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”.
The other day, Stimuleye Erotokritos Antoniadis swung by with a little treasure: when working as a stagiaire at Thierry Mugler, he was asked to snap some backstage pictures of George Michael’s TOO FUNKY video shoot.
And here they were – George, Thierry, the Lindas and Naomis, Shana, Eva, Rossy de Palma, Ivana Trump, Diane Brill, Lypsinka, Jeff Stryker and so on.
George Michael and Linda Evangelista on set of TOO FUNKY posing for the official picture. Photo by Erotokritos
The song features a sample from The Graduate; Anne Bancroft’s line of “Would you like me to seduce you? Is that what you’re trying to tell me?” – and YES we were, then and now, instantly!
When this video was released in 1992, it was both the epitome of a glamorous era stretching from 1988 to 1992,
and a marker for the end of said era.
An era that was no longer 80’s and yet not fully 90’s. What to call it ?
“80’s and a half” ? that would suggest that this era was an extension of the 80’s, when in fact it was more of a break…
We settled for the “Mini Decade,” a 4-year period with visual, musical and cultural codes so unique that they deserved a decade of their own.
As a teaser for our Mini-Decade series, here is a teaser, pictures which have been sitting in a box, unseen, for over 2 decades…
Stay tuned for more.
Left: Ivana Trump, Thierry Mugler and Lypsinka stand in for another snap Right: Linda Evangelista, always ready for her 'look'. Photos by Erotokritos
Richard Gray is a Taurean – but don’t hold that against him. He studied modern languages at University but hasn’t spoken a word of it since. He loves fashion and carbs and not necessarily in that order.
He was recently followed into the men’s room at Claridges by Morrissey but nothing came of it. Richard owns his own teeth. He is not a virgin. He is however verging on the ridiculous. He writes lots of stuff on fashion for Sunday Times Style, 10 and 10 Men. He’s open to bribery.
Richard desperately tries to hide a hang over behind his shades in Barcelona at the opening of the W hotel. Photograph by Alastair Jamieson
RICHARD GRAY: Here I am
FILEP MOTWARY: Oh hi there, how are you Richard?
I’m great thank you. And you? This damn London drizzle is doing nothing for my hair however. It looks like a damn (Prada) mohair jumper…
Hahah, I saw your video review on Prada’s summer 2011 collection a few minutes ago. I was impressed how you pointed out its references. Really it reminded you of menswear?
And there it is: look at my forehead – it’s fuking scrotal! Anyway, yes, Mrs Prada says she gets dressed from the ground up – so shoes first – it’s a starting point for her. The shoes, the multi-layered ‘platforms’ took their cue from menswear, no doubt about that. The clothes, of course, came from elsewhere. BUT this perverted conceit, that cotton is a luxury fabric, is odd (in a good way). It’s political. She’s political. The price of cotton is through the roof! Rice, oil, rubber: the world’s commodity prices are skewed. This was perhaps on Mrs Prada’s mind at the time. She has a lot on her mind.
It seems that you are quite fond of Prada, why?
I think she only finds peace in original thought. There aren’t many fashion designers who share the same mind-space: Rei, Junya, Marc, Raf – we all know who they are. I also think there is something ultimately divisive about a house that caters to the bourgeois – a collective marked by conformity – yet bastardises old ideas/ideals. This is sinister. *Shiver goes down author’s spine*
I completely agree with you! On the other hand, I wish to ask you about the new and upcoming designers-if there are any since everything is fading away so rapidly. How difficult is for someone new to become an establishment these days?
Interestingly my assistant Lizzie(Hi Lizzie) went to the St Martins BA fashion design show last week. She said you could feel a move away from classics of the past two seasons and far more adventurous designs one the catwalk now. Good. I suspect however, that young design graduates have more of an eye for business than those of, say, five years ago. They recognize there’s validity in getting your clothes produced and people wearing them. And, more importantly, St Martins and London College of Fashion, the Royal College of Art etc. are now focusing more on the business of fashion. It’s still not easy for a graduate, but they are more business minded on graduation than ever before. Galliano (Yikes! I said his name) argues that talent will always be recognized, despite the difficulties?
You mean sooner or later? But, should a young creator first get a job in a big house (as a major designer once told me) or it would be better to try the solo route for starters?
Yes. He uses himself as the ultimate argument that you can fail and fail again. And finally, finally, if you keep trying, incredible talent will be recognized. Not sure how this theory goes down with those who have ended up bankrupt and broken by fashion… The route to success depends on the opportunities that come the young designer’s way. You take somebody like Christopher Kane who did things the textbook way – managed cleverly by his sister Tammy. He’s proved you can do it. He’s a great message for London fashion. Then there’s somebody like Peter Copping, who, I think is on the brink of the global recognition he deserves. He served at Louis Vuitton with Marc but kept under the radar, yet produced some wonderful designs. Now he’s doing wonderful things at Nina Ricci. Both routes can work. Both routes have their own advantages and disadvantages. One thing: being a success in the fashion design world is damn hard. “You pay in sweat!” (See start of ’80s TV horror, Fame for more inspirational advice)
I wanted to ask you, if I may, about your opinion on John Galliano, since his name came up…?
