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Tag: Fashion

Zantz Han

Posted on by nr

NR · WORLD
Published · Online

Feature · Zantz Han
Words · Matthew Burgos

“To truly appreciate light is to observe it intentionally everyday”

Light: a single word draped with a plethora of definitions. It may be about the metaphysical virtues and beliefs that crouch into the human traditions, an object that wounds into the fixtures of homes, or for Zantz Han, an essence in photography. The Singapore-based photographer employs light to charge his images with character and underscore the colors that accentuate his mood, the subject, and their overarching philosophy. As he confesses his reverence for moving versus still images, Han recalls his voyage towards capturing portraits and how color, expressions, and the vision of self immortalize his every shot.

Let us go back to your roots in photography. Before pursuing this medium as your primary means of communication to the world, what influences and incidents triggered this penchant to photography? Was it rooted in your upbringing, or did you discover it during your studies?

I studied animation during my college years, and I was specifically interested in 3D lighting and rendering, but I chanced upon photography during a sub-module course provided by the school and decided to pursue photography as a career later on.

You desire to evoke the senses of your audience when they rifle through your portfolio. What are the senses that you envision to be provoked? How would your images tap into your audience’s emotions and reflections? Why is there a desire to carry this out?

In the sea of content and moving images, still images have less of an impact now. I hope to evoke a good feeling or any sort of feeling to the audience so that they can have a second look at the picture. I wanted the picture to have a lingering effect on that instead of just being another still content – a sensation or nuance of something they can take away from looking at the images.

 

As your concluding statement on describing your photography, you have mentioned the union of art with commerce. In what ways do you marry art and commerce through photography? Also, how do you define art and commerce? Are they separate or combined entities?

My idea lies in creating a business through art and being able to sustain a living through the art that I create. Here, art converges with commerce.

In some of the still images you captured, you induced the stark shade of red/orange in the shots. How do colors influence your photography? What role do your emotions play in your photography? Also, do you relate to the emotions your subjects exude during a shoot?

I think color plays a big part in my photography because it evokes a sense of emotion that brings the picture to life. Growing up, my taste in colour treatment and lighting started to evolve because of the experiences I encountered, and I try to translate them into the pictures via the mood, tone, emotions, and color.

The overview page on my portfolio or website is a collection of recent works that I produced by channeling my inner frustrations into pictures; the darkness and stark reds are strong emotions that I want to portray having experienced them all by myself. The emotions in the pictures are essential in bringing out the story behind it and to evoke a feeling within the audience.

Going through your Overview page, I notice how portraits infiltrate this section. How do you perceive portraits? Are they a reflection of who you are as an artist? What other styles of photographs have you explored?

I think portraits are an easy go-to and the simplest form of human photography. I like to explore still life and documentary photography too.

Your style crosses the boundaries of ethereal and surreal pop, dreamy and hazy vibes, and solemn looks. Do you define your approach in photography, or do you go for a more free-flowing manner? How do you transition from one mood to another? Is it an easy move to do?

I approach photography through my mood and feeling, and express them through the crafting of light, expressions, and colors. The transition depends on the chemistry between the subject and myself, and how expressive the subject can be.

I have also noticed the play of light in your photographs. In some images, the light seems to be subdued, while vibrant in others. How essential is light in your photography? Do you plan its use, or is it more spontaneous? Then, does light – in its figurative, metaphorical, or obvious term – mean anything in your life? How do you incorporate these beliefs in your art?

Light, something that is very sensitive to the eyes and camera, is one of the essence in photography. To truly appreciate light is to observe it intentionally everyday. I like to take my time in constituting my light and modifying its quality to my taste to match the mood and tone I am envisioning.

Light, in its simplest form, provides energy to all life forms. It is essential in creating imagery because it brings the picture to life. It gives it a soul; without it, everything will be pitch black.

Nina Doll

Posted on by nr

NR · WORLD
Published · Online

Feature · Nina Doll
Words · Nicolò Pablo Venerdì Bettiol

“it offers people the opportunity to sustainably express themselves”

Nina, 24, Berlin-based digital fashion designer and CGI Artist is switching the way we think of fashion.

With a manual approach to design on her back, the German artist has marked her name within the group of creatives which are trying to revolutionise our industry one step at a time. Talking through her development as a designer, Nina spoke with NR about the perks and countless possibilities of expanding fashion production onto the digital world.

Sustainability, visibility, inclusivity, these are just some of the many points that could affirm CGI creative production as the new chapter for contemporary consumerism.

Exploring emotions and how a new era of digitalised humanity would feel and look like, Nina’s work is the ultimate undermining proof that ‘a whole new culture is emerging’. Take a journey into Nina’s boundless digital world: a reality where oneself could be anything.

How has your approach to fashion design developed from manual to digital? 

During my Master Degree in Fashion design I attended a course covering digital Fashion. While at first I was sure I would have stuck with classic Fashion design, I later on got caught with the digital aspects of it and began to teach myself CLO3D.

It really was quite a natural process learning and experimenting with digital Fashion and other 3D Tools like sculpting. Over time, I started to share some of my work on Instagram, and got into it even more. After realising the huge market, and the amazing Feedback over my art and work, I simply stuck to it. For my final MA graduation Project I combined digital Fashion, Abstract sculpting, CGI visualization and real tailoring.

Talk us through your latest projects and collaborations.

One of the latest projects I took part in was an editorial story for Vogue Portugal. Although they were shooting with actual clothes on a model, Baby G – taking care of post production – and I embedded CGI Elements onto the real Image afterwards. Glass flowers, abstract swirls around the model… We also recreated the model’s face in 3D and added more elements onto it: the point was to create a mixture of her real self, with her digital identity. This is the kind of photo compositing I love the most. It demonstrates the incisive ambivalence between real and virtual. Another project I have recently been working on was a collaboration with the fashion brand A BETTER MISTAKE. Being commissioned to make a video, I redesigned their real pieces in 3D, created an Avatar model for them and placed the product in a fully digital landscape.

What are the perks of digital design? And the cons?

