33rd INTERNATIONAL FESTIVAL OF FASHION, PHOTOGRAPHY AND FASHION ACCESSORIES IN HYÈRES
26 – 30 APRIL 2018
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Every Spring in the South of France, the Festival spotlights young promising artists in the fields of fashion, accessories and photography.
The festival proposes diverse exhibitions, professional panel discussions and three competitions. The competitions showcase 10 fashion designers, 10 accessories designers and 10 photographers selected by a jury of professionals in each field. The work of the chosen candidates is presented to the jury and the public in either fashion shows (designers) or group exhibitions (accessories designers, photographers).
On the last days of the month of April, as every Spring since 1998, the villa Noailles will once again become the epicenter for emerging photography.
Montée Noailles is closed from 17.30 to 23.00. Use the car parks in the city center (Casino, Olbia) then the shuttles service
Free shuttles from 17.00 to 22.00. Bus stop : Casino Les Palmiers, Avenue Jean Jaurès to villa Noailles, to and to the Castle car park (watched and well lit)
18.30 Opening concert in collaboration with Radio Nova and L’heure de pointe live radio show ⁓ Parvis
19.00 Grand opening of the festival and exhibition, cocktail & speeches ⁓ Parvis
Free shuttles from 10.00 to 22.00. Bus stop: Casino Les Palmiers, Avenue Jean Jaurès to villa Noailles, to and to the Castle car park (watched and well lit).
10.00 - 22.00 Opening of the villa Noailles
10.30 Yoga by The Woolmark Company ⁓ Registration required at woolmark@prconsultingparis.net limited seats ⁓ Jardin suspendu, petite villa
11.30 - 17.30 Participatory workshop Le Jardin de Lemarié with Maison Lemarié ⁓ Free access, without reservation, limited seats ⁓ Terrasse 1e étage
11.30 Deep water, dance - performance by Arthur Hoffner & Grégoire Schaller ⁓ Salon rose ⁓ Limited seats
16.00 Olivier Theyskens : Un cas d'école ! Rencontre entre Sophie Fontanel & Olivier Theyskens ⁓ Tente des rencontres
16.30 (20’) Deep water, dance - performance by Arthur Hoffner & Grégoire Schaller ⁓ Salon rose ⁓ Limited seats
17.00 Galeries Lafayette Champs Elysées : les coulisses d’un projet hors norme by Nadia Dhouib, director and Clara Cornet, director of the Création et des Achats, then discussion with Nicole Phelps, Vogue Runway director and Tim Blanks, Business of Fashion editor ⁓ Tente Rencontres
18.00 Meeting with Bettina Rheims, president of the Photography jury, and Bill Mullen then signing session ⁓ Jardin
19.30 Screening of the movie We Margiela by Menna Laura Meijer ⁓ Parvis
Free shuttles from 20.00 from the Casino Les Palmiers, Avenue Jean Jaurès to the Fashion shows.
20.30 Screening of the presentation film of the 10 Fashion Accessories designers competing for the Grand Prix du jury Accessoires de mode SWAROVSKI, produced by PSYCHO and directed by the french duet I could never be a dancer, Carine Charaire and Olivier Casamayou
⁓ Catwalk show for the 10 competing designers for the Grand Prix du jury PREMIÈRE VISION
⁓ Catwalk show for the 10 competing designers for the Prix CHLOÉ
⁓ Catwalk show for Vanessa Schindler, winner of the Grand Prix du jury PREMIÈRE VISION 2017, with the support of CHANEL Maisons d’art
Hangar de la Mouture, Salin des Pesquiers, Hyères
Only accessible with a badge and ticket
Free shuttles from 19.00 from the car park Arromanches to the Hangar de la Mouture then shuttles back to the car park Arromanches and the city-center.
20.30 Live broadcast of the fashion shows ⁓ Place Massillon, Hyères ⁓ Le Liberté, scène nationale de Toulon ⁓ Le Silencio, Paris
23.30 Inauguration of the exhibitions Portraits by Adrien Pelletier at Marais Plage and Vincent Darré & Matthieu Cosse at Reine Jane ⁓ For dinner, registration with the restaurants required
Free shuttles from 10.00 to 22.00. Bus stop: Casino Les Palmiers, Avenue Jean Jaurès to villa Noailles, to and to the Castle car park (watched and well lit).
10.00 - 22.00 Opening of the villa Noailles
10.30 - 20.00 The Formers presented by Mercedes Benz showrooms ⁓ Jardin, cour des peruches
10.30 - 16.00 Showrooms of the 10 shortlisted Fashion stylists presented by Mercedes Benz (Cloître) and the 10 shortlisted Fashion Accessories (Galerie 1) designers in competition
10.30 Yoga by The Woolmark Company ⁓ Registration required at woolmark@prconsultingparis.net limited seats ⁓Jardin suspendu, petite villa
11.15 (5’) Poésies aériennes, performance by Arnaud Caizergues ⁓ Jardin
11.30 (20’) Deep water, dance - performance by Arthur Hoffner & Grégoire Schaller ⁓ Salon rose ⁓ Limited seats
14.00 - 21.00 Participatory workshop Le Jardin de Lemarié with Maison Lemarié ⁓ Free access, without reservation, limited seats ⁓ Terrasse, 1e étage
16.00 Signing session of Portraits de ville, Toulon published by Be-pôles by Daragh Soden ⁓ Galerie 2
16.30 Signing session of Et à la fois je savais que je n’étais pas magnifique by Jon Monnard
17.00 (5’) Poésies aériennes, performance by Arnaud Caizergues ⁓ Jardin
17.30 (20’) Deep water, dance - performance by Arthur Hoffner & Grégoire Schaller ⁓ Salon rose ⁓ Limited seats
17.30 Introducing the European Plateform for Photography “Futures” and guided visit with the 10 photographers in competition ⁓ Salles voûtées
19.00 Opening of the exhibitions by Luis Alberto Rodriguez in collaboration with American Vintage and by the 10 photographers in competition for the grand prix American Vintage ⁓ Tour des Templiers, centre historique, Hyères
19.30 Screening of the movie Helmut Lang – Le maître du minimalism by Claudia Müller, in collaboration with Arte ⁓ Parvis
Free shuttles from 20.00 from the Casino Les Palmiers, Avenue Jean Jaurès to the Fashion shows.
20.30 Screening of the presentation film of the 10 Fashion Accessories designers competing for the Grand Prix du jury Accessoires de mode SWAROVSKI, produced by PSYCHO and directed by the french duet I could never be a dancer, Carine Charaire and Olivier Casamayou
⁓ Catwalk show for the 10 competing designers for the Grand Prix du jury PREMIÈRE VISION
⁓ Catwalk show for the 10 competing designers for the Prix CHLOÉ
⁓ Catwalk show for Vanessa Schindler, winner of the Grand Prix du jury PREMIÈRE VISION 2017, with the support of CHANEL Maisons d’art
Hangar de la Mouture, Salin des Pesquiers, Hyères
⁓ Only accessible with a badge and ticket
Free shuttles from 19.00 from the car park Arromanches to the Hangar de la Mouture then shuttles back to the car park Arromanches and the city-center.
20.30 Live broadcast of the fashion shows ⁓ Place Massillon, Hyères
Free shuttles from 10.00 to 19.00. Bus stop: Casino Les Palmiers, Avenue Jean Jaurès to villa Noailles, to and to the Castle car park (watched and well lit).