The man is clearly not well. He needs, and I hope he’s getting, help. His comments were HORRIFIC and INEXCUSABLE.
Mārīte Mastiņa and Rolands Pēterkops, the minds behind fashion brand MAREUNROL’S pulled their strings for the installation TENANTS which just closed at the Villa Noailles in Hyères, France. The Latvian duo from Riga had already won the two biggest prizes at the Hyères fashion festival in 2009, made a stunning return fashion show in 2010, but his year’s exhibition proves not only their virtuosity in fabricating elegant and wearable pieces of clothing, but also their ability to create a much broader, often dark and poetic universe.
RENÉ HABERMACHER: what was the point of departure for this installation and the inspiration behind it?
ROLANDS PETERKOPS & MARITE MASTINA: When we start to work on a new collection, we always make the designs first to fit on miniature mannequins. And each time we both have discussed the idea of beautiful dolls as models so we could our ideas of garments to shoot as small style photos and to show them as the newest collection. That is why this idea came naturally.
The advantage of the small scale is that we have the freedom of implement anything, all our ideas without leaving out any of those costing an absolute fortune to make. Visual inspiration came in recent years moving from one apartment to another. That’s why our project is called TENANTS. As any of our works, this work also reflects our experience.
The inspiration for the installation came from artists’ constant moving from one apartment to another, from one neighbors to others, from one room to next and due to moving to new environment always makes you get used to new mystical noises, strange objects, loud or too quiet neighbors and other peculiarities connected with the apartment. But of course, with time you get used to all that. However, that all provoked thinking of how space influences those living in it and vice versa, and whether all these things in one way or another influence people and whether one imperceptibly starts to change, and whether this oddity is just in one’s mind, not reality. This is how emerged the idea for the installation with people/ tenants who dwell in their apartments and become as one with it. All their belongings are like a huge enormous shell/ attire which tell all their peculiarities, interests, specific hobbies and many other things.
These stories are made as small installations which show short sketches from character’s daily life. They communicate through costumes, scenography, sound and light. It is important that not only costumes and puppets are made for the installation, but also environment/ scenography, where they can express themselves and show the intended story, by forming a figurative composition which is combined with a surreal fantasy, mystique and a pinch of wit.
Mārīte Mastiņa and Rolands Pēterkops: Tableau from the exhibition TENANTS. The dolls character is inspired and modeled after Keith Richards.
Can you explain me the process of planning and making the installations?
First we had a few visions of the project, then we started working on sketches slowly crystallyzing the characters. At the same time we started looking for people who could make the puppets we had envisaged. It was really important for us to find a puppet master who could make the dolls with movable head and arms. It is really important for our Prague project.
One of the reasons we’ve been away recently… La Main Dans Le Sac, a film commissioned by Vogue Italia.
The Stimuleye presents
A Short Film With Jamin Puech
for Vogue Italia
Styling by Michaela Dosamantes
Assisted by Alexia Hollinger
Starring Quinta Witzel @ IMG Paris
Make-Up by Tracy Alfajora
Hair by Romina Manenti @ Artlist
Assisted by Masako Hayashi
Filmed at Prunier, Paris
Music by Shane Aspegren & Lori Schonberg of The Berg Sans Nipple
This week, under the helm of curator Takafumi Kawasaki, 18 hot Japanese fashion brands and 10 photographers team up in Tokyo for SAVE TOKYO CREATION. As the official Tokyo fashion week was cancelled due to the recent events, stylist Takafumi Kawasaki initiated this show to give young designers an opportunity showing their collections from May 27th to 29th at EYE OF GYRE, Omotesando, Tokyo. Accompanying the show, artworks by Tokyo Posse ENLIGHTMENT will be on display, and a fanzine produced.
The 18 designers produced special pieces for the project to be auctioned for donation. Among the designers showing, is much beloved Jun Takahashi for UNDERCOVER, YOSHIKO CREATION, famous for her unique pieces to Lady Gaga, TOGA, N.HOOLYWOOD and emerging designer JOHN LAWRENCE SULLIVAN, among others as ANREALAGE, G.V.G.V., KEITA MARUYAMA TOKYO PARIS, MAME, MINTDESIGNS, SACAI, SOMARTA, KOLOR, PHENOMENON, TAKAHIROMIYASHITATHESOLOIST, ISVIM, WHITE MOUNTAINEERING and YOSHIO KUBO.