The ultimate perks of digital design is the absence of waste. It is also a whole new creative world. There is nothing you can’t actually do: you are completely free when it comes to your choice of material, setting, environment, model, movement… It is also an amazing opportunity for young aspiring – fashion – designers: the digital realm allows you to showcase your work without the economical effort one would face when producing a collection in real life.
On the other hand, new challenges regarding the environment such as electricity consumption, are coming up. Also think about NFTs, and the usage for the end customer: it is still very limited, as ‘body tracking’ is still evolving.

Taking into consideration the advent of NFTs and the marketing aspects related to it, where do you portray fashion within such instances?

I believe NFTs are enabling digital fashion pieces to be an art piece on their own. NFTs in general give artists the opportunity to make money out of their practice without having to depend on clients or commission work. Through such a marketplace, customers are able to own something special, a unique garment, just like it is in real life with couture pieces or limited editions.

How does technology affect the value of design?

Personally, it adds value and sets designers free from real life restrictions. Creating digital art or digital fashion is a real craftsmanship: the hours of work, the challenges and the design that goes into a digital dress should not be underestimated.
Furthermore, through the world of NFTs, technology is now able to really display the monetary value of digital art and, eventually, make it tradeable.

Can CGI technology determine the way people look at tangible products? What do you believe to be its impact in culture?

When it comes to marketing campaigns, CGI technology can transport a lot of emotional storytelling. It gives you the opportunity to showcase anything you feel could fit within a specific story, it allows you to enhance the tangible product at its best.
CGI can also create products that don’t even need, nor can, tangibly exist: when it comes to face filters, or digital makeup, the asset of possibilities is countless. A great example is the work by the amazing 3D makeup creator Ines Alpha.

When it comes to face filters, especially those not intended with artistic value, the idea of ‘optimizing’ the face remains. This has definitely an impact on our culture: it manipulates how we look at ourselves, how we think of beauty.

On another note, it is clear that reality, and the virtual world with its identities, are fusing unstoppably. Our digital identity is part of ourselves, and vice versa. With the rise of our digital being and identity, there is a whole new culture emerging.

Could digital design contribute to sustainability in fashion?

Definitely! There are plenty of aspects that can contribute to sustainability in fashion. Think of production for example:

“sampling & fitting can be done digitally, design choices can be tried and decided digitally, the whole, before producing the final garment.”

Campaigns or editorials can be done digitally. Alternatively, travel could also be avoided by shooting the story in a studio, to later add a CGI background to it.

Thinking of social media presence, it offers people the opportunity to sustainably express themselves: ’the digital’ in fact reduces consumption and the impact of fast fashion.

Finally, where will your practice lead you next?

A new chapter is starting for me at the moment. I just finished my Master thesis and I can now fully focus on working and creating. I am currently working on a project with The Fabricant, which is really exciting to me. I have always dreamt of being able to join their vision and create something together with their team.

Credits

Images · Nina Doll

Di Petsa

Posted on by nr

NR · WORLD
Published · Online

Feature · Dimitra Petsa
Words · Nicolò Pablo Venerdì Bettiol

“There is a  censorship of our bodily waters: the fact that we are wet, the fact that we come from water is something to be hidden.”

When thinking of contemporary design and consumerism, the idea of social engagement is probably one of the most important factors in distinguishing the greatness of a creative mind. Dimitra Petsa, Athens based designer, and founder of the namesake brand DI PETSA, is a clear example of it.

Following her graduation from MA Fashion Womenswear at Central Saint Martins, the designer set back to her city of origin to establish her own label, a creative platform that pursues cultural support to women. “My long term aim is to be able to provide jobs for these women, to facilitate the training of younger people, in order to preserve crafts in the future.” admits the designer.

This past week, Dimitra Petsa sat down with NR magazine to look back at her roots, inspiration and ideals. Advocating against cultural taboos of wetness, the designer explained her intent and ambitions for her label: community based projects, performances, workshops and a publication too. Blending together performance art, writing and ancient design techniques, the brand is fighting against shame, promoting an empowering vision of femininity and WETNESS. 

For those who may still not know you, would you like to tell us a bit more about the brand and how you started your career as a fashion designer?

I grew up in Greece, around my grandmother who ran her own tailoring school, and this is where I learnt to sew and construct a dress from a very young age. I think this experience has influenced the way I see fashion in general, from the point of view as a seamstress who works with her personal clients, rather than its normative context. I admired her deep connection with her clients. While the fabric was pinned to the body there were secrets, tears, laughter… I craved this deep intimacy between the designer and wearer, which I first got to experience while developing my final collection at Central Saint Martins. My models would run around the studio naked, share personal stories, and discuss philosophy to help with the design development. One moment we were laughing, the next one crying: I fell in love with that process of design, an exercise based on personal experience and interaction.

How has your brand developed since your graduation at Central Saint Martins back in 2018?

The ethos of our brand is centred around the ‘Wetness Theory’. It has remained the same, and continues to be a focal point of our design inspiration. Each collection explores this through new viewpoints: looking at the evolution of the journey of a woman, her relationship with water, and how she is becoming more accepting of her bodily waters.

For the SS21 collection, titled Self-Birth, water is examined as a vital force of life, and re-birth, that allows introspection, and ultimately self-reconnaissance. With a focus on Maternal waters, and the journey to self-healing, the film displays the vision of a woman floating on water, representing the act of transcending – an ecstatic self-birth.

Our AW21 collection, titled “I am my own Mother”, is inspired by the devotion of self-mothering. To love one-self unconditionally, embracing the strength that comes with self-acceptance of our Bodily Fluids: Water filtered through our bodies, Bodily Water. Holy Water, Sea Water. After last season’s collection centered on ecstatic birth, we now look to a transformative future, harnessing the power of self-love for unashamed self-expression, with the aim of strengthening the connection to our physical and immaterial self, water.

How do your origins inform your work?

To me, the sea has played an essential role in growing up. My hometown in Greece is next to a harbor, meaning I could always hear boats leaving the docks from my bedroom. I find sea healing: to me it feels like home, it has played a big part in my research and creative practice with the DI PETSA brand.

In terms of cultural influence, I am very interested in exploring antiquity, how it coexists in contemporary culture, and how we communicate our relationship with the past in general. Greek mythology and practice inform my designs. For SS21, we developed a golden prayer corset that’s entirely hand-embroidered with materials traditionally used in Greek orthodox priest-wear.