10.00 - 19.00 Opening of the villa Noailles
10.00 - 12.00 Showrooms of the 10 shortlisted Fashion stylists presented by Mercedes Benz (Cloître) and the 10 shortlisted Fashion Accessories designers (Galerie 1) in competition
11.00 - 12.00 Workshop by Kevin Ma with the Formers, presented by Mercedes-Benz ⁓ Tente Rencontres
11.00 - 17.30 Participatory workshop Le Jardin de Lemarié with Maison Lemarié ⁓ Free access, without reservation, limited seats ⁓ Terrasse, 1e étage
11.00 (20’) Deep water, dance - performance by Arthur Hoffner & Grégoire Schaller ⁓ Salon rose ⁓ Limited seats
13.00 - 16.00 The Formers presented by Mercedes-Benz showrooms ⁓ Jardin, cour des perruches
15.00 (20’) Deep water, dance - performance by Arthur Hoffner & Grégoire Schaller ⁓ Salon rose ⁓ Limited seats
16.30 Screening of the presentation film of the 10 Fashion Accessories designers competing for the Grand Prix du jury Accessoires de mode SWAROVSKI, produced by PSYCHO and directed by the french duet I could never be a dancer, Carine Charaire and Olivier Casamayou
⁓ Catwalk show for the 10 competing designers for the Grand Prix du jury PREMIÈRE VISION
⁓ Catwalk show for the 10 competing designers for the Prix CHLOÉ
⁓ Catwalk show for Vanessa Schindler, winner of the Grand Prix du jury PREMIÈRE VISION 2017, with the support of CHANEL Maisons d’art
Hangar de la Mouture, Salin des Pesquiers, Hyères
Only accessible with a badge and ticket
Free shuttles from 15.00 from the car park Arromanches to the Hangar de la Mouture then shuttles back to the car park Arromanches and the city-center
18.30 Awards ceremony of the 33th International Festival of Fashion, Photography and Fashion Accessories in Hyères in presence of all jury members ⁓ Hangar de la Mouture, Salin des Pesquiers, Hyères
18.30 Closing cocktail and concert surprise in collaboration with Radio Nova ⁓ Hameau des Pesquiers, Hyères
Grand Prix du jury Accessoires de mode SWAROVSKI, produced by PSYCHO and directed by the french duet I could never be a dancer, Carine Charaire and Olivier Casamayou
⁓ Catwalk show for the 10 competing designers for the Grand Prix du jury PREMIÈRE VISION
⁓ Catwalk show for the 10 competing designers for the Prix CHLOÉ
⁓ Catwalk show for Vanessa Schindler, winner of the Grand Prix du jury PREMIÈRE VISION 2017, with the support of CHANEL Maisons d’art
Hangar de la Mouture, Salin des Pesquiers, Hyères
Saturday, April 28 20h30
Grand Prix du jury Accessoires de mode SWAROVSKI, produced by PSYCHO and directed by the french duet I could never be a dancer, Carine Charaire and Olivier Casamayou
⁓ Catwalk show for the 10 competing designers for the Grand Prix du jury PREMIÈRE VISION
⁓ Catwalk show for the 10 competing designers for the Prix CHLOÉ
⁓ Catwalk show for Vanessa Schindler, winner of the Grand Prix du jury PREMIÈRE VISION 2017, with the support of CHANEL Maisons d’art
Hangar de la Mouture, Salin des Pesquiers, Hyères
Sunday, April 29 16h30
⁓ Screening of the presentation film of the 10 Fashion Accessories designers competing for the Grand Prix du jury Accessoires de mode SWAROVSKI, produced by PSYCHO and directed by the french duet I could never be a dancer, Carine Charaire and Olivier Casamayou
⁓ Catwalk show for the 10 competing designers for the Grand Prix du jury PREMIÈRE VISION
⁓ Catwalk show for the 10 competing designers for the Prix CHLOÉ
⁓ Catwalk show for Vanessa Schindler, winner of the Grand Prix du jury PREMIÈRE VISION 2017, with the support of CHANEL Maisons d’art
Hangar de la Mouture, Salin des Pesquiers, Hyères
⁓ Awards ceremony of the 33th International Festival of Fashion, Photography and Fashion Accessories in Hyères in presence of all jury members
Hangar de la Mouture, Salin des Pesquiers, Hyères
The catwalk shows are open to the public and free of charge, but the number of places available is limited.
⁓ Reservations are available only online between 18 and 22 April.
⁓ Places for Friday 27 April will be available from 8am.
⁓ Places for Saturday 28 April will be available from 12pm.
⁓ Places for Sunday 29 April will be available from 8pm.
CATWALK SHOWS - SALIN DES PESQUIERS, HYÈRES
⁓ Friday 27 April at 8.30pm
⁓ Saturday 28 April at 8.30pm
⁓ Sunday 29 April at 4.30pm
The tone of this collection is given right from the annunciation of its title, a Tatar word which inscribes the designer within the history of his people. It is a matter of contrast and balance within this unique jewellery which he crafts entirely by hand. Gold and silver come from a heritage left to him by his grandfather, to which he adds pink quartz and agate, according to him “stones offered by nature within which his most accomplished aesthetic forms are concentrated.” There is no nostalgia nor apathy before these familial and geographical presents, but rather the continuation of a cycle of life, a reactivation.
The jewellery is alive, placed within our everyday life, through the modern craftsmanship which he embues them and through the reaction of these metals within the climate and in contact with the skin; matte silver becomes oxidised whereas the gold remains intact and shiny. Inspired by Ettore Sottsass and Cleto Munari, he creates a contrasted harmony between geometrical forms, visible mechanics of attachment, and the fullness of beautiful organic volumes. Ildar says that he has always collected items from the beach and in the forest in order to create jewellery; today he offers us a luxurious version of rings, earrings, necklaces, bracelets, and broaches, in order to provide others with “joy and beauty.” At a time when important labels have integrated recycling as an inescapable element in their productions, Ildar offers an interpretation of transmission and renewal.
The paradox of the recycling economy is a desire to concentrate in the north west of India an important percentage of the 78 million tons of plastic produced each year, so that they may be burned in an open air rubbish tip. In Gujarat, a group of women has undertaken to relaunch the local economy by recycling this waste which dramatically pollutes the landscape. They collect bags, which they sort, wash, and twist into thick threads so that they may be worked upon a loom. It is with this synthetic fabric that the designer has created a series of multicoloured bags, to which she adds pleats, labels and nylon straps borrowed from industrial surplus from her country, Denmark. She creates a dazzling palate composed of a variety of blues, greens, blacks and whites taken from this raw recycled material in order to create graphic bayader and keffiyeh patterns obtained through weaving or by adding criss-crossed bands. Each bag is unique and crafted using high quality and traditional artisanal techniques on a handloom. The collection offers an enthusiastic example of a collaborative experience for which an ecological and social conscience are the source.
The collection resides upon the traditional skills of artisan weavers found in the north of Ghana were the designer lived for three months. She has combined them with her experience as an object and textile designer in order to create new forms and develop bags to be carried by hand, over the shoulder, or on the back. These accessories are principally made from straw which locally is called “elephant grass”. Its modesty offers a golden touch and a suppleness which allows it to be reworked once it has been woven, according to techniques borrowed from millinery, such as soaking and shaping The shapes are formed by assembling simple geometrical bases (cone, cross, parallelepiped, semi-circle) which sometimes take on a wavy depth. The bag is then completed with large straps in black leather whose simplicity contrast with the delicate refinement and the craftsmanship. As graphical elements, these matte straps structure the bags as well as offering them a decorative dimension. The designer takes pleasure in confusing things by garnishing some of the bags with a black rabbit fur pocket which cannot be attributed to their region of production. Through this rich experience, she has managed to transpose a model of local production into a form of contemporary collective creation.
An initial collaboration between this duo, this collection of foulards is also their first attempt at a plastic expression upon narration and ornamentation. The interest that they show towards production methods brought them to choosing silk twill for its breathable and heat producing qualities. The structure of the weaving reinforces the material’s lustre; coupled with flat bed screen printing, it allows them to obtain deep and radiant patterns. At a time of digital printing, they have turned towards artisanal and precise methods which consist of laying the fabric out over ten metres and applying the screens by section, in order to create the pattern of one colour followed by another in coherence with writing. The textile is a white page upon which they tell a story in four parts, freely inspired by the poems of Colette, Paul Valéry, and Philippine Dutto. Like an alphabet, they draw the lines and flat colours which are repeated, intertwined, superimposed, appear and disappear from one foulard to the next. Thus, one chapter begins with the background framework – fishing nets or notebook lines – colonised by algae and then bubbles which become the pearls for a necklace. The large size of these one-hundred twenty centimetre squares allow for the pattern to be read whether laid out or worn, becoming animated by the movements of the body.
With this collection, the designer plays with the incongruity of mass production in the fashion industry, a timely issue where major brands of discounted goods are recording 40 % of unsold items. The primary material used are shoes, recovered from a French label which creates its prototypes for a single foot. As this incomplete pair can be neither sold nor worn, it is destined, by design, to be thrown away. Inspired by the Canadian artist, Brian Jungen, Jung deconstructs each model in order to offer them a new function which is far removed from their original purpose. Each bag is constructed through the accumulation of broken pieces which are reassembled into a sculptural heap, or laid out in a decorative facade. She generally chooses white and black leathers which she contrasts with red and blue details, intense lines and colours characteristic of sports equipment. The laces are used as an ornamentation, whereas the labels are voluntarily clustered together in order, once more, to highlight overproduction. A large range of bags are presented: bumbag, rucksack, bowling ball, suitcase. In wearing these recycled objects, the user becomes a promoter of an awareness which appears daily to become both necessary and urgent.