The designers AW 2010 designs were picked up by Photographers and lensed especially for that show: Akira Kitajima, Chikashi Kasai, Tajima Kazunali, Keiichi Nitta, Leslie Kee & Ryan Chan, Masahiro Shoda, By P.M. Ken, Yasumasa Yonehara and Yasuyuki Takaki.
The Stimuleye spoke with Takafumi Kawasaki
RENÉ HABERMACHER: What was your intention with this exhibit?
TAKAFUMI KAWASAKI: SAVE TOKYO CREATION supported by NARS is a big feature of Japanese fashion designers, most of whom lost a chance to exhibit their 2011AW collection because of the earthquake impact.
It’s a charity but not a money-donated oriented.
I wanted to provide Japanese fashion designers a chance to show their 2011AW collection that could not be shown on catwalk because of the earthquake.
As a fashion director & stylist, I believe it is a form of charity that only I can produce to provide those designers with the opportunity to present their creation in public.
How did the earthquake and its aftermath affect you personally?
The earthquake made me find the huge scepticism about Japanese government and the power of citizens. I would say I feel my approach to fashion and my styling works became more clearer and straight forward.
It may sound a little funny but I became more optimistic about the life. What already happened, happened, even if it’s a massive tragedy, there is no way to change or dismiss it. I feel there is no point to keep crying over that. But what we should do now, is to step forward.
Do you feel there is a different mood now among japanese society? I am asking as Japanese people expressing in the past to feeling alienated to their fellow countrymen…
Yes, “alienation” is a serious issue after the quake. Japanese people appear to be longing for the tightly-bound feeling.
Not only real communication and society, but also they are keen to make bonds with others in virtual community, such as Facebook, Twitter and other numerous social media networks. Some people are obsessed about that too much.
Generally speaking, however, I think the Japanese people have found what is important and what is less in life. I believe this is a great chance to reform the typical Japanese convenience-oriented life.They appear to have started making their lives a little slower and calmer, too.
It’s really a big shift of the country.
What is the last thing that stimulated you?
I would say THE EARTHQUAKE in Japan.
The exhibition is held from May 27th to 29th at EYE OF GYRE, Omotesando, Tokyo.
Wherever Sandra Backlund picks her thread it will lead to an incomparable result. That earned her the jury prize in Hyères 2008 and with it international recognition, on which Louis Vuitton had bought in shortly after. The dark Swede impresses with knit works that go far beyond the discipline of fashion and render the use of traditional artisan technique to visionary, body oriented sculptures. Looking at her latest installation CUPRUM 2010, it comes not as a surprise she had studied art history.
The Piece made entirely of finest copper yarn, was commissioned by the Villa Noailles for this years exhibition.
The Stimuleye talked with Sandra about here recent work. The conversation was shortly interrupted by yet another request from the international glitteratti circuit: Sandra is truly knitting to the top!
Sandra Backlund's installation CUPRUM 2010 at the Villa Noailles' pigeonnier. Photography by René Habermacher
RENÉ HABERMACHER: What was the point of departure for this installation and the inspiration behind it?
SANDRA BACKLUND: Everything took off from the position they gave me for my exhibition, the Pigeon House in the north garden of Villa Noailles. I think it’s a very beautiful space, so I wanted to use it as a frame, rather then just a location. Because the house is partly open and the exhibition would run for one month outside, I had to carefully consider what material to work with. Already for my current S/S 2011 collection I had been working with a metal yarn made from 100% copper, so in a way it came natural to me to continue exploring that material. With a history of use that is at least 10 000 years old, copper is an important part of both our history and the future. It’s one of the world’s most useful natural resources, 100% recyclable without any loss of quality and it’s estimated that 80% of the copper ever mined, is still in use today. In a way I feel like the story of copper as a material and the way I try to approach fashion go very well together.
Can you explain me the process of planning, and the making of the dress?
As always, the handicraft techniques and the human body is the main starting point for me. I never sketch, instead I work with a three dimensional collage method where I develop some basic bricks that I multiply and attach to each other in different ways to discover the silhouette. The only thing I decided already from the beginning was that I wanted some kind of link between the signature piece (the paper origami top) of my winning collection from the 22nd edition of the festival in 2007. Because of the different techniques, materials and colours and because of the process, I guess in the end the link is not so obvious, but there is a few things that is still noticeable, like the silhouette and the size gradings for example.
I’ve witnessed you working day and night on this piece – do you have a clue how many hours went into the making?
To be honest, I think that this is the longest piece I have ever worked on. First of all, crochet is always extremely time consuming, especially when it’s layered like this. The copper tape is also very fragile and ones it’s used it, it’s impossible to change, so I had let go of the control and in a way let faith guide me to the end result. If we are talking hours, my estimation is around 500-600 hours.
