times, splendid historic mansions are scattered up the amphitheatric hills framing the town.
    Built in hard labour over generations, the city-island-state of Hydra exceptionnally paid tributes to the Ottoman empire in exchange for a dose of freedom, which they turned into wealth and influence.
    04_THE_CAPSULE_RENE_HABERMACHER_THE_STIMULEYE_ARIANE_LABED
    A sphinx above Hydra: Ariane Labed in midday heat on the terrasse of Tombazis manor. Photo by René Habermacher.
    It is here that one of the island’s generous patrons, art collector Dakis Ioannou, owns a townhouse and runs a project space in the town’s old slaughterhouse through his Deste Foundation. This translates into a yearly invasion of the art world glitteratti to celebrate projects by Maurizio Cattelan, Mathew Barney or Doug Aitken, to name but a few of the guest artists.
    As the boat approaches, on the far right of the jetty sits the island’s most impressive building, the Tombazis Manor, long abandoned by its family. A short but steep walk uphill through narrow stone-laminated alleys opens to the building that once housed Marc Chagall: an array of arcades, corridors and rooms, intertwined as the set of a wicked dream, its cool obscurity glacified in time. An unusual activity disturbs this idyl.
    08_THE_CAPSULE_RENE_HABERMACHER_THE_STIMULEYE09_THE_CAPSULE_RENE_HABERMACHER_THE_STIMULEYE
    Between fortified walls of the mansion, shadows of the past and present terror of besetting obsessions:
    young actresses Isolda Dychauk, Aurora Marion and crawling: Evangelia Randou. Photos by René Habermacher
    
    
    By invitation of Dakis Ioannou, a film crew under the helm of Greek movie director Athina Rachel Tsangaris is attempting to interpret the egregious, violent universe of Polish artist Aleksandra Waliszewska in multiple frozen frames.
    The starting point to this project : the Deste “Fashion Collection”. After collaborations with M/M, Juergen Teller, Helmut Lang and Patricia Cavalli, it seemed to be time to work with a Greek, and who better than film maker Athina Rachel Tsangari, who has stirred some waves internationally with documentaries and fictions alike.
    The commission’s unique approach to fuse art and fashion from a art-curatorial perspective led Athina to set filming on the Island of Hydra. Not to be confused with the other Hydra, the ancient serpent-like water beast bearing several heads, with the ability for each cut off head it grew two more…
    07_THE_CAPSULE_RENE_HABERMACHER_THE_STIMULEYE_CLEMENCE_POESY06_THE_CAPSULE_RENE_HABERMACHER_THE_STIMULEYE
    Clémence Poésy in expectation of the headmistress. Photos by René Habermacher.
    
    
    The last member of a cast of women just arriving from Bruxelles, unsettled and wide-awake after a sleepless journey, French actress Ariane Labed is speeding to join the set where work has begun some days ago. The role she is hurrying towards: the headmistress. Lecturing pupils in a drill of discipline and demise. They are her victims and possible trigger for her final surrender. But this not clear.
    The preparations for a key scene at the mansion’s bel étage have her co-stars lining up on the black and white checker marble floor, confessing to the mythical yet vulnerable character of their dominatrix that sit them facing, dressed in her armour. A piece by Sandra Backlund knitted from human hair.
    Routine at the boarding house: The line-up of disciples, top right Evangelia Randou, lower right: Sofia Dona.
    Each one of her disciples is to kneel in a black boarding school uniform, with neat white “col claudine”, to receive punishment or absolution:
    French actress Clémence Poésy, Russian-born ginger-haired actress Isolda Dychauk, dancer Evangelia Randou, actress Aurora Marion, director Deniz Gamze Ergüven, architect Sofia Dona, and finally Aleksandra Waliszewska, the artist inspiring this slipstream of scenes for what is going to be a trip called “the capsule”.
    Between the walls of the ancient building, a world of secluded women, whispers, secrets and violence:
    “ich will sie alle töten. Ich möchte hier alleine bleiben mit ihnen,” confesses Isolda and gets away unpunished, unlike the others.
    Their faith lays at the clicking thimble-clad fingertips of Ariane. But does it really?
    03_THE_CAPSULE_RENE_HABERMACHER_THE_STIMULEYE_CLEMENCE_POESY
    Clémence Poésy confesses: "J’ai eu envie de mettre des bris de verre dans les chaussures d’Isolda." 
    while her dominatrix is about to get more creative with punishments. Photo by René Habermacher.
    Fragments of scenes linger like particles in the still air, lit by rays of distant light. Emotions whirl and loop in repetition.
    As the sun wanders and fades multiple times, filming continues to ever later hours and let the fictions fringes blur. The crew becomes hostage to the ancient mansion, a surreal, yarn-spinning fairy tale. Roles and reality intertwine in the fabric of a captivating Greek Gothic mystery.
    Somewhere in the mansions underbelly glows Ariane’s gown, a creation by Canadien artist Ying Gao. The ruffles of the sheer fabric move in slow motion, animated by fine tuned micro-robotics, the dress is adorning her floating silhouette in the pitch black of the vault.
    Ariane at the onset of darkness, wearing a micro-robotic geared gown by Canadian designer Ying Gao,
    for which Bekos the goat developed an immense appetite. Photo by René Habermacher.
    Ariane’s last scene ends with the day, the private speedboat waiting at the quai to take her back to Piraeus.
    Its a wrap. As the crew departs the set, the deserted mansion continues to stare over the empty promenade under an anemic moon.
    Alone, Bekos, the star-goat, pet to the headmistress, remains; saved from being served for the Easter feast, and hopefully living happily ever-after.
    One of Bekos's caprices: an endless hunger for attention, and bits and bites of the costumes. Photo by René Habermacher.
    “The Capsule” continues its journey to festivals, after Sundance the next stops:
    25th Angers Premier Plans Film Festival, France, 2013
    48th Solothurn Film Festival, Switzerland, 2013
    36th Göteborg International Film Festival, Sweden, 2013
    More information: THE CAPSULE