Lastly, craftsmanship, sustainability and textile innovation are very important to me. I am very moved by the dying art of traditional greek craftsmanship. I would love to find a way to preserve it, to interact with it in my designs. For our latest AW21 Collection we have been working with a local group of women in Athens – the Lyceum Club of Greek Women, an organisation founded in 1911 – who work towards preserving traditional arts, including embroidery and lace making. For our latest season, we created our first collaboration together. My long term aim is to be able to provide jobs for these women, to facilitate the training of younger people, in order to preserve such crafts in the future.

I see Di Petsa, I think WET DRESS. Can you tell us about the inspiration behind it?

The Wetness theory behind the brand evolved during my time at CSM. I was conducting eco-feminist research, investigating the relationship between Women and water, Women and their bodily fluids. The idea was to create a vision of a totally wet woman, fully accepting she is coming from water, and of her wetness. Our goal in fashion is to allow people to be unashamedly wet. To create beautiful work that can inspire others to consider nature as something of our own. Our bodily fluids. Water filtered through our bodies, bodily Water, holy Water.

The Wetlook comes after an original technique that took 6 months to develop during my master’s years at Central Saint Martins. Its conceptualization started from a series of performances I was doing for my BA years studying performance, design and practice. I had a woman dressed in water walk across Athens and that was the idea I wanted to crystallize: somebody wearing their own Wetlook could be part of this water performance without actually having to be wet.

Where does your work stand in relation to Feminism? 

The brands Wetness theory seeks to subvert the idea of shame of natural bodily fluids. By re-narrating their physical and philosophical context – a notion that is unapologetically on display through our Wet Script Mesh collections, with poetic scripts, such as “Cries in Public”, “Holy Water, Sea Water”, “Wetness”, digitally printed onto the surface of the mesh garments – our mission aims to inspire the wearer and act as subtle reminders in the performance of their everyday life to embrace their wet self.

Through our work we aim to create a new narrative around bodily fluids and the female body, a subject that often remains taboo in mainstream media. We want to make women feel comfortable and empowered in their natural self, something which we are conditioned and told through the media to change and mould into what society views as the “ideal” vision of a woman. It feels very sanitized and stirpped back, “if you cry in public, you must hide it, if you breastfeed in public, you must hide it”.. There is a  censorship of our bodily waters: the fact that we are wet, the fact that we come from water is something to be hidden. Shame is a self-inflicting punishment. This research, which has resonated with a lot of other people, is to this day a personal healing journey.

Your work also penetrates the realm of performance, how does such practice enable you to spread your voice?

I knew I loved fashion, but I was also very interested in performance art, theater and film, and I wanted to acquire skilIs that would develop my artistic practice and bring new viewpoints and inspiration to my fashion education. I did my first degree in Performance Design and Practice at Central Saint Martins. When I graduated I continued onto the Masters in Fashion Design Womenswear, and that was where I really combined all my skills and interests into one practice: couture fashion practices, textile development with performance, sustainability and film.

Both performance and art are so important to my work and creative practice. I am very involved in my work: it is something very personal to me. The relationship between model, designer and viewer is very interconnected, that’s why I always take part amongst the performers in my shows, exploring my vulnerability and body expression, alongside their exploration. Through these intimate moments, and the overcoming of shame, I can really tap into my creative side, and create work that comes from a deeper place. Work that is authentic to me and my experience. For us, a garment worn with intention and connection to a deeper emotional message, is one that will resonate and last with the consumer.

At DI PETSA, we are working on many different creative projects aside from the RTW collections. We recently launched a book, titled WETNESS: A Script of bodily Fluids, which I wrote and also illustrated. The book consists of 7 chapters exploring 7 bodily fluids: Saliva, Tears, Breast Milk, Vaginal Fluids and Semen, Sweat, Blood, and Urine. The writing is a merge of scripts for a filmed performance and poetic text which aims to create an alternative narrative for bodily fluids.The book includes direction notes, rehearsal exercises, diary logs, and fashion illustrations offering a behind the scenes eye to the Wetness concept and the performance work at DI PETSA.

We also run monthly Wetness Workshops that allow our audience to deepen their connection to water at large, and the connection to our bodily waters.

What is the highlight of your SS21 Collection?

The highlight piece from the DI PETSA SS21 collection for me was the Gold Embroidered Breastfeeding Corset and Wrap Skirt. The embroidery technique was inspired by an ancient greek ritual dress often used to decorate Greek Orthodox Priest wear – traditionally worn by males – but created, and passed through the hands of women. I liked the idea of subverting this by applying the technique to a womenswear garment.

What do you hope your audience to perceive from your work?

I hope the work at DI PETSA inspires our audience to embrace their Wet Self. To find intimacy in becoming comfortable with their natural self and their fluid expressions of wetness. The Wet Script garments are a very useful performance tool for when you get out of centre, or when you want to dedicate your day to Wetness and to coming back to the home self – the sea. It can be very beautiful to just look down your chest, and read excerpts of a script that re-aligns you to your own self. It puts you back into the performance you choose to create, and not be so affected by what is around you. A wearer-performer, that’s the way that I perceive it. Someone who puts an intention forward when they wear a Wet Script garment, and chooses to connect with it on a deeper level.

What are the next steps you would like your brand to follow?

Craftsmanship and sustainable design is important to our brand, and something we want to continue to evolve within our design process in the future. We have recently started to work with a local group of Women in Athens for a special Ancient Greek embroideries series. We want to continue investing in community driven projects like this. As the scale of our production grows, we hope to employ more women. In the future, we would like to run teaching classes within our studio, to ensure the embroidery skills continue to be passed down to younger generations. We want to develop collections that are consciously designed, with investment in sustainable materials and innovative ways of designing, looking at methods of upcycling and repurposing

Bradley Sharpe

Posted on by nr

NR · WORLD
Published · Online

Feature · Bradley Sharpe
Words · Nicolò Pablo Venerdì Bettiol

“It has developed, suffered and excelled – all in one breath”

How could one forget the wearable gargantuan mantua tents that, no longer than a year ago, stole the spotlight of fashion?