This duo aims to redefine jewellery, or rather the interaction between jewellery and the body. The collection is made entirely from sterling silver, a pure and gleaming metal which recalls surgical steel. This image refers as much to the precision of the design as to the anatomical study prerequisite to the definition of these accessories. They are prosthetics, extensions which perpetuate the lines of organs, sliding, resting, encircling and enveloping them. The earring is a spiral hook which coils around the post or a rigid clip which is placed upon the lobe. The ankle bracelet is a thick strip which underlines the line of the malleolus. The rings are worn on the tips of the fingers, like cages around the nails or gutters between the phalanges. The hand cuff encircles the side of the palm, forming a protective shell. Here, the geometry of these shapes is as radical as the details are precise; there are no solder marks, nothing is added to the thick metallic pieces which are slightly chamfered for comfort and the perfect position when worn. The clarity of the metal is balanced by the prominent forms of these jewellery pieces, seemingly honed from a single block. The two designers envisage unique forms for accessorising the body, for changing its outline, and correcting its contours.
This collection is born out of a collaboration between a hard of hearing photographer and two designers. It arises from the disappointing observation that hearing devices draw an indelicate attention to a handicap, either through a crude medical design, or by an attempt to disguise them in colours close to that of the hair or skin, which are destined for failure. This trio decided to beautifully assume this physical particularity by designing hearing aids that are as aesthetic as they are capable: jewellery with a technical addition just like spectacles. “The aid is emphasised, extended, thickened, exaggerated, it shines and becomes remarkable.” Its ergonomics and comfort are the main restrictions, the curves of the ear determine the basis of the design. They introduce the technological components into a curved case which is then adapted according to pieces of jewellery from the discrete to the very decorative. By freely experimenting with all of its extensions, they create shapes around, above, beneath, or in front of the ear. The white or yellow gold bangle is rounded and accessorised with pearls and little coloured polished glass shells. One variation connects both ears by means of a small chain passed through large rings. There is a piece of jewellery for everyone, according to their sensibilities or their desires, an enthusiastic means of re-evaluating a hearing aid as a fashion accessory to be desired.
Trained as an architect, this designer recently turned towards fashion and its accessories, which have always been her passion. From this structural apprenticeship, she retains the intelligence of construction systems. Thanks to a fine mesh, made from gold plated steel which are carefully assembled by hand crimping¸ she builds three dimensional accessories, which can be just as equally scaled from small jewellery to large pieces which adorn clothes. She articulates these forms thanks to several variations of the net which can take form in either an extendible mesh or a chain, according to the tension of the wires which she establishes amongst them. The junction points, beyond their structural function, provide the illusion of a more or less dense grid-like pattern, a décor which seems to levitate around the body in the manner of a hollowed out tweed. She thus creates a lightweight and precious collection which uses materials borrowed from industry. She breaks with the severity of the whole by leaving the bottom threads loose in order to offer a greater poetry to the necklaces, earrings, cuffs, bracelets, and stoles. Thanks to these two perspectives, she offers an adept balance between the technical and the emotional.
The collection is a manifesto, a global process by which the intervention of the designers bears less on the production of the jewellery than what it symbolises. In opposition to “fast fashion” and the regulated market system, this duo aims to reveal the raw organic beauty available whilst reminding us that it is fragile and perishable. Their first act is reserved to the addition of a simple copper and silver hook on collected plant matter (flowers, leaves, garlic, and peppers) in order to create earrings, they then proceed in arresting their deterioration by packaging them in a vacuum sealed plastic pockets. It is when the buyer opens the sachet that they become aware of their responsibility before nature, since the presence of air initiates the rotting process of this ephemeral and unique jewellery. In choosing this means of exposing, highlighting through isolation, the duo frames dated elements which one is surprised to possess, but for how long? They question, sometimes ironically, the economic model which rules our way of life, a contemporary interpretation on the vanities in our museums. Memento mori.
Having worked for several luxury bag makers, this designer has created a personal collection which blends exceptional craftsmanship with traditional methods of Japanese folding, accessorised by standard items. Far from opposing one another, he harmonises them in hues of beige, brown and dark blue which he applies equally to leathers, precious fabrics such as brocade, as well as synthetic fabrics and pieces of plastic packaging. His range is characterised through multiple attachment points which allow the bags to accumulate and exchange pockets and straps of different lengths and widths made from a variety of materials. The white stitching, zips and chromed metal karabiners are placed as signs of these hybridisations, resulting in these varied combinations of textures, shapes, and uses. Leger therefore creates connections between distant techniques and materials opening up an inexhaustible field of creation.
Pascale Arnaud ⁓ Laetitia Bica ⁓ Teresa Eng ⁓ Sarah Mei Herman ⁓ Allysa Heuse ⁓ Jaakko Kahilaniemi ⁓ Csilla Klenyanszki ⁓ Sanna Lehto ⁓ Eva O'Leary ⁓ Aurélie Scouarnec
At the heart of a grey spectre, from moonlight to basalt, from transparency to deep obscurity, bodies, all female, reveal their plasticity. Forget lascivious poses, postpone conventional attitudes or a complacent light: this is not her subject. Pascale Arnaud disturbs appearances, because in this age which she wishes to depict, defined implicitly between the ages of adolescence and adulthood, there is little room for clear lines and distinguishable outlines. She thus undertakes an exploration which is properly photographic, it is in the matter of the image itself that she sets about translating the reality of this age of becoming and emergence. No clue of the subject’s identity exudes from this grey envelope. The young girls are symbolic figures, caryatides of silver salts which brandish their desires. Tight compositions upon fragmented bodies, contorted poses and unmasked faces: this photographic manner brings to light, from these grey zones, the strength and the vulnerability at play, at a time when an individual enters alone into the world to find its foundation. A colossus with clay feet is seen from a low angle, reminding us of all of the ambivalence and uncertainty due at a time of great expectations.
Pascale Arnaud (1994) is a graduate of the École de l’image des Gobelins. She received the Picto prize for her series Emerging Adulthood. She exhibits at the Fisheye Gallery, Paris (2018) and previously at the Hangzhou festival in China as well as the Promenades photographiques de Vendôme (2016).
Just as much a physical experience which disturbs the tranquil surface of the photograph as a workshop narrative with a documentary character, Laetitia Bica’s series Cream, cannot be confined to a single genre. Following two years of collaborations with the CREAHM workshop in Liège (Creativity and Mental handicap), she undertook two months of intense research with the workshop’s artists, the result of which is this corpus of disruptive and vibrant photographs. Collaboration, a creative process which is a daily part of this photographer’s life as she typically works on commission in the areas of fashion, music, and design, in these photographs is transmitted through the body. Gestures, colours and materials become elements of language during their creative exchanges. Thus unfolds a series of figures covered in paint with thick and bold features and accents that are at times wild, at times warlike. A few of the images, placed in a sequence, follow an artist’s movement, rendering the in progress nature of this experiment and indicating Laetitia Bica’s double position on what takes on the appearance of almost ritualistic practices: at the same time actor and master of ceremonies.
Laetitia Bica (1981) studied at the École supérieure d’art de Saint-Luc, in Belgium. Amongst her recent exhibitions are Art Brussels (2018), at the Musée de la Boverie, Liège during the Biennale de l’image possible (2018) and as part of Design Week at the Palazzo Litta in Milan (2017).
The daughter of Chinese emigrants living in Canada, Teresa Eng had an imaginary and fantastical vision of China, until she decided to visit the country. The degree of difference between the Chinese dream that she had constructed and the reality of a country undergoing a frantic development, might have resulted in a documentary which would not have spared us the excessive nature of contemporary China. On the contrary, Teresa Eng, chose to avoid the obviousness of a documentary and the stylistic clarity this entails. Her China seems to evolve beneath a hazy veil. The here and now are erased, the signs of urban frenzy – abundantly illustrated in contemporary photography – are eluded, potentially treated as asides. An infinite head of hair confronts audaciously the curves of a modern architecture: Teresa Eng treads softly, turning her back on the injunctions of a modern China. Which, out of a rock standing in its ceramic pot, or a concrete pillar erected in the water, merits our attention? Teresa Eng’s China seems to navigate between the riverbanks of a capitalist progressionism (China Dream, the title of the series, is also a popular slogan for president Xi Jiping, which in turn refers to the American Dream) and that of an orientalist romantic nostalgia.