    Posters for The Capsule: Design by Ania Goszczyńska with artwork of Aleksandra Waliszewska
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  • EYE 2 EYE

    hanaa

    - by antoine

    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.”

    HANAA
    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

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  • GOOGLY EYE

    films of the season: princess cornflakes

    - by admin

    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.

    Princess Cornflakes / ENGLISH VERSION

    PRINCESS CORNFLAKES (English) from AntoineAsseraf+RenéHabermacher on Vimeo.

    Princess Cornflakes / VERSION FRANÇAISE

    PRINCESS CORNFLAKES (Français) from AntoineAsseraf+RenéHabermacher on Vimeo.

    CREDITS:
    (more…)

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  • GOOGLY EYE

    coming soon: princess cornflakes

    - by antoine

    Coming this week, a special collaboration with Vogue Italia,
    Princess Cornflakes.

    Princess Cornflakes poster by The Stimuleye

    More to come…

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  • EYE CANDY

    films of the season: monsieur chypre – a short film with erotokritos

    - by antoine

    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…

    Monsieur Chypre - Come and get it

    "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.

    Monsieur Chypre - Octopus

    “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 ?

    Monsieur Chypre - Mosque

    “HIS VOICE IS A SONG”

    All this, to the original soundtrack of Lori Schonberg and Shane Aspegren, members of Ça Va Chéri.
    (Download it here).

    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 Chypre
    Film credits
    Fashion credits
    Goodies

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  • EYE 2 EYE

    power couple : esser & elisha : 1 : benjamin esser

    - by antoine

    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.

    at Hyères 2012

    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.

    ESSER, ENMITY on Green United Music.

    Thank you: Laurence Alvart, Pierre LeNy.

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  • EYE CANDY

    monsieur chypre – a short film with erotokritos

    - by antoine

    Exclusively on Vogue Italia

    The Stimuleye presents, a film by antoine asseraf & rené habermacher

    MONSIEUR CHYPRE
    A Short Film With Erotokritos
    a THE STIMULEYE production
    STARRING
    CONSTANTINO KOUYIALIS as MONSIEUR CHYPRE
    LOAN CHABANOL (ELITE) as MADEMOISELLE PARIS
    PARIS UNIT
    STYLING – MICHAELA DOSAMANTES
    HAIR – ROMINA MANENTI
 @ AIRPORT
    MAKE-UP – TIINA ROIVANEN @ AIRPORT
    PRODUCTION ASSISTANT – LYNSEY PEISINGER
    LOCATION – HIROMI OTSUKA
    CATERING – EROKITCHEN
    VOICE by LYNSEY PEISINGER
    MUSIC by LORI SCHONBERG + SHANE ASPEGREN
    POSTPRODUCTION by THE STIMULEYE
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  • EYE CANDY

    monsieur chypre: postcards

    - by antoine

    Coming April 11, 2012 to Vogue Italia.

    Monsieur Chypre

    Cypriot countryside. By Antoine Asseraf & René Habermacher.

    Monsieur Chypre

    Monsieur Chypre

    Monsieur Chypre

    "Come and get it". By Antoine Asseraf & René Habermacher.

    Monsieur Chypre

    Monsieur Chypre

    Monsieur Chypre

    Hala Sultan Tekke / Larnaca. By Antoine Asseraf & René Habermacher.

    Monsieur Chypre – A Short Film With Erotokritos

    Vogue Italia

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  • EYE CANDY

    films of the season: monsieur chypre

    - by admin

    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.