We are talking about it today, and we’ll definitely be for a while. British designer Bradley Sharpe graduated from Central Saint Martins last summer, and his vision has not skipped a beat since. The visionary creator opened up to NR about the launch of his own brand, his debut collection and the responsibilities descending from being a contemporary designer.

Authenticity remains at the core of his priorities, admits Bradley. Not only are we looking at what we put out to the world, but, most importantly, what we say. A highlight of his process falls onto accountability as well – a gentle reminder that fashion should never be taken with a grain of salt – “It’s not just about you.”, to have a voice, implies responsibilities. Bradley Sharpe: get ready, you will not be bored.

Your graduate collection hit the world with a bang this past year, can you talk us through the inspirations and process behind it?

Working at a sex club to financially support my final year, I became fascinated by its unrestricted public hook up culture. I began looking into the historical aspects of hooking up and became fascinated when I discovered the tales of Molly houses and court events. I wanted to find a way to reinterpret the Mantua – a gown worn by aristocratic women in the 18th century – and, after coming across a tent in a charity shop, I naturally began pursuing its idea of volume.

That said, I’m quite a tactile person. My work is always inspired by a body of experiences or things that I’ve come across naturally… Nothing is ever forced, rather completely authentic. I also really liked the idea of a consumer buying a gown, but still having to literally build it themselves.

What hides inside these tents?

My sleep paralysis.

What inspires and pushes you to create?

I’m privileged to live in London. To be surrounded by relentless creativity which always pushes me to do more.

What has been your greatest achievement so far?

Probably working with some incredible people recently. From Lady Gaga and Tim Walker, to my fantastic and ever inspiring studio team.

Looking back at your experience at Central Saint Martins and Marc Jacobs in New York, how has your view on fashion changed?

This year alone, the industry has changed astronomically. It has developed, suffered and excelled – all in one breath. More than ever, the difference between then and now is that the future of fashion lies within its young designers.

“People are no longer looking towards the successful fashion houses for an opinion, they’re looking towards us”

What is the most valuable lesson you have learnt from it?

To be authentic.

Stepping into the world of fashion during such hard times must have demanded a lot of backbone. How have the first months of your career outside of university been?

It’s been a breath between exciting and manic. I’ve learnt so much by getting things – so – wrong: that is just the process of growing independently. I’m still so blessed to have a small team that’s so committed to the vision.

After my graduation (Ed.), it’s taken me a while to get started again: I am not in any rush to put out my debut collection. St. Martins felt so unnecessarily rushed. I cannot talk about, nor consider sustainability, if you’re going to work yourself or your team like a horse. Good things come at a good time, and I’m comfortable with that.

What are the biggest challenges for a young designer to start up their own brand?

It is probably about getting your head around the construction of a brand, and how to entirely build one from the ground up. Being an adult, configuring a business, it is totally different from being an 18 year old who just wanted to have their own brand. You can be street wise, but still, you have to be smart and make responsible moves. It’s not just about you.

What responsibilities descend from having a voice in contemporary fashion?

You have to be authentic and use your practice as a way to ascend your voice. Popular opinions aren’t necessarily always correct – just do what you want and say what you think.

We are all very excited for what is next to come. What are you working on at the moment?

I’ve been working on my new collection these past few months and it’s finally started to take shape. I cannot wait to share it with you very soon.

Credits

Images · BRADLEY SHARPE
https://www.instagram.com/bradleysharpe/

Vivien Canadas

Posted on by nr

NR · WORLD
Published · Online

Feature · Vivien Canadas
Words · Nicolò Pablo Venerdì Bettiol

“It began as a necessity, and quickly became a FUNdamental step of my process”

To paraphrase Fellini, things are not always what they seem. It is incredible how individuals’ minds can correlate images, objects, colours and shapes which do not originate from the same context. His name is Vivien Canadas, and his latest collection, A sip of fresh air, is an ode to visual culture and its boundless limits.

If I were asked what tortellini and a handbag have in common, I would probably call my grandma, asking the same question. On the other hand, the recent Central Saint Martins MA graduate, might have something to say about it. Taking inspiration from the simplicity of everyday life, the French designer took us on a wonderful journey across his process and peculiar eye for silhouette and shape.

“To show humour, but also recall some kind of old-fashioned elegance” points out Vivien. The collection struck fashion’s preconceived notion of mundanity, and here we are, a second later, witnessing the evolution of a trumpet, into a pair of trousers.

Being able to surprise the world with such a brilliant MA collection, followed by your project in collaboration with Tod’s must have felt as an incredible achievement, congratulations!

Tell us more about your vision and inspiration in the process of making it.

Thank you for your kind words! I’m very glad, my final collection and my Tod’s project caught the eye of NR Magazine. My design reflects my fascination for the ordinary and mundane. Through my research I visually collect artefacts, explore customs and incorporate these elements into my draping process. A trumpet evolves into trousers, a tortellini becomes a bag etc. A playful approach that does not intend to be literal. I aim to create a silhouette that shows humor, but also recalls some kind of old-fashioned elegance.

Part of my draping process for my MA collection was about recreating the movement of a garment caught in a storm. I designed voluminous skirt and dress that were based on a simple circle of fabric. Using such a shape was a direct reference to Christian Dior and his New Look silhouette. Subverting traditional techniques and volumes used in Couture is fundamental in my process.

Your collection, ‘A Sip of Fresh Air’ is an open invitation to escapism, to look at things under a different light. What would you like people to reflect on when looking at it?

In less than a century, humanity has completely transformed its natural habitat by escaping the countryside in favor of the city. A radical mutation that built some form of nostalgia.

My collection is an invitation for a city getaway.

“A moment to reflect on what is ‘modernity’ and how the ideal of countryside life redefines or transforms this concept.”

It is a celebration of the bridge between traditions and Mankind’s – perhaps odd? – progress.

The wind is blowing and taking everything on its way. Full skirts are flying, coats are pushed on the front of the body. “A sip of fresh air” is also about re-iterating and re-thinking our temperamental relationships to the elements.

Tell us more about Tod’s and the ‘Tortellini bag’.

For my project for Tod’s, I decided to explore the Italian food culture and gastronomy. One of the main references was the movie Roma by Fellini. A scene in particular was key to me: It’s evening and people are eating on a restaurant’s terrace.

“A moment of life that depicts with humor, and splendour, the Italian cuisine and its mise-en-scène.”