Pieces of copper yarn in the the making, and Sandra at the exhibition space. Photography by René Habermacher
Your pieces are often very sculptural, with the artisan work involved, i wonder wether you consider to put your work in a different context than fashion?
Of course I have consider this and many times questioned if fashion is really the right context for my work. As you said, my clothes are always quite sculptural and I also use methods when working that is more close to a sculptor’s, then a tailor’s. But somehow I always come back to the human body. I like to consciously dress and undress different parts of the body and I am very fascinated by all the ways highlight, distort and transform the natural silhouette with clothes and accessories. For me fashion is also one of the most democratic art forms, something that we are all related to. You don’t have to be a designer or a stylist to use clothes as a creative statement, but people in general could of course be more self-governed when t comes to fashion.
To me it seems difficult to render your unique approach into industrial production. How are your experiences with that?
About two years ago I was introduced to the long tradition of Italian top knitwear and apparel production. The challenge was to add to my collections something inspired by my hand made pieces that could require only a limited amount of manual work. It was of course a big step for me to go from working alone in my studio, inventing pieces while doing them myself by hand, to suddenly be working in a team of experts within a field of fashion that I never before have had the chance to get to know. I was overwhelmed by all the possibilities I saw and even though I will never give up doing my hand knitted signature pieces, these production tests really made me understand that there is ways to develop my collections that I never thought was possible.
What is this festival of Hyères to you? How was it to win – and to be back for this project?
The whole event is really an experience for life when you’re a young designer, all the people you meet and the rush from showing your work in a context like that. I didn’t know about the festival before I met Diane Pernet and she suggested that I should apply. I was crazy happy already when I was selected for the finale and then the wind up… It’s really an important moment in my career so far and to be back again this year and meet everyone was kind of a flash back. When I think about it, I’m still a bit shocked that I was the winner.
What’s up next?
F/W 2011-2012 production, S/S 2012 collection and some up coming exhibitions.
Further information on Sandra Backlund: sandrabacklund.com
The Exhibition at the Villa Noailles in Hyeres runs throughout May until the 29th
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
The ascension of young South African artist Athi-Patra Ruga came fast under radar of International attention.
His work, that is often characterized by a dislocated humor, is transcending the divides between fashion, performance and photography and interrogates the body in relation to society, ideology and politics, subverting the western ‘art library’ as he calls it.
The Stimuleye talks to charming Athi-Patra, who was recently featured in the Phaidon book ‘Younger Than Jesus’, a directory of the world’s best artists under the age of 33, about his work and influences.
Athi Patra Ruga’s intervention for the X-Homes Hillbrow project with the character of ILUWANE. Photography by Nadine Hutton
RENÉ HABERMACHER: Where are you right now?
ATHI-PATRA RUGA: I’m in my Cape Town studio editing my latest tapestry series and fighting my cats… simultaneously. [laughs] I’m big on cat competitions… my two Russian blues Azange and Shadofax will be taking part so we have been grooming them like crazy… with a few scratches to prove it… hehe.
You’ve just came back from a break – have you got an idea already on what to work on?
At the moment I will be spending the next year creating quietly an extensive body of work revolving around a series of portraits that I will be rendering in tapestry. I have been doing a lot of sittings with various people and doing preliminary sketches. I am editing those now to get started in the next month. I was thinking of titles to name this body or the final exhibition etc: What do you think of :…the do’s and dont’s of bodyworship [laughs]
I am very interested in the power-relations involved in portraiture… especially in response to the ethnographic history involved. I am always concerned with who or what element in the image takes more precedents/importance… the technique or the seater or the artists ego. That argument in my head leads to some lovely renderings.
Your work is known to straddle the divides between fashion, performance and many more disciplines. What is your ultimate goal?
Transcending all boundaries that have been put on who and what one should create.
The monogram you use ‘AP’, seems to be derived from Albrecht Dürer?
Nice spotting, yes Dürer is the reference. A big part of the work is appropriation and ultimately subverting the “western art library”. In this case I am always interested in this “I am the one and only”, self-centric way of creating or rather I am totally disturbed by it. The logo is for Athi-Patra Ruga and studios cc. The name of my company and studio. The “and studio” part alludes to the idea that collaboration forms a big part of my practice. I would like to continue with this point.
Does Athi-Patra mean anything specific?
No, it’s a brand like others. And a brand is the highest promise of good quality and superior concept.
It’s two nicknames of my birth name. I’ve been called those names all my life really. It’s as old as I can remember.
So where does the “evil little boy”, as you called yourself come from?