Teresa Eng (1977) is a graduate of Emily Carr university in Vancouver and the London College of Communication. Amongst her recent exhibitions are Snapshot to WeChat: A Migration of Identity, Open Eye Gallery, Liverpool (2018); You and Me, Landskrona foto festival (2017) et Roads Less Traveled, TIFF festival, Varsovie (2016).
Teresa Eng, River (Yellow), China Dream, 2017Teresa Eng, Wave (Hair), China Dream, 2016
A few chance encounters, passing through the Xiamen campus, in China, where Sarah Mei Herman was in residence, simultaneously constituted the starting point for a friendship and a photographic narrative. In the manner of her other current series, where she explores the relationship between her father and her brother over fifteen years, this Dutch photographer’s vision is long-term. She initially visited Xiamen for a four month residency, but has returned several times, driven by the series which she initiated and the bonds that she has made. She returns to find some of the young girls she photographed and together they weave a thread consisting of daily and intimate moments. A frantic and noisy China has given way to an environment that is pared down and silent, made of delicate gestures, which allow for these moments of sorority to unfold in the frame created by the image. Sarah Mei Herman’s soft and luminous palette proceeds out of this same delicate treatment, reinforcing the feeling of empathy which exists between these young girls as well as that which is patiently nourished between them and the photographer.
Sarah Mei Herman (1980) studied at the Hague Royal Academy of Fine Arts and then at the Royal College of Arts in London. She has exhibited as part of Jimei x Arles: East West Encounters at Xiamen International festival, in China (2017); at the Nuit des Images at the musée de l’Élysée in Lausanne.
Sarah Mei, Herman
Linli and Naomi, Xiamen, January 2015Sarah Mei, Herman
Temo, Xiamen, July 2015
Browsing through Allyssa Heuze’s photographs is, one rapidly remarks, like taking one path and unexpectedly finding oneself on another. A slide leads us to a pair of buttocks encircled by a hoop, a baseball player hits a home run which leads us to two small breasts drawn by the shadowed outline of two plump apples, and even to those gazed upon by another young man, his head submerged beneath a t-shirt. References to play punctuate Allyssa Heuze’s labyrinthine journey between her images: ball games, gymnastics, role play. This photographer’s preferred terrain is the studio, where she seems to take pleasure in constructing her dramas and her absurd scenarios. Herein this white cube willingly yields, where one may make believe that the real, the duration of the photographic shot, has no hold. She invites her friends within, a banana and doughnuts, an erupting volcano, and an aeroplane vulva in an inventory that is all the more burlesque as it is presented through a precise, almost clinical, photographic vocabulary. A balanced light, controlled reflections, a careful composition: together they hold all of the attributes of a style with a perfect appearance that this photographer – who certainly knows all of its rules – takes pleasure in making slip.
Allyssa Heuze (1994) is a graduate of the École de l’image des Gobelins. She has exhibited as part of the festival Circulation(s) her series OÏ at the gallery Madé (2018) and she took part in the group exhibition CO-OP at the fair Unseen, Amterdam (2017).
Allyssa Heuze, Hitting a
homerun, Oï, 2017Allyssa Heuse, The science
project, Oï, 2017
Over twenty years ago, Jaakko Kahilaniemi, who was barely eight at that time, inherited 100 hectares of forest. The abstraction which this represents for a child, is followed by an indifference which it evokes for an adolescent. After all, this is hardly very exotic for a Finn: forest covers more than 70% of the country, totalling 26 million hectares. Fairly recently, this photographer decided to return to this heritage in order to explore its twists and turns. This series, called 100 Hectares of Understanding retraces his journey towards an appropriation of this land which is too big for a single – young – man. Photography thus becomes the location where the experience of the landscape can be filtered as it is travelled through, physically, mentally, and sentimentally. These explorations blend physical crossings and digital incursions, photographed panoramas and painted landscapes. The photographer combines these vast misty lands with a still life of a small wooden log resting upon a scale, or simple twigs upon a black background: from the infinitely big to the infinitesimal, each photograph constitutes a piece of an important memory game whose perimeter, one might imagine, increases as the photographer walks and the man grows up.
Graduate in photography from the school of Art, Architecture and Design at Aalto university in Helsinki, Jaakko Kahilaniemi (1989) has exhibited his series 100 Hectares of Understanding at the Finnish museum of photography, Helsinki. Amongst the group exhibitions in which he has participated, of note are those which took place at the Tampere Art Museum, at the Kunst Haus in Vienna, and at the Fotografisk Center in Copenhagen.
Jaakko Kahilaniemi, 100 mitakes
made by previous
generation, 100 Hectares, 2017
Jaakko
Kahilaniemi, Property weight, 100
Hectares, 2016
Time at work, this time which rushes, always too short, it is this which Csilla Klenyanszki addresses in her performative and photographic games. Of course, this artistic approach is accepted, being defined by a sum of constraints which might be resumed here as follows: the daily siesta of a child, the domestic setting imposed by this siesta, or thirty minutes for creation. Pillars of Home is a series of variations upon a single theme that is as dizzying as it is absurd. In thirty minutes flat, within this confined frame and with no more than plants, plastic beakers, a vacuum cleaner, table, chair, teapot and other utensils (with the inclusion of her own body, an object which she does not hesitate to contribute and contort), this artist provides ninety-six answers held in a fragile balance between the floor and the ceiling of her apartment. We are amused by one, stunned by another. Yet none of them impose a superiority as, more than just the form, it is the process and the accumulation of experiences which the photographer wishes to highlight: not the beauty of the sculpture nor the skill of its assembly, but the action of an artist who wishes to oppose time with a mischievous and vital fantasy. Ephemeral, yes, but certainly not ridiculous.
Csilla Klenyanszki (1986) is a graduate of the Willem de Kooning Academy, Rotterdam. Her work has recently been exhibited as part of Art Rotterdam (2018), at the Trapez Gallery, Budapest, (2018) and at the Polana Institute, Warsaw (2017).
Csilla Klenyanszki, Nr. 43, Pillars of home, 2016Csilla Klenyanszki, Nr. 18, Pillars of home, 2016
Something flows, slowly, perhaps a syrup, yet nothing saccharin arises out of Sanna Lehto’s image, but rather a bittersweet background which rests tranquilly. At the heart of this muffled world, beneath a dome, a small flower has traded its innocence in order to come and pass away on the surface of faces, the fluid has abandoned its lightness and its movement in order to gain in weight. Air is rare in Sanna Lehto’s photographic world. The image sometimes blushes, at other times it pales: the chromatic palette varies from crimson red to pink, as if these faces encapsulated between the glass lens and the sensor were breathing gently. A sort of photographic herbarium, that is what she seems to evoke through these portraits and still lifes. The creative process is not that dissimilar: during her summertime walks she gathers and picks, flowers gleaned from the Finnish countryside; sometimes she buys them, guided by a vision of a coloured harmony rather than through any symbolism. Often, she dries them and awaits for a suitable visual frame in order to place them in the photographic field. We may imagine her, back in her studio, patiently pinning these specimens one by one, according to the fortunes of encounters and visual stimuli.
Sanna Lehto (1990) is a photographer graduate of School of Art, Architecture and Design at Aalto university, Helsinki. She recently exhibited her series Morphologies at Gallery Kosminen, Helsinki (2017).
The perfect skin and the smooth image which accompanies it, Eva O’Leary knows all too well the different ingredients and recipes of commercial photography. She too, as a teen, ate this cake which now, as an artist, she presents to us on a plateau. In a refrigerator rests a sponge cake, accompanied with printed icing: a saccharine young woman with perfect blow-dried hair watches us. Since it is said that revenge is a dish best served cold, this is the fate which the photographer reserves for the young blonde haired woman with the Colgate smile and her diktat. She grew up in the United States of America in a campus town whose name is almost an order – Happy Valley – and remembers her years spent masking her Irish head in the hood of a must have Abercrombie sweatshirt. The series, Happy Valley, is rooted in her town and her adolescent memories, describing an environment which is intrusive and worrying, modelling individuals whose self identity has been traded for a generic body. With the more recent Spitting Image, it is the years before, the adolescent vulnerability which are exposed. Young girls, around fifteen years old, present themselves to us, tightly framed on a vibrant blue backdrop which permits neither an escape for the gaze, nor breathing room for the model. Eva O’Leary accompanies these photographs with videos: perched upon a stool, we watch them searching for the person they hoped to find in the mirror. In this interval the photographer reopens the field of representations and with it, the freedom to be complex, different, uncertain, unique, human.