I was intrigued by the construction of the Tortellini. An emblematic ring-shaped pasta dish that is made from a flattened square dough and stuffing. Following the same construction, I thought of adding Tod’s elegance to the recipe. The result? A funny shoulder handbag in various colours.

Can you talk us through the collaborative aspects of your MA collection?

Fashion is about sharing. It is a human adventure that reaches its fullest when you get to collaborate, interact and create with others. I couldn’t imagine this project to be only about my own exploration. I wanted to incorporate other visions, and give them the space to express themselves. The shoes were designed in collaboration with Baptiste Faure. They are made from recycled Wellingtons, reworked into a pair of shoes, suited for urban life.

Collaborating was also a way to celebrate Daum’s savoir-faire, a crystal company founded not far away from home-town, Remiremont – France – in 1878. Using their unique craftsmanship of casting and colouring crystal, we designed “trompe l’oeil” headpieces. Resembling wet hair, the prosthetics reiterate our temperamental relationship with the elements, but also reflect my desire to build a new bridge between tradition and modernity.

The global circumstances in which you found yourself developing such a high caliber of work must have not been the easiest ones. In what way have you managed to adapt your practice to such a restrictive situation? What have you learned from it? How did you adapt your creative process to it?

Working on these projects was a chance: it forced me to stay resilient and pro-active despite the world situation. The lockdown pushed my process to evolve: more than ever before, I used my own body for my draping experimentations and fittings.

“It began as a necessity, and quickly became a FUNdamental step of my process.”

Things might not go the way you are planning, or you might not have the fabric you wanted: this experience taught me the essential value of being flexible.

Your journey into fashion started long before applying to CSM. Tell us more about your background and training.

Following a Masters degree at Sciences Po, Paris, and after completing a couple of internships, I worked as a junior designer at Maison Margiela for almost two years. Not your typical pathway… I hadn’t formally studied design before commencing the program at Central Saint Martins!

Looking at fashion Today, what are your hopes and concerns?

I hope fashion could go back to a more human scale.

The urge for relevancy in the work we produce has never felt more important than now. What do you have to offer?

As fashion designers, we are not only developing garments, we are creating a world. As a matter of fact, it is essential to take part in the ongoing conversation, and to reflect on the message behind my work. It appeared crucial, within my process, to understand who I am and what I represent, in order to support a progressive message that acknowledges and elevates others, no matter which gender, race, sexuality…

What can we expect to be seeing from you in the near future? Do you have any new projects coming up?

I would love to keep working on my own practice, and see where this takes me.

Credits

Images · VIVIEN CANADAS
https://www.instagram.com/viviencanadas/

Reuben Selby

Posted on by nr

NR · WORLD
Published · Online

Feature · Reuben Selby
Words · Nicolò Pablo Venerdì Bettiol

“making the industry ‘less worse’ is not enough”

Creative and modelling agency co-founder, fashion designer, sustainability advocate and researcher, set designer and collaborator… These are just a ‘few’ of the many shoes that took Reuben Selby’s work under the spotlight… Sounds a lot? Forget it. The designer seems to be only at the very first steps of a very promising career.

With Maisie Williams being his number one collaborator and girlfriend, the creative duo is actively challenging fashion normativity, making a change one step at a time.

When I first met Reuben and Maisie on a photoshoot set last fall, I remember them talking us through the message and intentions leading the freshly born brand. Today, Selby took a second to explain us the importance of collaboration, change and sustainability within his vision.

“Introspection is at the heart of the brand” suggests the designer, outlining the hopes and passions intertwined within his creations. What we are witnessing, it’s an inspiring act of love for creation, an invitation for reconsideration of our true identity.

Following a successful opening of FASHION FOR GOOD’s “GROW” exhibition, and an upcoming show planned to take place at the next LFW, we couldn’t be more excited to see what the future of the brand holds.

Where does your passion for fashion come from? What pushed you to start up your own brand?

My passion for fashion comes from my desire to create and bring art into the world. I wasn’t surrounded by fashion growing up, but I’ve always been fascinated by the idea of storytelling and building new worlds.

“I see fashion as one of many art forms that I use to express myself, which is also the true driving force behind my brand.”

For as long as I can remember, I have always wanted to run my own brand and curate shows.

What have been the greatest challenges throughout this past year?

Navigating the impact of Covid and Brexit on the fashion industry. I want the brand to be focused on fashion shows and collaborative projects more than bringing garments into production; however, the small runs we’ve planned to bring out have been massively disrupted.

What inspires you? What kept you pushing?

Striving for something bigger than myself is what truly inspires me. Creating an artwork that transcends, and connects deeply with an audience.

“I’m inspired to create new perspectives, to encourage people to look internally, in the hope to make the world a better place.”

We loved your latest homage to Christo and Jeanne-Claude’s legendary work. How has the collaboration come together?

Jeanne Claude and Christo’s work has always been a massive inspiration to me as an artist. However, only recently have I been able to come to terms with a deeper meaning to their work. Their pursuit of creating self-funded art on a grand scale is as equally, as admirable, of the work itself. The vision, the determination and drive resonate deeply within me: they reinforce the importance of being patient, reminding me how powerful an everlasting image can be.

You recently took part in FASHION FOR GOOD’s “GROW” exhibition in Amsterdam. Tell us more about your collaboration with Infinited Fiber.

Another core pillar of the brand is sustainability. Beginning with the brand’s conception, we felt responsible for building it the most ethical way possible. For our debut collection, we put a lot of work into the research and sourcing for partners to collaborate with. We were so inspired when we found Infinited Fibre: we thought of it as a fantastic opportunity to tell their story, and highlight their amazing work. Infinited fibre has a technology that turns cellulose-rich waste – a discard that would otherwise be landfilled or burnt into something precious – a 100% circular premium textile fibre. It reduces the world’s reliance on materials. We used the fibre for the cargoes and shirting in the collection.

The rumor has it we shall see a new collection coming up soon. Do you want to talk us through the inspiration behind it?

This June, we will be presenting our first show in London during LFW. I’m so excited for this project as I will be going deep into my cultural roots and my connection to the city. We’ve been working on this show solidly for seven months, compared to the two months that we spent on a daily show in Paris. We are taking things to a whole new level, and this will be the first time people get to see what our creative team is capable of. There will be a lot of raw energy and excitement, and I can’t wait for people to absorb it.