    Monsieur Chypre 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 CHYPRE
    a film by ANTOINE ASSERAF & RENE HABERMACHER
    a THE STIMULEYE production
    STARRING
    CONSTANTINO KOUYIALIS as MONSIEUR CHYPRE
    LOAN CHABANOL (ELITE) as MADEMOISELLE PARIS
    PARIS UNIT
    STYLING – MICHAELA DOSAMANTES
    HAIR – ROMINA MANENTI
    MAKE-UP – TIINA ROIVANEN
    PRODUCTION ASSISTANT – LYNSEY PEISINGER
    LOCATION – HIROMI OTSUKA
    CATERING – EROKITCHEN
    VOICE by LYNSEY PEISINGER
    MUSIC by LORI SCHONBERG + SHANE ASPEGREN
    POSTPRODUCTION by THE STIMULEYE
    CYPRUS UNIT
    ALSO STARRING
    MYRTO KOUYIALIS
    DIVA MODELS:
    ALEXANDRA BUNETSKAYA
    KLELIA YIASEMIDOU
    ANNA DOROTHEOU
    LOCATIONS:
    ALMYRA & ANASSA
    THANOS HOTELS
    ALL CLOTHES CYPRUS: EROTOKRITOS ARCHIVES
    PARIS CLOTHES featuring
    LOUIS VUITTON, EROTOKRITOS, LOUIS VUITTON JEWELRY, APERLAI, MARC JACOBS, DIOR, FELIPE OLIVEIRA BAPTISTA, AURELIE BIDERMAN, OLATZ, KIKI DE MONTPARNASSE, BURBERRY AND VALENTINO
    THANK YOU
    Dimitris Dimitriou / Cyprus Tourist Organisation in Paris
    Philippos Philippou / Cyprus Airways
    Pavlos Metaxas / Diva models
    Antonakis Bar
    Eleni Chrysostomidou
    Lida Philippidou
    Mary Nicolaidou
    Maroulla Antoniadou
    Gallery Argo Nicosia
    Kostas Mantzalos
    The city of Nicosia
    The city of Paphos
    AND
    Filep Motwary

    Vogue Italia

    Erotokritos

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  • EYE CANDY

    films of the season 2: My Garden starring Kiko Mizuhara

    - by antoine

    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.

    (more…)

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  • EYE CANDY

    films of the season : CHIARA SKURA

    - by antoine

    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.

    (more…)

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  • EYE CANDY

    contest: beyond the wall

    - by antoine

    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.

    The Stimuleye contest for Hyères 2012

    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: contest@thestimuleye.com

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  • EYE 2 EYE

    ariane labed

    - by antoine

    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
    ARIANE
    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

     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

     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

     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?

    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.

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  • EYE CANDY

    coming soon : monsieur chypre

    - by antoine

    an erotic fashion epic, one year in the making….

    THE STIMULEYE presents MONSIEUR CHYPRE a short film with EROTOKRITOS with Vogue Italia

    MONSIEUR CHYPRE
    A SHORT FILM WITH EROTOKRITOS
    by Antoine Asseraf Asseraf & René Habermacher
    with VOGUE ITALIA

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  • EYE CANDY

    CHIARA SKURA, watch and party !

    - by antoine

    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.

    Chiara Skura - A short film with Marios Schwab

    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
    Password: CHIARA

    invitation

    FILM CREDITS:

    (more…)

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  • EYE CANDY

    coming soon – CHIARA SKURA

    - by antoine

    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…

    Chiara Skura - A Short Film with Marios Schwab

    Directed by Antoine Asseraf & René Habermacher
    Starring Amy Bailey

    Marios Schwab
    Style.com show pictures and review
    Vogue.it – A Short Film With

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  • EYE CANDY

    not lost : ræve

    - by admin

    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.

    Until now.

    So without further ado, ræve.

    RAEVE
    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

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  • EYE CANDY

    5 FACES OF LUDIVINE

    - by antoine

    Ludivine.
    Both Femme-enfant and enfant terrible of French cinéma, Ludivine Sagnier has been popping up on screens for well over a decade now.

    However, we’ll forgive you if you haven’t noticed it, because Ludivine is a chameleon, blending in with her characters, making you forget she’s Ludivine.

    She has “the mystery of lightness”. We didn’t say it, Christophe Honoré did.

    As she appears in his upcoming film, THE BELOVED as well as Lee Tamahori’s DEVIL’S DOUBLE, we were commissioned to do an interview and video portrait we did for Vogue Italia, out on August 1st 2011. Here is an exclusive teaser out-take, where Ludivine plays for us the imagined role of TERMINATRICE, in a Versace dress.

    TERMINATRICE. Music OUTLANDS by Daft Punk.