Following a degree in photography at CalArts, in California and then Yale, Eva O’Leary (1989) has had three solo exhibitions in 2017: Happy Valley, Meyohas, New York ; Concealer, Vontobel, Zurich and Spitting Image, Crush Curatorial, New York.
Aurélie Scouarnec created her series, Anaon, in the monts d’Arrée, in the Finistère region of Brittany. It is a delicate exploration on what she calls “the margins of the visible” in this legendary land. Inspired by the texts of Anatole Le Braz and François-Marie Luzel, she undertook a photographic investigation, in search of the rites and ancient tales amongst this rocky mountain range. Gateway to hell, according to some beliefs, here she crosses the phantom presence of several animals, called psychopomps, in charge of escorting souls in the kingdom of the dead. In other places, she plays with the syncretism particular to this hilly land and combines in a single stroke veiled female silhouettes – immediately associated with Christianity – and monumental woodland silhouettes, places of pagan worship. The abyssal green of moss and the deep black of the night are at times awoken by the cry of the moon and the animals perhaps surprised by the movement of these heavy fabrics. Stories read, heard, relics of ancient rites and forms of contemporary druidism, all are invited here to take their place in this phantasmagoric narrative which Aurélie Scouarnec constructs, photograph after photograph.
Trained as a speech therapist and a self-taught photographer, Aurélie Scouarnec (1990) has recently exhibited her series Anaon as part of Itinéraires des photographes voyageurs, Espace Saint-Rémi, Bordeaux (2018), at the Rencontres photographiques du Xe arrondissement de Paris (2017), and the Nuits photographiques de Pierrevert (2017).
Aurélie Scouarnec, Frozen Stone,
Boîte à bijoux en cristal de roche, ChanelAurélie Scouarnec, Beltan, Anaon, 2017
This duo offers a joyous homage to the innate style of Caribbeans, celebrating the ability of anonymous people to embellish their difficult daily lives by diverting found elements. This collection consists of a three dimensional assembly of items from a classical menswear, accompanied with sportswear and disused details which one imagines collected from a beach. The coloured fishing nets are converted to belts or vests, the multicoloured plastic bags are worn like foulards or serve to create a bustier. The formal shoe soles boost the sports shoes with an imposing platform. A piece of a cap is added to the remainder of a straw hat creating a haughty headgear. These outfits are accessorised with rubber rings and water pistols washed up on the shore. The oversized Prince of wales checked suits, are reworked and decomposed in order to create dishevelled shapes which reveal sports jackets or graphic t-shirts. By way of an ultimate appropriation of these abandoned elements, large patches and embroideries cover this collection with the names of its creators. The clothes tell the life of those who wear them and their aspirations for carelessness.
This designer defends a flamboyant fashion which permits all of the eccentricities of haute couture beyond all that is mercantile. She acclaims the irrepressible love that she vows to her art through the fable of a young woman torn between her desire to please a boy that she loves and her passion for clothes. Each look tells a stage of this bitter sweet tale, where the aesthete attempts to not alarm her discrete lover before showing a preference to the extravagance of her wardrobe She is shown in a majestuous skirt, hand painted, worn with a jacket and a white organza silk trouser decorated with large discs of red laser cut velvet. We follow her, dressed in an opulent outfit, consisting of a porcelain top printed with blue flowers and a tulle petticoat with a pale pink train that swells into a garnet coloured apron. Then, this capricious mistress adorns a cotton pant-suit whose excessive accessories and bright blue colour betray the personality which she attempts to repress. In order to mourn her impossible idyll, she withdraws herself into a large black pleated coat before being reborn wearing a brightly coloured crinoline covered in large flowers applied in expressive touches.
This designers creative universe is effusive, a whirlwind which sweeps everything up, figurative or material biographical elements, where everything is a source of inspiration and production: her Majorcan roots, her education, family generosity, the skill of her grandmother’s embroidery, Madrid life, the enthusiasm of finally working in fashion, friendship, girls, boys, sequins, discos, community, the awareness of belonging to a universe. From this folklore a troubling collection is born, consisting of exaggerated silhouettes which protect the body at the heart of a colourful cocoon, in recycled fabrics, which impose feminine figures that are powerful and fertile. Surrounded by varied textile tentacles Manuela Fidalgo’s muses are just as evasive as they are desirable. They wear loose dresses adorned with fringes of pleated fabrics which reference flamenco dancers, adventurers and warriors. This designer draws these cuts, materials and accessories from artisanal sources, multiplying signs which inform as well as they mislead. This central woman is an allegory for a communion with the earth.
Inspired by the futurist fashion of the 1960s and the car races of the following decade, this collection is a succession of gleaming silhouettes which speed down the catwalk like the cars upon the track. The designer borrows from her predecessors’ fine waisted cuts and marked shoulders which emit a stately demeanour. The bottom of the dresses are flared and fluid, energised by pleated fabrics and biased cuts which animate the patterns. The fabrics are entirely covered with sequins and printed with bright bands which recall the gleaming bodywork and the logo covered jumpsuits worn by the drivers. A checkerboard, slogans written in capital letters, superimposed with large stripes and numbers emblazoned upon the chest. The generosity of the curves and the dynamics of these clothes are amplified by the textile embroidered with thousands of small metallic discs which catch the light, slipping from yellow to orange, red to pink, violet to blue, a modern mesh tunic which the designer qualifies as an “armour”. Attired for the speed of modern life, Anna Isoniemi’s women belong to a team of glamour leaders which nothing stops.
Composed of recycled materials, this collection is an alchemy between Victorian fashion, a mystical trend from the 1960s and the padded bikers’ jackets.
Black and red hues are evoked in patched superimpositions of leather, wool, tulle, lace, and silks. The belts are twisted into corsets, the deconstructed t-shirts become dresses, unravelled balls of thread fringe the sleeves. Caparisoned in their jacket shells, these xandranian witches (a tradition arising from neopaganism) are troubling apparitions, interfering visions of feminine images, both romantic and rock, as well as transparent and frilly dresses worn over split trousers which allow for delicate pieces of embroidery to be seen on the thighs. From these powerful silhouettes arises the captivating eroticism of naked legs wearing open boots and chests which can be perceived from behind a synthetic mesh surrounded by laces.
The murmuring of the members of the sorority whispering at the fringes of a wood on moonlit nights.
Urban and contemporary, this collection is a luxury version of the psychedelic visions of Frank Zappa’s music which have inspired this designer. As an adolescent, she explored escape mechanisms to the boredom of her bleak suburb. Today, she synthesises her digressions in a sober palette by using noble materials and recycled denim to create clothing with exaggerated dimensions. Faded jeans are present in each outfit, appearing in wide trousers, unstitched at the crotch in order to create skirts, split, shortened, and superimposed like so many disruptions to the real. Above, the thick leather is worn on top of big immaculate cotton poplin shirts, it is woven like a short sweater with graphical patterns or cut like a black shiny jacket highlighted by thick white waves. Colour emerges in rainbows diluted into sinuous patterns straight out of the 1970s. She imprints upon oversized shirts which are worn like dresses over naked skin, tinting the large stitches of a casual pullover which covers the hands. Buttons and buckles in misshapen glass enrichen the outfit.
It is through designing clothes for active women, an attire in order to assure a social position, that this designer became confronted with a size limit: it was impossible for her to put on her prototypes and she had to enlarge them. This inconclusive experience, pushed her to reconsider the balance between clothing and the body. Rather than being a cover or a carapace, she conceives clothing as an indicator, an accessory which highlights a singular beauty. “I want to clothe all women in this same idea, this same love.” She plays with transparent materials which reveal parts of the skin and with textiles which highlight its characteristics: elasticity, lustre, flaws. This elementary envelope becomes the essential element of the silhouette, its distinctive and unique quality. Yet the outfit doesn’t disappear, it highlights the waist, exaggerates the thigh, amplifies the bust or the hips. The colours are contrasted, the fabrics pleated and decorated with dazzling jewels. This collection celebrates the flesh, returning the human to the centre of attention, granting it strength and confidence.
In his youth, Gabriël was a shark fisherman in the south of Spain. Several decades later, a boy received a wooden model boat crafted by this grandfather who passed on a fascination for the sea. Now a fashion designer, he borrowed from this familial mythology in order to design an allegory of a storm, a series of tableaux where the feminine body seems submerged by waves. Accompanied by the laboratory of the Tilburg TextileMuseum, Jef Montes has chosen materials used in the navy, such as nylon, copper, carbon and glass fibre in order to develop technical weaves. The jackets, trousers, suits and dresses envelop these silhouettes with a black that is as deep as the ocean, which stirs in silvery waves upon the skin. Synthetic fibres cover the arm, splash upon the neck, and wash upon the thighs, breaking into thousands of moving threads which mirror the light. This designer aims to depict his emotion, his irresistible attraction to the tumultuous beauty of the raging sea.