Well I don’t know… I embrace my evils and vices I suppose. As to where it comes from, let’s just say there are a lot of boys and girls think so… at some points I tend to believe it. [laughs]
I was born in a Bantustan, which is a puppet state created by the apartheid government, a dictatorship. In March 1984, on my 13th birthday, Biggie Smalls died. My mom was a midwife, my dad a sports journalist. My parents were gone for long stretches of time and I had to defend myself. It seemed natural, it was one big ball of trauma. I grew up in the townships and during the strikes and boycotts. Many kids [or rather young adults] used to brutalise us for going to suburban/private schools. I spent most of my time indoors as many kids could not cope with me: I was violent in a violent time. Both at home and outside, the country was going through a revolution.
Athi-Patra Ruga: "Idol Death Mask Series" 2009, Modeled Paper, Approx. 27cm x 23cm each Image courtesy of the artist and whatiftheworld gallery
Semi-live from Hyères, it’s Hyères Alive !
Hyères 2011 Fashion Shows.
Hyères 2011 Award Ceremony.
Directed by Antoine Asseraf
Filmed by Antoine Asseraf + Jason Last
Edited and post-produced by Clément Roncier
Voice and coordination by Lynsey Peisinger
Sound Design by Lori Schonberg
Below our office window in the mythical Villa Noailles, people sprawl in the gardens, visit exhibits and discover new designers and photographers. Creative stimulation everywhere. The yearly invasion of Hyères, a sleepy town in the Côte d’Azur, is at its peak, with this micro-festival gaining even more attention by the international press.
On the secluded terrasse in front of us, Raf Simons, the President of this year’s jury, sits in the shade of an umbrella having conversations with numerous journalists, while simultaneously the crowds gather and mingle: headhunters, designers, buyers…
Christopher Kane is here, teamed up with Carla Sozzani of Vogue Italia, Jack and Lazaro of Proenza Schouler came in from NY to have a look at the 10 designers’ work.
All Photographs by René Habermacher
“It’s very much about contrast: My work is always focused around the vulnerability of women. I play with it, I try to hide it or extend, to show it or protect it. This collection is really about my most vulnerable moment because I ended love after nine years of relationship. I thought I should speak about this in my own language which is fashion. In the beginning it was all black. But later on in the process I was getting better and was seeing the good things about my situation:
Life goes on and there is so much in the world, so I said to myself don’t worry so much! The world is sad enough, so bring some light!
So I brought that into the collection by using white and Swarovski elements and my favorite materials silks and leathers, to work the contrast between fluidity and the protective. The silhouette is very tall from the waist on, so it looks a little surreal and dramatic.”
“The last thing that stimulated me was just my surroundings I guess. I am having a lot of fun lately and I am really enjoying this festival: it gives me energy and I want to move on and work and do something with this feeling of being selected and being a little proud to be so. It’s a good feeling, so why not do something with it.”
“We always help each other on our own collections, but this is our first official collaboration.
We met in high school while studying for our baccalaureate in applied arts. After that we pursued fashion design in different schools–I was at Duperre and Juliette was at Chardon Savard. We lived one year apart and then moved in together in order work together. In fact, the collection that we are presenting in Hyères, is a collection that we made during the time that we shared an apartment.
As for the collection…our starting point was a scarecrow. Using the image of the scarecrow we started to explore the feminine silhouette. Eventually we turned this silhouette upside-down and reworked all of the different facets of it. We were also inspired by cubism so, in the collection, there is the idea of a double body–like one body superimposed on another. For example the shoulders have large proportions and are backwards, the skirts are divided in two and are skewed –so all of the body parts are somehow decontextualized. And we see the real body underneath or in the back, usually highlighted with bright colors. All of this creates disproportional, unhinged silhouettes. Plus, the wooden shoes for the collection create a strange walk”.
“The last thing that stimulated us — Well…the festival! And getting the chance to show our first collaboration. Since we were at different schools, we never had the chance to realize a project together and it is the energy of our duo that motivated us”.
“I try to make a spirit army with no nations and no faces. My collection is a lot about shame and pride and the feeling of guilt.
It’s also about how to use the past in the present and the future and learn from it. This is my graduation collection. At the university in Berlin we do one each semester but this is the biggest one and the first with so many pieces. Though it’s a men’s collection, I showed it on women as well in the past.”
“The last thing that stimulated me was the film HOLY MOUNTAIN. That’s one of my favorite films. But right now I am looking a lot at Easter bunnies because I saw DONNIE DARKO. I use a lot of film and music in my work and literature.
Holy Mountain was part of the inspiration for this collection but mostly the colonial history of my home country Denmark. Because when I moved to Germany I found out I didn’t know anything about it, so the research for the collection started in Iceland. I went for a residency to Reykjavik and collected pieces of each culture that was under Denmark. It’s more like a typology of cultural pieces that I tried to put together.”