    Set to Daft Punk’s TRON soundtrack, TERMINATRICE is one of the 5 teasers René and I directed for the video portrait of Ludivine. Set in the new and newly-starred Jean-François Piège gastronomic restaurant (designed by India Mahdavi and M/M) and adjoining Thoumieux hotel, Ludivine offered to us one very full day of her very full schedule between 2 trips to Cannes…

    The last thing that stimulated her ? Meeting Robert de Niro.
    More on August 1st.

    DREAM. Music ANTIPHONIE by Discodeine. Dress, Valentino. Launched on Un Nouveau Ideal. 

    ALIEN. Music GLASS JAR by Gang Gang Dance. Trench, Burberry. Launched on Fashion Copious. 

    CRISE. Music SECRETLY by Skung Anansie. Dress, Fendi. Launched on Jules Fashion. 

    IT GIRL. Music YOU KNOW WHAT I MEAN by Cults. Top, Giambatista Valli. Launched on Hiromi's Journal inTime. 

    DIRECTED by Antoine Asseraf & René Habermacher

    STYLED by Lydia Lobe Elessa
    Assisted by Edwina Ramade

    HAIR by Karin Bigler @ D and V
    MAKE-UP by Yacine Diallo @ Artlist

    PRODUCTION The Stimuleye
    Production Assistant – Lynsey Peisinger

    FILMED AT Hotel Thoumieux, Paris

    THANK YOU
    Jean-François Piège
    Lisa Kajita
    First Floor

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  • EYE CANDY

    Presenting… LA MAIN DANS LE SAC / CAUGHT RED HANDED

    - by admin

    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 ?

     

    THE STIMULEYE
    presents

    A Short Film With
    JAMIN PUECH

    for
    VOGUE ITALIA

    LA MAIN DANS LE SAC
    “Caught red-handed”

    Directed by
    Antoine Asseraf & René Habermacher

    Styling by
    Michaela Dosamantes
    Assisted by
    Alexia Hollinger

    Starring
    Quinta Witzel @ IMG Paris

    Make-Up
    Tracy Alfajora

    Hair
    Romina Manenti @ Airport
    Assisted by
    Masako Hayashi

    Filmed at
    Prunier, Paris

    Music by
    Shane Aspegren & Lori Schonberg
    of
    The Berg Sans Nipple

    Thank You:
    Lisa Kajita
    Nicolas Barruyer
    Erotokritos Antoniadis
    Yoann Lemoine

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  • EYE 2 EYE

    a screen within a screen – SUZIE Q & LEO SIBONI

    - by antoine

    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.

    
    THE HEALING POWER OF ELECTRICITY, in UNDER THE INFLUENCE magazine, by Suzie Q & 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.

    
    SCREENPLAY, by Suzie Q & Leo Siboni.

    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.
    (more…)

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  • EYE 2 EYE

    justin anderson – not another dream sequence

    - by antoine

    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

    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.

    planks by justin anderson

    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.
    (more…)

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  • EYE CANDY

    TEASER – LA MAIN DANS LE SAC

    - by admin

    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”.

    La Main Dans Le Sac – Website
    La Main Dans Le Sac – YouTube Teaser

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  • EYE CANDY

    LA MAIN DANS LE SAC for Vogue Italia

    - by antoine

    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.



    Dress and belt by Lanvin, necklace and bracelet by Andra Neen. Photo by René Habermacher.
    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.com

    Build with Erosion, by The Berg Sans Nipple.
    Special performance at Musée du Quai Branly on June 12, 2011.
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  • EYE CANDY

    coming soon: la main dans le sac

    - by antoine

    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

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  • EYE 2 EYE

    I COULD BE YOURS ! jean-paul lespagnard

    - by antoine

    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!
    (more…)

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  • RETINA

    25 Hyères + POP

    - by antoine

    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
    25 Hyères
    2010 Hyères International Fashion + Photography Festival

    Video and interview on THE POP.COM

    A film by Antoine Asseraf

    Music by
    Lori Schonberg

    Voice-over by
    Géraldine Frainais
    James Deeny

    Filmed by
    Antoine Asseraf
    Jason Last
    Yoann Lemoine

    Edited by
    Antoine Asseraf
    NEUE / Axelle Zecevic
    Yoann Lemoine

    Interviews by
    Antoine Asseraf
    Jason Last
    Diane Pernet

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  • EYE CANDY

    The Stimuleye project : Armani Trilogy by Justin Anderson

    - by antoine

    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.

    Armani Chase Trilogy
    Directed by Justin Anderson
    Creative Direction by Antoine Asseraf / The Stimuleye
    Production: Ponyboy / Queen of Spades

    Starring: Theoharris Ioannidis, Dafne, Aline, Nastasia and Bo.

    Styling/Fashion director: Isabelle Kountoure
    Assisted by Tui Lin

    Hair: Panos
    Make-up: Yannis Siskos

    Producer: Jason Scanlon
    DoP: Ross McLennan
    Local producers: Angela Tsepas/Andreas Mitsopoulos

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