This designer takes her inspiration from the Russian artistic scene of the 1980s and in particular from the images of rock and film idols of a youth enamoured with freedom. This collection is an homage to her mother, an anonymous actress to this risky emancipation, who, like her camp mates at summer camp, sewed and painted slogans on the inside of her uniform in order to escape inspections. Each of the collection’s pieces is created by hand upon a basis of an enlarged mens wardrobe: trench-coat, overcoat, jacket or classic shirt, work overalls along with several standards from 1980s fashion: jacket, polo neck, bandana, earrings and badges. They are used as media to be printed and painted upon in order to superimpose residual images which prevail in collective memories. Henceforth, lyrics and photographs (taken from her family collection) are blown up, in bright red, orange or acid yellow which warm up the sombre palette of these outfits from the past. Dyes and bleaching hinder the re-appropriation of these partially erased memories, whose fragments clearly reappear on patches applied here and there. The outfit becomes the standard for a freedom and a spirit which each generation bears.
An evanescent bouquet, this collection can be interpreted as an attempt to represent the perishable characteristic of nature. This designer questions how: that which impresses us today, will disappear inexorably tomorrow, is there a means of prolonging beauty? Here she proposes to fix these snapshots. A vital flux imbues each outfit, manifested by the colour which passes from purple to a pastel pink, from a soft yellow to an opalescent white, vanishing little by little until it is no longer perceptible, except through the shimmering of silver crystals. The fragile silhouettes are draped in dresses and skirts in a fluid silk embroidered with pearls. Regina protects these delicate figures by surrounding them with big translucent coats composed of flowers captured in silicone, and large supple boots studded with sequins. Like energetic jolts, several bright red garments awaken the graces so that they may never disappear. Blending precious materials with synthetic compositions, these handmade outfits immortalise charm and suspense.
Haider Ackermann ⁓ Bettina Rheims ⁓ Christelle Kocher ⁓ Maison Lemarié ⁓ Pierre Marie ⁓ Vanessa Schindler & Marine Giraudo ⁓ Darah Soden ⁓ Marina Chedel ⁓ Arthur Hoffner et Grégoire Schaller ⁓ Luis Alberto Rodriguez ⁓ Books & photographs ⁓ Paul Rousteau - Nolwenn Brod - Vincent Darré & Mathieu Cossé ⁓ Alexandre Benjamin Navet ⁓ Adrien Pelletier ⁓ 20 ans Crash Magazine
All fashion creation is alchemy. As part of the 33rd International Festival of Fashion, Photography and Fashion Accessories in Hyères, CHANEL is honouring the unique savoir-faire of the House of Lemarié.
In the beginning, in 1880, a small atelier in faubourg Saint-Denis celebrated the cult of feathers that embellished hats and the boas destined for cabarets. It was crazy times. There were more than three hundred plumassiers in Paris.
Little by little the House evolved, extending its creative domain to the crafting of flowers. When Gabrielle Chanel made the camellia the emblem of her House, she naturally called upon André Lemarié, the grandson of the founder Palmyre Coyette. It is 1960. Through the dreams of the couturier and the manual dexterity of the artisans, hundreds of flowers now adorn the collections at rue Cambon. Dahlias, peonies, carnations, anemones, poppies, tulips, orchids and roses all come in organza, chiffon, tulle, leather, velvet… To this, Lemarié brings its excellence in couture (incrustations, ruffles, sophisticated smocking…) and the creation of pleats. Four crafts, a hand of aces, that build the reputation of the plumassier.
Since 1996, when Lemarié joined CHANEL’s Métiers d’art, all the creativity, daring and modernity that mark its reputation, have been expressed season after season, in the ten annual collections designed by Karl Lagerfeld for CHANEL. An excellence also made available to other big names in fashion.
While dynamism was always part of the mystery and success of the House of Lemarié, it was reinforced in 2010 when French designer Christelle Kocher was named artistic director. This Central Saint Martin’s graduate, with more than fifteen years of experience in the luxury domain, and her own label since 2015, has been excelling herself ever since thanks to an ability to mix traditional techniques of embroidery, feather work and knitting with her own urban aesthetic. A way to help us discover the artisanal aspect of her work.
Opening up to the world and sharing gestures, an expertise, a mastery. Connecting the past, present and future. Examining creation. Craftsmanship. Luxury. Fashion. Questioning inspiration and transmission, this is the precise objective of the exhibition presented at the Villa Noailles.Images and words take us on a journey into the secret behind the meticulous movements of these artist artisans: cutting, waffling, gluing, assembling, curling, fraying, pleating, incrusting.
On a metal structure in the middle of the room, black and white photographs explain the gestures while the words seem to hang mid-air.
On the four walls we see the results of these four crafts (flowers, feathers, pleats and couture), of the hours of work, of these skills with unusual names, of these materials transformed, the objects that animate designs by CHANEL.
We remember the black and white organza suit embellished with “cocotte” pleats in cotton and leather flowers from the CHANEL Fall-Winter 2013-2014 Haute Couture show. Or the pleated silk and feathers that embellished a dress and cape, painted with motifs reminiscent of Roman marble, guests of the Franco-Italian line presented at the 2015-2016 “Paris in Rome” CHANEL Métiers d’art collection. The effects of appropriation and surprise at the last Métiers d’art “Paris-Hamburg” show, where the organza of a dress is swathed in white feathers hand-painted with wide horizontal blue stripes in the style of a sailor top. A beautiful example of astonishing trompe-l’œil. So alive, these flowers and these feathers are born from artifice, yet remind us of gardens and bird song. The miracle of the Métiers d’art is to reinterpret the creativity of nature in endlessly innovative yet traditional fabrics and materials. To render them both precious and realistic. CHANEL affirms its unique identity through this invitation to discover and appreciate the living tradition of the world of the House of Lemarié.
A multifaceted talent, Pierre Marie is equally at home exploring fashion, design, or interior design. Rather than using presumptuous titles, he prefers to simply define himself as an artist. From his debuts, he has created designs for prestigious Parisian labels such as agnès b, A.P.C., Carven, Chloé, and Sonia Rykiel, and for the past ten years he has worked closely with the House of Hermès. The project, entitled Les pyjamas de Pierre Marie, for the villa Noailles, provided him with the opportunity to continue to experiment, freely, with the possibilities of prints.
His project has focused upon the astrological zodiac, which may be traced back to Antiquity. Etymologically, zodiac comes from Greek and means “circle of small animals”. That which interest him is that these twelve unique elements, with their autonomous existence, compose a single entity when they are united. He has renewed this bestiary by providing a distinctive story for each sign. “In the history of decoration, man has adorned objects with the elements which surround him” he observes. Each print has been the subject of a specific treatment: Castor and Pollux, the twins of Gemini, become goats with prominent chins, Leo grasps the solar star, Taurus seems ready to burst into a bull ring, Pisces becomes an abstract shape because of its scale, Aries is represented by a medallion which recalls antique coins… The different narrative modes allow us to also take an interest in aggressive animals, such as Scorpio, rarely used these days, by erasing their frightening side.
Entertainment sometimes comes from constraints. “In a game, there are the rules of the game” reminds Pierre Marie, thoughtfully. At first, each print is created so that the pattern can be endlessly repeated. Then, it is essential for him to exhibit his designs upon an item of clothing, in order to create a relationship with the body. To achieve this, he chooses an essential piece of clothing, neutral, a touch out of fashion, yet still elegant: the pyjama. This is not a matter of a rhetoric on style, even if he has a genuine passion for fashion. Finally, a dialogue with the artisans at Puntoseta directed him towards exploring several techniques – jacquard, inkjet prints and transfers – and different materials – wool veil, silk satin, and cotton poplin.
It is at the same time a dreamlike and technical undertaking. Pierre Marie is a storyteller. Through freedom and play he chases monotony away. Furthermore, Les pyjamas de Pierre Marie invite us on a voyage into the celestial skies, to escape through an open-eyed dream, far from the banality of the world and to bewitch, poetically, the senses.