What statement lays at the core of your brand?

Introspection is at the heart of the brand. We often say we created the brand for introverts. To feel comfortable, without having to stand out or identify. The brand is the catalyst for self-expression: it aims to create an image that builds confidence, to push individuals to stay true to themselves.

Do you believe in change? What are your hopes for the future of fashion?

I 100% believe in change, but I also think that change is not easy, and perhaps, it is sometimes not welcomed. For change to happen, it has to be approached systematically, we have to realise how things are intertwined first. We need more people coming together, collaborating, and solving challenging problems, rather than performing individually. Also, the focus should project onto the roots of the problem: making the industry “less worse” is not enough.

Production and consumption must be reduced, which means businesses and people need to reconsider their motivations, in order to ensure an ecological and abundant world in the future.

“It is my deep hope to center fashion around creativity and storytelling, rather than profit and consumption.”

How has Maisie supported you in becoming one of fashion spokesmen?

Maisie is my number one collaborator. She brings so much of the energy and drive that pushes me to create. Maisie has a beautifully contrasting mind to my own, and she constantly questions how things should be done. She broadens my peripheral view when it comes to conceptualising what we’re going to create. I often have such a clear vision and focus, meaning that I’m not looking at the things I’m unaware of.

“To have someone on your side always giving creative energy means you will never create something that isn’t exciting.”

What is next to come for your brand?

My focus for the brand is to do good, and this can take any form. We want to collaborate and create projects that inspire people, and that’s all.

Credits

Images · REUBEN SELBY
https://reubenselby.co/
https://www.instagram.com/reubenselby/

Robert Wun

Posted on by nr

NR · WORLD
Published · Online

Feature · Robert Wun
Words · Nicolò Pablo Venerdì Bettiol

“finding the right balance between freedom and restrain, creativity and reality, patience and precision”

Robert Wun. Now let’s repeat: Robert Wun. We should not stop repeating, as we really might be facing one of the most extraordinary minds of contemporary fashion.

The Hong-Kong born designer sat down with NR to discuss his latest collection, the family memories that inspired it, and, most importantly, his fight for inclusivity. Leading us through a sincere recollection of anecdotes and reflections that shaped his aesthetic and beliefs, the young creator tells us a story of empowerment and attitude.

“Equality, Diversity, Sustainability and Accountability”, It’s a fight against the system what Wun’s aiming for. Nowadays more than ever, we are reminded of the urgent need for change within the institutions, and his creations are an open invitation to it. We might not yet be sure how to feel about Robert’s AW21 journey, but surely heaven has never looked this good.

Your last AW21 collection ‘Armour’ is simply mind-blowing. Tell us more about your inspiration behind it.

Thank you so much! The collection is a tribute to my grandmother whom I lost last year in October. The collection is also a celebration of her and all the women who have inspired and changed my life. Every look is inspired and named after a woman.
I admire powerful strong women because of my grandmother: she shaped my views of feminism, and taught me about love and respect. I have had the pleasure to connect and cross paths with incredible and inspirational women who I’m lucky to call my closest friends and family.

Swallow birds are a key inspiration of the collection. They were my grandmother’s favourite birds back in her village in Hainan Island, China. They also hold significant meaning to our family: according to a poem, young swallows are meant to one day leave their nest, and live their life without their parents. The poem resonates a lot with me, considering I left Hong Kong to pursue my dream in the UK. 

“This season, I am building an army to go to heaven with her.”

The collection is presented at dusk, as that’s how I’ve always imagined heaven’s gates to look like, in a sort of surreal dimension. It is my most personal collection: a self written diary documenting the many memories of my grandmother, my family, and my close friends. I also decided to photograph the collection myself. It felt right to be the one behind the lens – of what I believe to be – the most genuine collection I have ever created.

The idea of womanhood presence in your childhood played a determining role in shaping your aesthetic and designs. What do you see in it?

My work revolves around feminism, it shows my admiration towards strong women. 
During the post civil war, my grandmother moved to Hong Kong on her own. Mending clothes, making plastic flowers and sewing shoes, she raised my father as a single mother, not knowing a word of the native language. 
My mother’s work ethic of work & studying since the young age of 12.. She’s still pursuing a Doctor Degree.

“The idea of womanhood has always been very ingrained in our family, and the interplay between grace and strength is how I portray femininity in my work.”

Your training started a while ago at LCF. How has your practice developed since then?

Becoming a designer and brand owner, the biggest development is gaining responsibilities and business knowledge of the industry. I have grown, season by season: navigating in finding the right balance between freedom and restrain, creativity and reality, patience and precision.. And, ultimately, coming to the knowledge and the understanding of the importance in execution.

What were the biggest cultural challenges you faced in building up your vision?

I would say the biggest cultural challenge is the constant fight against the system. Trying to box me in a diversity category, it’s tokenism culture. As an East Asian designer, identity is constantly the only element they wish to see in my work. I found that dehumanising, it diminishes my vision. My work is not always about my heritage nor it certainly does fit into the western gaze perception.

What do you hope people will take away from your collections?

Hopefully something inspiring and timeless, profound, yet optimistic.

Pleats, pleats and pleats. Your approach to them is revolutionary: what is so special to you about them?

The pleat style and technique is called Sunray-pleating, I see them almost as a powerful pattern of illusion. Like a palm tree leaf, feathers on a bird’s wing, or sun rays through the clouds, I am always inspired and mesmerised with those patterns in nature.

Gaga, Cardi B, Willow Smith, Billy Porter, to name just a few of the celebrities that went for your designs.. How do you feel about such great feedback? Who would you love to see next?

It is such an honour and blessing to be able to dress all these powerful women. Many of them have inspired me since I was young! I would love to dress Naomi Osaka, Frances McDormand, and, of course, Beyoncé.

What do you believe to be the biggest urgency in Fashion right now?
Equality, Diversity, Sustainability and Accountability. How does your personal vision and practice embrace these?

“I have always aimed to normalise sustainability and diversity. I do not believe in marketing these values as a gimmick to sell the brand.”