“The collection that I am presenting is the collection that I presented for my graduation at Lacambre last year. It’s called CEMETERIES ARE FIELDS OF FLOWERS. I am using a lot elements from cemeteries that interest me like wood, tombstones, mausoleums, bouquets of flowers, the contrast between wrought iron structures and the landscape. These elements, reworked in the materials used for the collection, provided me with really organic shapes–somewhat like trees that climb stones in the cemetery for example. There is a lot of embroidery in the collection as well.
Here in Hyères the defilés are much more structured then at Lacambre. But actually, my show at Lacambre was one of the more simple, subdued shows, so the Hyères show fits really well for me. I like when it is rather simple.”
“The last thing that stimulated me last: I want to finish my collection for Hyères! I am developing new pieces reworking some of the existing pieces and I think it will add a lot to the collection and that it will be better.”
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
Last month, the Gaïté Lyrique digital creation center opened its doors in Paris, after many years of construction.
A companion shop also opened next to the gorgeous building : the AMUSEMENT creative shop.
We sat down with Abdel Bounane, who is in charge of the store but also the founder and editor-in-chief of AMUSEMENT magazine.
Antoine Asseraf : So where are we, there’s a store downstairs, but this is something else…
Abdel Bounane: This is the space where soon we will offer services and events linked to the store, and to the magazine.
The service part is probably the most interesting, because this is going to be the most original part.
For the store we try to have some original products, but for services, starting in May, you’ll be able to order a tailor-made video game.
You make an appointment, meet with one of our consultants, and give your craziest ideas regarding what you want from a video game, and we’ll be able to materialize it. It can take a few days, a few weeks, or sometimes a few months, it can cost a few hundred or a few thousand euros.
It’s a world first.
It answers the question “if you want to make a space linked to the digital world, how do you offer something original and human ?”
Something that doesn’t lag behind the virtual world.
Exactly. What is the use of being in the real world when you’re talking about the virtual ?
So for me, it is the meeting with people, the ability to explain face to face your ideas, a human and interactive touch, it’s fundamentally linked to a physical place. It wouldn’t be the same thing by Skype.
That’s one part of the services we will offer.
We will also offer a gallery side.
People have been trying to sell digital art for decades now, and they haven’t really been able to, except for installations which hard to sustain. But now tablets are here, and I feel that tablets are a good media for that art, like a canvas.
That makes me think of that bloom application for iPhone, by Brian Eno…
Well, Brian Eno’s been here !
What we’re developing is the sell of pieces on tablets, offline, and also an online store of limited edition digital content, with a certificate of authenticity on our servers.
How do you co-exist with the Gaïté Lyrique proper?
Well with the digital art we’re going to be working a lot with artists from the Gaïté, such as Matt Pyke/Universal Everything,
They do a lot of cool particle effects, very pop, very colorful, and they’re don’t want something that is all over the internet, just something that is visible physically at the Gaïté, because it’s a site-specific installation, and potentially sold digitally.
That’s where the logic of the Gaïté comes in, it’s not a museum, it’s a creation center.
So it’s perfect for us, we become the distributors of content that cannot be found elsewhere, and digital limited edition fits the Gaïté perfectly.
We’re not only the commercial arm of the Gaïté, we’re here to play with new ways of crossing art and digital, video games and one-to-one distribution, or take a mass media like video games and make it personalized, how do me make something pop more haute ?
How to legitimize a physical location, with launches, workshops, etc.
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
One of our favorite events here at The Stimuleye is the Hyères Fashion & Photography Festival, held yearly at the Villa Noailles. Since 2007, each year the festival asks me to make a teaser to give a glimpse of the upcoming festivities.
There are always so many things happening simultaneously at the festival, that it’s hard to follow it all. This year shouldn’t be any different, with the addition of a new, long-in-the-making permanent exhibit about Charles and Marie-Laure de Noailles, the Villa’s inhabitants and art patrons.
So, because I thought it would be good to start at the beginning, go through the middle, and stop at the end, here’s everything you need to know about Hyères in 2 minutes 6 seconds to be ready for the 26th edition.
The Stimuleye crew will be going to Hyères…more to come soon. See you there ?
Hyères Fashion & Photography Festival,
April 29 – May 2, 2011
Villa Noailles, Hyères
Exhibits until May 29th.
An artist or a milliner, a sculptor or a fashion creative, Rein Vollenga is a true artist, teetering between both fields with optimistic and unconditional inspiration.
Ever since he first revealed his works to the public back in 2007, Dutch Vollenga’s career seems unstoppable, counting numerous collaborations with the likes of Lady Gaga, MUGLER, Johnny Woo, Marcel Fengler, Mc Kinki, Tiga…
His works have been triumphantly presented in the most prestigious publications like Italian Vogue, Interview Magazine, Dazed, i-D, Vman as well as was featured in notorious web links like ShowStudio, Style.com and The New York Times not to mention Museums like Neues.