In her last few collections, Vanessa Schindler has focused on reinventing the means by which clothes are constructed, through an unexpected material, issued from the chemical industry: urethane. Manipulated in liquid form, it blends into the textile’s fibres and then rigidifies into a kind of shiny lacquer, thus allowing for the fabric panels to be assembled. In 2017, she was already breaking from established methods by pushing these plastic properties further, in order to create ornamental motifs, either free hand or with moulds. Today she is exploring new perspectives.
This collection is created on the flat through the application of a polymer onto the contours of fluid and elastic textiles, which are tensioned like Lycra. Once the plastic has set, the fabric is freed from its constraints and reforms, revealing three-dimensional waves. In a further experimentation, the liquid is poured around the threads or chains placed in a grid-like pattern, the result is a broad weave, like a net.
The method of production is essential to the conception of these clothes and it comes to life in Vanessa’s own words: “This constructive line weaves everywhere, becoming a low-cut neckline, a collar, an opening. It crosses over the codes of a feminine wardrobe which is very powdered and intimate, inspired by the evening dresses and dressing gowns of the 90s.” She wants to anchor this third selection to a contemporary register by blending the most precious techniques and skills, with an everyday wardrobe, playing with these codes with humour, and sometimes with frivolity.
“This project is above all rich as a result of a year’s worth of encounters and collaborations which have occurred as a result of the Hyères Festival. The risk has been to conserve the spontaneous movement of my hand and to enrich it thanks to exceptional artisans. Maison Lesage assisted in ennobling my urethane lines by embroidering them with pearls and stones, granting them the illusion that the embroidery is imprisoned within. Maison Goossens took a research on forms created in my workshop and reinterpreted in metal constructing a weaving of chains which I was then able to articulate with drops of polymer. The mesh designer, Cécile Feilchenfeldt, knitted mohair throughout the contour of these designs, and the graphic designer, Agathe Zaerpour, offered me her own manipulations on a dress and a printed fabric.”
A graduate of HEAD Genève, Vanessa Schindler won the Grand Prix du jury Première Vision in 2017, under the presidency of Bertrand Guyon. Thanks to this award, she was able to develop her new collection with support from Première Vision and CHANEL’s Métiers d’art, employing embroideries by Maison Lesage and jewels from Maison Goossens. Her new collection will be presented during the festival in three catwalk shows and in a showroom.
Photographies : Philippine Chaumont et Agathe Zaerpour
Photographies : Philippine Chaumont et Agathe Zaerpour
Photographies : Philippine Chaumont et Agathe Zaerpour
Photographies : Philippine Chaumont et Agathe Zaerpour
Collection capsule de cinq pièces, carte blanche Petit Bateau à Vanessa Schindler.
Photographies : Philippine Chaumont et Agathe Zaerpour
Collection capsule de cinq pièces, carte blanche Petit Bateau à Vanessa Schindler.
Photographies : Philippine Chaumont et Agathe Zaerpour
Daragh Soden plunges us into a world of lights. From the Mont Faron to the Cap Brun passing through the Méjean bay, this Irish photographer recounts the chronicles of an ordinary life. Those of a multicultural town where the inhabitants take possession of it. During the three trips he spent there, he met young immigrants, soldiers, long term inhabitants of Toulon and sailors in transit. Life emanates from every part of these photos, out of joy, seriousness, and weariness.
The harbour, this strange beauty of a maritime city, this militarised space, forbidden to the public, rhythms this port city. Daragh penetrates into the high security area in order to shoot another part of Toulon life, that which we imagine to be austere, that of the military. And yet, the sun surrounds each crew with its golden glow. A commanding officer strikes a pose, a quartermaster smiles, and a sailor stands to attention. The bridge takes on a golden hue highlighting different frameworks which are invisible when the sun is at its zenith. A welcoming and soft light which enhance the subjects, inscribing them in eternity
At the exit to the port, is a feeling of wide opens spaces, where an impression of mobility and transition are immediate.
The sailors navigate towards new missions, the harbour is but a stopover. Bikers who criss-cross the winding roads of the Var, stop for a swim. Tourists and their luxury saloon cars will leave at the end of the summer. Toulon remains, Toulon changes. Toulon is reborn at each golden hour.
Daragh Soden’s photographs are part of a publication in the collection “Portraits de villes”, éditions be-poles. Daragh Soden is based in London. He studied engineering at University College of Dublin and documentary photography at Newport University in South Wales. He has been awarded of the Grand Prix of the Photography jury in Hyères in 2017.
Winner of the first Grand Prix du jury Accessoires de mode Swarovski, Marina Chedel has continued her sculptural work in a new collection that she has developed over a year.
In 2017, the force of natural landscapes was already her major source of inspiration, through which she had made an impression with her wooden and leather shoes, produced according to the features of Swiss mountains. She has returned to the villa Noailles with a collection of bags and shoes which rest upon the definition of a wave: an undulating movement which appears on the surface. Just as powerful, her creations become rounded and curl up, in order to recollect the curves of the sea. Fashion accessories play an essential role in an outfit, as they modify the silhouette and guide its appearance.
Entirely produced in a deep blue, this collection is the symbolic and delicate expression of an interaction with water, the search for this paradoxical sensation of being submersed within what one touches from the outside.
Despite this unexpected use of wood for eliciting a liquid element, wood however remains this designer’s preferred material. She subdivides it and articulates it in order to create vertebrated braces which closely follow the shoulders and the shoulder blades. She creates her flexibility by cutting out fine strips which support the shoe and soften the step. She thins it out by drawing the wave of a platform sole which offers the illusion of a foot resting upon nothingness, supported by the crests and the hollows.
Industrial materials are introduced into the collection and magnified by the designer, such as neoprene – a wink towards the bodies of swimmers – metamorphosed by Maison Montex’s cornely embroidery. These crochet chains become a luxurious camouflage within a sublimed ocean. Upon the bags, gaiters and the brow of the cap, filaments of wool, cotton, and tufted jersey fabric arise out of the textile in order to modify its volume and come alive like seaweed, brushing against the anatomy of the person that wears them, according to their movements.
A Raised Line That Moves Across the Surface transfers the tension between the body and materials, the fragile balance of a surfer, as they become one with the water, skimming upon it and skipping over it.
Photographies:
Élise Amblard, Marie Deteneuille, Jalis Vienne - Soleil Rouge
Photographies:
Élise Amblard, Marie Deteneuille, Jalis Vienne - Soleil Rouge
Photographies: Élise Amblard,
Marie Deteneuille, Jalis Vienne - Soleil Rouge
Arriving in hell, the Danaids are condemned by the gods to carry out a task which is as pointless as it is inevitable: endlessly filling a pierced jug. A collection of fountains, consisting of impressive barrels for collecting run-off rain water, embody this container. They figure and materialise the cycle of water, offering up for the gaze the spectacle of its flow. The physical effort, which initiates the liquid’s circuit, becomes a performative act. Its finality which, mythologically, is supposedly vain, becomes that of the representation of the body.
Within these performative situations, the corporeal momentum activates these objects which are at first inanimate, the physical gesture transfers the fundamental impetus, priming their activation. The inert object wakes in turn, imitating the body. By absorbing this spent energy, the fountains come alive with a magical operation, that of water itself: a vital and original fluid.
Arising from this is the sensation of a body dedicated to the accomplishment of an essential task, whose objective would seem to escape us. A body at work, against a substance which flows away, a body exerting itself which rises up, moves, interlocking containers of liquid. Man and object contaminate one another and blur one another. The threshold which separates them becomes unclear, they become intermixed and merge together. The fountain, cries, urinates, drinks, climaxes; the body sprays, flows, overflows.
Born in 1993, Grégoire Schaller followed a double curriculum at ENS in Cachan, within the design department, and at ENSCI – les Ateliers. Having worked next to artists and designers such as Matthew Barney, Katie Stout, and Evan Robarts, he initiated research on performance with the choreographer Anna Chirescu.
Arthur Hoffner is a French designer, born in 1990. From a young age he became fascinated with the artisanal and decorative ironwork, he then took a Baccalauréat in Applied Arts at Boulle followed by a Masters in Industrial Design at ENSCI – Les Ateliers. Of particular note are the variety of companies and studios he has worked with such as Cinna, Jerszy Seymour, Théo Mercier, Erwim Wurm, la fondation Coubertin, Henriot-Quimper, la Gaîté Lyrique, Robert Stadler, Unfold Studio… He has won a number of awards including the Public Prize at Design Parade 2017, at the villa Noailles.
Since 2015, they have designed works for cultural institutions, in particular the Museum of Modern Art, in Paris, the palais de Tokyo, the Silencio and the Ménagerie de verre.