I think they should be a common practice in all businesses, not just in fashion.

What should we expect from you in the near future?

What’s next for the brand will be a full e-commerce in 2021 and the introduction of new accessories. I am planning a very exciting collection for SS22: we will be working with incredible figures from the industry at expanding the brand’s language beyond gender, size and identity.

Credits

Images · ROBERT WUN
www.robertwun.com

Terrence Zhou

Posted on by nr

NR · WORLD
Published · Online

Feature · Terrence Zhou
Words · Nicolò Pablo Venerdì Bettiol

“It is less about aesthetics, but more about being sympathetic with our customers”

New York based Chinese designer, Terrence Zhou is radicalising our preconceived notions of body and silhouette. Leading us through a journey in between geometrical exaggerated volumes and block colours, the Parsons graduate is redefining our ways of seeing fashion. 

Terrence Zhou graduated from Parsons School of Design in 2020, following a degree in Fashion Design with a year student exchange program in the UK at Central Saint Martins, University of the Arts London. With plenty of projects on his shoulders, including a collaboration with Austrian jewellery brand Swarovski, and a design strategy proposal for Japanese cosmetic company Shiseido, the designer took a moment to speak with NR about his creative growth and process.

“I will keep creating and never stop.” affirms Zhou, reassuring us all about the difficulties and struggles experienced throughout the past year spent away from his loved ones.

With Maths at the core of his training background, the young designer talks us through the first steps through his career, his motivations, and the intentions behind his sculptural creations.

Your training began with Maths, to later shift to Fashion. Tell us more about your education experience.

I always wanted to do something art related. I know that I’m good at both Mathematics and Art. If I knew what I know now, I would say at a young age I already felt the calling for art and design. I never received any proper training as a kid, I would draw and paint on newspaper, or would make my uncle build sculptures with me. When it came to applying for university, I really wanted to go to Parsons. Unfortunately, I got rejected. I was thinking at the moment “Okay, great! Now I can focus on pursuing my second choice, Mathematics!”. It was a subject I was really good at and also interested in. While majoring in Mathematics in a liberal arts college and soul searching for two years, I decided to apply for Parsons once again. This time, I got in.

Do you reckon your mathematics background has somehow forged the way you design?

Definitely, still now I would do Maths problem sets for fun. Maths is a way of thinking and a way of living. It is a system of thoughts: it enables me to see the essence of every day matter. I personally find Mathematics very romantic. To me, Mathematics is a system that helps us understand the foundation of this 3D world. Back in middle school and high school in China, I really enjoyed inventing new ways to simplify steps of difficult Math problems. It was really funny! My Math teacher at the time thought I was also good at drawing: she would always invite me to draw graphs on the blackboard and teach the class how to solve problems my own way. The idea of constantly innovating and synthesizing from Mathematics has transformed into my design language. Even when in Parsons,

“I would always challenge myself at making the design process more efficient in terms of expressing my ideas.”

The past year has been a challenging one for us all, what did you learn from it? How has the pandemic affected your approach to fashion?

I am from Wuhan China. During that time, I was just worrying about my family. I haven’t been home for almost 3 years. The pandemic has never affected my perspective to fashion, rather, it revealed to me what my real approach is: no matter what happens on the outside, I will keep creating and never stop.

What are your thoughts on the direction Fashion has taken in relation to the current situation?

I feel that pandemic has expedited our journey to the virtual world. Working from home and online shopping have become a new norm. It definitely enabled us to abandon our preconceptions on many things and probably pushed us to envision more possibilities.

Collaborations also played an important role in the building of your brand. How did you manage to fit your aesthetic within Swarowsky and Shiseido?

Swarovski and Shiseido were two different projects when I was in school. Swarovski sponsored us crystals and we had to create a collection. The project with Cle de Peau Beaute and Shiseido was more interesting. Teamed with Columbia Business School MBA candidates, we provided design strategies to Cle de Peau Beaute to augment its client base in the US. Projects like this always make me think from a user experience designer perspective. It is less about aesthetics, but more about being sympathetic with our customers. It is a different creative process.

How do your origins inform your work?

No experience is ever wasted.

Why do you design? What is the message you want to convey with your garments?

I want to build connections with people who look at my work. It encourages them to think about everyday objects in ways they never thought about 10.

What will the next steps be for your brand?

Keep creating.

Credits

Images · TERRENCE ZHOU

www.terrencezhou.com

Miguel

Posted on by nr

NR Vol. 13 Growth · Spring Summer 2021
Published · Print Page insert-page-number

Feature · Miguel
Words · Ellie Brown

“I’m more interested in exploring the subtext of the why”

Why does purity have sex-appeal? What happens when you ask desire to strip? Is it cumpassion or compassion standing there? Have the closed fists of a lover around your heart understood what it meant to pray? Did they pray for you or did they just have you on your knees? 

The difference between intimacy and sex has long evaded many of us for far too long as we wrap our naked bodies in sheets instead of awareness, checking our phones before we even turn to see if the person next to us has batted an eye in waking consciousness. When we’re unable to communicate with ourselves or our better halves, we turn to music, we turn to Miguel. The Grammy Award winning artist is known for his sensual ballads. His 2017 critically acclaimed album War & Leisure, debuted at #1 on the Billboard R&B Albums chart and #9 on the Billboard 200 chart. But as we’ve been waiting for our next, favorite slow-jam, waiting to read the lips of an angel before they even part, Miguel turns the lights on. 

He needs more, he is more and his cravings no longer can be fulfilled simply by tender embraces and physicality chained to emotion. Miguel is looking for something deeper, looking to fill up space as he is, instead of carving it out of self-censorship, longing and lust. As he matures, he’s been making an effort to become his own friend, admitting to the fact that for some time, the person in the mirror blinked back but didn’t look like the person he wanted to be. He’s focusing on genuine understanding, relatability instead of selfhood dependent on difference and exploring darker tones with his new music because as he says, “there’s no way to tell the whole story without actually presenting the whole. I’ve shown everyone one side of me but now let me show you the other side, too.”

I know you’re also close with your grandma who left Mexico, sacrificing her own career in music to make a life for your family in the States, helping to shape your identity and inform your relationship to music and home. My own grandma recently turned 100 so I’ve been thinking a lot about matriarchy and home in general. 