Two days before the opening night featuring his participation at “I WANNA DANCE WITH SOMEBODY” (a project headed by Lars Laumann presented at The Hague’s West Gallery) I had a chat with him for The Stimuleye. Lets dive in our conversation at the moment I was trying to explain the dramatic changes Greece is going through…
FILEP MOTWARY: So, yes back to drama….
REIN VOLLENGA: Drama is always a good source for making art.
FilepMotwary: How does drama reflect in your work then? The forms you create are not happy yet neither sad. But there is always some kind of expression in them that leads one to wonder what the situation behind those faces is about…
ReinVollenga: My work is never a reference to just one specific thought, but if I can somehow invoke emotion, make people think or stimulate and inspire somebody then I’m happy.
I don’t want to teach or force people to learn something, as Art is a really personal experience, a fantasy or illusion. Artists should treasure that and exclude their own vanity in spite of excluding the viewer. I feel I don’t need to change the world either, neither can I.
I can only interact or have a dialogue with the viewer through what I create. I would love to change the world but it doesn’t make sense, forcing people to believe in something they don’t understand.
In my sculptures I like to attract the viewer through the beauty reflected in them. By looking closely at the piece, it will reveal by itself, something that might not be so pleasant at the end. This is the kind of contrast I like!
FilepMotwary: I like your way of thinking. Yohji Yamamoto once stated, “‘an artist is somebody who creates things that you don’t need’.” How do you see art?
Rein Vollenga: Art to me is an experience, Illusion or fantasy. It’s something that triggers your mind and keep you fantasizing.
REIN VOLLENGA: Untitled, 2008, Mixed Media and Untitled, 2007, Mixed Media
The hidden beat behind a fashion collection is often set by textile design. Less in the lime light than fashion designers, textile designers are the often forgotten storytellers. Artists behind the cut.
I recently sat down with one such artist, Fabien Blachier, who has developed a culture of textile prints in Shanghai Tang, a fashion house formerly known for a single style of qi pao.
Fabien Blachier by Thuy Tien Crampton.
Laying foundations for a collection, textile designers aim to build a platform that will inspire fellow designers of clothes, furniture to accessories.
Few fashion houses have invested in in-house textile designers. Those that have – Kenzo, Etro, Marni, Dries Van Noten and Shanghai Tang – use textile prints as part of their DNA.
At Shanghai Tang, Fabien uses textiles to put classic Chinese shapes in a new light.
“As a Chinese luxury brand targeting a global audience, we constantly seek to balance modernity and tradition, East and West,” Fabien said. “Above all, we don’t want to create cliché-style Chinese costumes.”
Inspired by the film “In The Mood For Love,” Fabien recently created a collection that was very graphic and bi-color. Not very Chinese.
“In 1960s Hong Kong, the Chinese imported Western fabric for their qi pao,” Fabien said. “I wanted to give a flavor for the era.”
Shanghai Tang textile print: SS 2010/2011. Inspired by "In The Mood For Love".
Sadly, even the most beautiful prints can get lost in the hands of a bad fashion designer. Designers are more at ease employing color, Fabien said, but few appreciate or understand how to work with textile prints.
“I have experienced disappointment quite a few times through misuse of beautiful fabric,” Fabien said. “Fashion designers need to know how to break a print, mistreat it, place it, give it shape.”
“Ideally, textile and fashion designers should work together to balance pattern and form,” Fabien said.
“Dries Van Noten, Marni, Etro, Hermes are among the few fashion houses where patterns are revered and mastered. They know how to contrast small and larger patterns, embrace opulence, use colors, and build up texture,” Fabien added.
For this year’s Spring-Summer collection, Fabien focused on the Miao hilltribe for inspiration. An ethnic group scattered along China’s mountainous border with Southeast Asia, the Miao (also known as the Meo or Hmong) wear indigo outfits with intricately sewn embroidery.
“The Miao theme has never been developed by designers, but they are rich with creativity and art, ranging from jewelry to original patterns,” Fabien said.
Throughout the collection Fabien used butterflies, a Miao symbol of beauty. An additional benefit is that Miao outfits are often square-shaped, which highlights print patterns.
Shanghai Tang textile print: SS 2011/2012. Inspired by Miao hilltribe.
Shanghai Tang textile print: AW 2010/2011. Inspired by jade jewelry.
Prior to Asia, Fabien was a textile designer at Kenzo, a fashion house known for its reverence and mastery of textile prints and colors.
Attracted to the East, Fabien moved to Hong Kong five years ago, working at Shanghai Tang. There, he has nurtured a real print culture.
The 26th edition of the Hyères International Fashion & Photography Festival is fast approaching, and soon our film on the 25th edition will be out. Here’s a quick preview, featuring a visit of Walter Pfeiffer’s exhibition by Michel Mallard…
Excerpt of upcoming film "25 Hyères". by Antoine Asseraf
Dries Van Noten, Steven Klein, Oliviero Toscani, Theo Mercier and much more in the full documentary.