In a 1994 interview with Charlie Rose (Flashback, PBS), Gianni Versace stated the importance of creating a narrative in his work through the photographic image, thus resuming in a few concise words the bonds, both economic and media, between these two disciplines. Photographs, and in a more general sense images are what, in the end, the vast majority of people see, and in fact comprehend of a designer’s work.
“These artists (the photographers) are my voice […] and you need a good voice to speak with. Fashion’s particularity and its fortune is to be able to speak to the whole world with a single image.”
If fashion is the consumption of goods, then it is also the consumption of images. When Gianni Versace gave this interview, analogue photography and print media were at their height, a swansong before a revolution with no return.
Whereas today, fashion photography and its industry are confronted with a renewal that is an ethical and technological forced march, the 1980s and 1990s bore witness to a kind of fruition within the relationship between the designer and the photographer, and the role of the latter in the communication strategies of these labels.
Collections were of course published in magazines and advertisements, but also in commercial catalogues which were offered to journalists and clients, offering a genuine editorial style which was widely produced during this period, like visual manifestos for new collections, and what’s more to be left for posterity.
Unlike simple lookbooks, these catalogues were designed and created like objects serving to unite the work of the fashion designer, photographer, and the graphic designer (amongst others), in order to represent the “voice” and the narrative which Gianni Versace evoked.
This Italian designer and his label were particularly loquacious in this domain, multiplying their collaborations with photographers ranging from Irving Penn to Richard Avedon, via Bruce Weber, Helmut Newton, Herb Ritts, Steven Meisel… The richness, quality, and diversity of these catalogues made Versace one of the most interesting labels, a “super case” through which to study this historic relationship between fashion houses and photographers.
The gallery, Books and Photographs, which was founded by Jean-Mathieu Martini and François Cam-Drouhin, is debuting a cycle on fashion houses’ catalogues at this exhibition, a genre which is relatively unseen, but which certainly constitutes a particularly accomplished and sophisticated format which portrays the work of fashion photographers.
Couvertures de catalogues Versace, 1989-1999, collection particulière.
Herb Ritts, Versace Couture. Automne/Hiver 1991-1992. Catalogue in-4, broché, 127 pages.
Richard Avedon, Versace Femme. Printemps/Été 1996. Catalogue in-4, broché, 148 pages.
Bruce Weber, Versace Homme. Automne/Hiver 1995-1996. Catalogue in-4, broché, 159 pages.
I was invited to photograph Beirut over three weeks, this town caught between the Mediterranean and the mountains of Lebanon. The barrier of the Arab language made me quickly abandon the idea of working around the Green Line, Damascus road which once upon a time divided East Beirut from the Muslim west which was under Christian control.
I met the musician Charbel Haber at the bar Internazionale in Mar Mikhael, a Christian quarter undergoing an excess of gentrification. The town quickly becomes hot and noisy, rhythmed by the songs of the muezzin which move me every time, and the machines on the building sites full of workers who are often Syrian. The white dust mixed with the red of the earth covers plants and cars. Cranes, mosques, churches, buildings, cranes, a sky without a horizon, I would have to go up higher into the mountains. Charbel introduced me to his circle of friends, many of whom are women, past loves. He embodies the black sun of melancholy, his voice is similar to Nick Cave’s. At night he no longer goes to the Torino, that strange dark red rectangle where other regulars mingle and the owner plays select records. Charbels friends have very different backgrounds, somewhat like the complexity of this town with its crazy contrasts; some of them will inspire me tremendously.
The villa Noailles has always made me dream. From Man Ray’s film Le Mystère du château du Dé, to the photos and descriptions that Karl Lagerfeld shared with me, this mythical and abandoned place came back to life thanks to Jean-Pierre Blanc. In response to an invitation, last summer, to be the president for Design Parade Toulon, I discovered, along with my friend Geneviève Hebey – who had visited some years before with Karl –, this cubist house like that of the Inhuman Woman which was also designed by Robert Mallet Stevens, with its extraordinary white geometry, which stands out against the blue sky. That day the museum was exhibiting Cocteau and Marie-Laure de Noailles’ scrapbooks. Enthralled, I walked amongst this metaphysical labyrinth with its memories of a most brilliant period for art, music, design and all of the possibilities of modernity, such as cinema. Its patrons were an eccentric couple who received all of the personalities the most representative of this artistic revolution. Within this maze, how could one not remember Andrée Putman who, above all others, had introduced me to the architectural elegance of this period. The telephone rings, it is not the human voice, but that of J.-P. Blanc who invites me to create the temporary décor for the shop. As I hang up, I think: invited for a performance just like the Noailles commissioned from their friends. What madness! Whilst I designed it, I thought of Max Ernst’s white sculptures, of houses in the south, where the exterior invites itself into the interior, of a white plaster Mediterranean. Through automatic writing, my hand drew these profiles like an evocation of an Aztec Cocteau, where cacti and aloe plants, from the pockets of the magician Pierre Debeaulieu, would come to nest within their heads. Jean-Pierre told me about Mathieu Cossé, a painter full of humour, who will create frescos in human shaped stucco frames; thus returning us to Marcel L’Herbier’s Inhuman Woman, which haunts my mind. Dreams always become reality on this Côte d’Azur where, not far, the villa Santo Sospir still breathes.
The magazine, Crash, was created in 1998 from a desire to change the landscape of French media. Actuel no longer existed and French magazines remained conservative. Founded by Frank Perrin and Armelle Leturcq, who was an art critic who had created the review Blocnotes in the 90s, Crash aimed to be the laboratory for this new generation, born with the French Touch and the electronic culture. The “Home Studio Generation”, as we called it, was a generation who created at home, thanks to the latest tool, the personal computer. The magazine’s beginning was risky, creating a new magazine to be sold on stands and printed in 30 000 copies was expensive. But, as far as sales were concerned, success was on the horizon. Then followed the first unexpected advertisers such as Maison Chanel, who was the first luxury label to support and understand the value of this publication. Today, Crash is celebrating twenty years of existence and is still looking towards the future. Crash has always wanted to support new emerging talents and to never follow the rules of the fashion world. We have always wanted to free ourselves from prejudices, calling upon different, unformatted visions.
During the whole of 2018, Crash’s four volumes focused upon the idea of revolution, also in homage to the fiftieth anniversary of May 1968. Today, the editors of Crash also have an independent “artspace” called 22visconti, a platform for new talents and a crossroads for different generations. For the twentieth anniversary of Crash, we have asked Julien d’Ys, a visionary artist and a long time collaborator with our favourite designers, from Rei Kawakubo to Azzedine Alaïa, to add his own touch to the magazine. Having already created fashion series for Crash, he will remix the images which he has chosen from our pages, stage them, exalt them, adding his own touch, as only he knows.
Depuis 2013 la villa Noailles invite dix anciens finalistes du festival à présenter leur plus récente collection sous la forme d'un showroom. Ce moment d'échanges est important pour ces créateurs, car il leur permet de rencontrer les acteurs majeurs de la profession dans le contexte privilégié du festival et leur offre une visibilité auprès du public, des journalistes et des professionnels. Pour la première fois, des créateurs d'accessoires de mode y participent.
L'artiste Marc Turlan met en scène ce showroom en imaginant un décor pour le jardin du centre d'art.
In the 3.55 CHANEL in Hyères podcast, guests from the world of art, culture and fashion share with personalities close to the House their vision on themes that are dear to CHANEL: creativity, art, style and inspirations. In this new series of episodes, recorded during the 33rd edition of the Festival in Hyères, a fashion, photography and fashion accessories festival held at the Villa Noailles in the South of France, model and actress Audrey Marnay explores the theme of creativity with artists and jury members. Where does creation come from? Are we born creative? How do you reinvent your creative process? Jean-Pierre Blanc, Bettina Rheims, Tilda Swinton, Lou Doillon and India Mahdavi define their personal perception of creativity.
3.55 podcast at the #HyeresFestival
— Belgian artist Claire Laffut has just released her first single and is currently mastering the art of ephemeral tattoos. She explains to Audrey Marnay the different shapes her creativity can take.
3.55 podcast at the #HyeresFestival
— How does an artist transform his emotions into music? Can melancholy be turned into a creative tool? French singer-songwriter Malik Djoudi opens up to Audrey Marnay.
3.55 podcast at the #HyeresFestival
— French photographer Bettina Rheims meets Audrey Marnay to talk about femininity, gender and the specific themes that nourrish her creativity.