MATTHIAS VRIENS McGRATH EXPLAINS TO FILEP MOTWARY EVERYTHING ABOUT BL33N, HIS NEW PROJECT ALONG WITH HIS HUSBAND DONOVAN-
Its been almost a decade since Dutch magazine closed down and almost six years since my last official conversation with Matthias Vriens. In between and later, many emails regarding our personal news, ideas and hopes took place.
Matthias recently married to Donovan and since then, they both sign as Vriens-McGrath. For a while now I was informed about a new project they have been preparing, BL33N, but finally the mystery is solved, since our last night’s conversation..
BL33N (pronounced BLEEN) is a project by Donovan and Matthias which will oficially launch in May 2011. Since yesterday a rather tantalizingly sexy trailer hit the web in order to prepare us for what’s coming. Bl33n will be an online magazine experience, where all material shot by Donovan and Matthias as a team will support the t-shirts that they sell.
The first collection is inspired by the body. Its design placed inside the shirt, when turned upside down will become a mask when worn over the face while others will include hair prints on shoulders and back that look like heavy metal or jewelry printed in mirror silver and latex. Printing technics will include latex, glitter. Their aim is to open up to a world wide collaboration of people connecting globally and will include a lot of world travel with the brand, while promoting freedom for all.
“Filep, free, freedom is something we take for granted and not available to all of us. Such an abstract, intellectual property, yet essential for all. We would like to promote freedom for all and with bl33n we intend to do just that. Part of our profit will go to promote freedom.”
FILEP MOTWARY: So Matthias,how did you come up with the idea of BL33N?
MATTHIAS VRIENS-MCGRATH: By accident via google, we found bleen, then bought intellectual property of bl33n.
You were one of the founders of published bible DUTCH MAGAZINE back in the late 90’s and early 00’s. How do you see yourself creating a web-platform?
We are just doing it… and take it from there. As we both have never been one to over-think or over intellectualize matters.
Whats the web’s real power today regarding fashion?
I believe pretty strong, information is scattered around in seconds, no where to hide. As horrid as it can be, once embraced it’s pretty cool and exciting.
Your new project along with your huspand surrounds a variety of actions including orthologic actions like promoting ideas like “freedom for all”. What do you really mean with this?
Our believes are visual delights and as simple as that might seem, the human body in all of it’s glory remains a struggle. Nudity as a metaphor for freedom and its something we all have, yet not available to all of us. Seems simple no…?
I would like to know more about the t-shirt collection you are preparing?
The first collection relates -again- to the body. Monster faces, printed upside down, inside out, become masks when pulled over your head. hair prints draped over back and shoulders printed in latex become ornamental, sculptural jewelry. There will be several collages-shirts that connect to the contemporary art world, while others are printed with the BL33N logo placed on parts of the body that become ‘questionable’
Are you thinking or extent it to a complete collection in the coming future?
Yes, both Donovan and feel strongly about underwear for example, but all in time…
Marc Jacobs’ tour-de-force ending for Paris Fashion Week, featuring handcuffs, elevators, and some obsessive ladies, almost made everyone forget about the Galliano debacle. The image now engraved in everyone’s mind is that of Kate Moss closing the Night Porter-style show, cigarette in mouth. But however powerful it was to see it live, somehow this image had already been floating in collective consciousness…
“Kate” by René Habermacher for Numéro Paris, Make-up by Linda Cantello.
Before he became a photographer, René Habermacher was as an illustrator — who was already a bit of a photographer. Numéro Paris, under the helm of Babeth Djian and Thomas Lenthal, frequently commissioned him fashion and beauty series made up entirely of photorealistic illustrations, “unreal” photos.
“Unreal” because there was no shooting, no camera. Only René, an idea, dozens of image references, hundreds of hours of drawing and airbrushing, and in this case, the advice of master make-up artist Linda Cantello, of Roxy Music fame.
So for this 2003 beauty series, René imagined Kate Moss as heir to Charlotte Rampling’s SS-cap-wearing and cigarette-smoking character from the 1974 film The Night Porter.
Caroline Daily: what is the first film which made an impression on you ?
Antoine Asseraf: The most striking memory for me is David Lynch’s Lost Highway.
It was my first Lynch, and the mix of glamour and goth, the changes in personality, the concept of looping, free intepretation, all left me without voice.
With David Lynch, there is always a staggering artistic direction, a mix of architecture, music, design and casting which create entirely novel worlds.
In a different register, there is also Danny Boyle’s Trainspotting, which left a mark because it’s such a violent film, but with an “english” type of violence – very different from the hollywood violence to which i had grown accustomed.