My grandmother’s are almost polar opposites in terms of their temperaments. I didn’t get closer to my grandmother on my mom’s side until I was an adult and that’s been a whole other, fun relationship to develop that I didn’t expect to have at all. She was stern because she had to be and I only am able to see that now. The opposite goes for my grandmother on my father’s side, who you mentioned. She was always really warm, affectionate and loving but as I got older and business and life made it much harder to be there physically and it just wasn’t as much of an adult relationship. I look at family as being a sense of not only your journey as an individual, but as a representation of the bigger journey.

It’s like your legacy almost?

Yeah and not even as a measure for your accomplishments but just in your disposition, your humanity.  

“Our temperaments, our choices, our affinities are informed by our families.”

Yeah it’s this idea of a foundation. You’ve been likened to Prince and been a sex symbol in the minds of many and that was your foundation almost on which your career was initially built. But as you matured, you’re shifting that foundation as sex perhaps becomes intimacy with yourself as you begin to explore these darker tones in your work? 

I am anything I want to be, everything I want to be and sometimes that is sexy but not all the time. I welcome whatever it is that people need to connect with and I don’t control it. If I am sexy to certain people, great, that’s awesome but I just know that that’s not all I have to offer. It’s certainly not what keeps me interested in anything. I gravitate to things that feel sexy but I’m more interested in exploring the subtext of the “why” that is and so much of that comes from the depth of the darkness and the light, the interplay of it all.

It’s interesting because we aspire for depth but we don’t always equate it to being anything to do with darkness per se, we see it as a positive thing associating it with emotional growth. We’ve all been exploring this within the past year as we’ve had to confront ourselves. In what ways have you become more intimate with yourself and what do you feel more distant from?

I’ve been going back to this analogy recently because it’s the easiest way for me to remind myself but think about how often the operating systems on our phones get upgraded, now it’s like every couple of months, there’s something new, something better, a more efficient version. Life for humans should be experienced this way, in abundance, happiness and fulfillment. For me it hasn’t necessarily been new things, it’s just being able to see what needs optimizing and sometimes that means having to discard things we once needed.

What are some of those things for you that you’re cutting out of your system?

A lot of fear-based survival stuff, a lot of choices that reflect growing up having to move around, or not necessarily being in a place where we could afford things everyone else had, or feeling like an outsider based on the fact that I’m brown and black. What we do throughout life is to find ways to protect ourselves and for a lot of people that becomes their reality and stays their reality. For whatever reason, I was really lucky. I had parents that even though they weren’t together, they still held me down as much as they possibly could. I had enough of a support system to believe in myself, which is really at the end of the day, the core factor of anyone doing anything fulfilling. That ends up in great ways, fueling you and then in other ways, maybe weighing you down.

Right so it sounds like fulfillment to you is synonymous with self acceptance and we see that manifests on the Art Dealer Chic EP series. It’s funny when you realize what the difference between creating space and filling it up as you are feelis like. People seem to be gravitating towards this place you’ve stepped into especially with the release of Funeral and the new music on your greater horizon. 

Yeah I definitely just want to do the work. At the end of the day, an artist is about their work and I want to do my work with as much freedom from my even from my own feelings of requirement, or efforts to tick any kind of boxes per se. Inevitably, when you know your livelihood comes from your art, it’s going to find its way in one way, shape, or form so you need to be vigilant about creating clear boundaries. I’ve definitely experienced those moments where it becomes a challenge to see clearly and remember what the whole point of the gig is and I just remember that hey, I’m here to share, that’s what I’m here to do and I found a means of doing it through music.

“I get to be of service when I am my most honest here in this arena.”

Why is sharing so important to you? Why is that your driving force?

Probably because of the feeling that it generates. There’s been a couple of really awesome conversations I’ve had with my friends and fans that have shown me to the moon type support and they never really knew me but the connection was so genuine and there was a lot of belief there. I think of those people, and the people who I haven’t met yet but that I might meet through my music that I could possibly help to just feel good.

“That’s the awesome thing about any medium – the opportunity to connect with someone else that makes you forget your differences.”

Sharing is also interesting because like you said you might not know these people and nevertheless, that boundary you previously mentioned, begins to dissipate and maybe that’s the thing that we’re all looking for. The work you do as an artist is a lot emotional labor, you’ve broken down the boundaries yourself so that those listening are free of inhibition and able to access the parts of yourself that you’re putting forth in a way that mirrors intimacy. 

To add to that, it might be that I’m craving deeper connection in my life so I’m looking for ways to build that however I can and obviously that starts with a deeper connection with myself. I’ve really made a genuine and consistent effort over the past few years to really hone in and check in with myself, asking, “how are you feeling about you?” The more I’ve become my own friend, because I don’t know that I necessarily was, I realize how important this lesson was and it allowed me to shift, transition. I proved that I can write a good, even great, love song, I provided that I can do sexy, but what is that? Is that fulfilling? Does that fulfill me? I don’t think it really fills the cup all the way. 

What fills your cup all the way then? Even when you say you’re seeking out these deeper connections — what does that look and feel like to you? What is a “deep connection”?

Just like complete support, you know? I think that I’ve yet to really tap into what makes me relatable as a human being. I think that’s probably where I feel the most excited, the most uncomfortable and undeveloped. I don’t always lead with that. It’s interesting to look at the ways that we do our best to stand out and for a long time that was very, very important to me. But as I’m maturing and looking at the world, I’m going that’s not how I help right now. I used to champion being “an other” or different but like, we get it. You’re different and so is that person, and that person, and that person but let’s find the connection. 

Credits

Photography · RICKY ALVAREZ
Fashion · SHAOJUN CHEN
Creative Direction · NIMA HABIBZADEH and JADE REMOVILLE
Grooming · NADIA MOHAMMADPOUR
Production · THIRTEENTH PRODUCTION
Location · PEERSPACE
Interview · LINDSEY OKUBO
Special Thanks · Edge Entertainment

Félix Maritaud

Posted on by nr

NR Vol. 13 Growth · Spring Summer 2021
Published · Print Page Unnumbered

Feature · Félix Maritaud
Words · NR

“you just have to give it a space, a medium, the body”

Félix Maritaud has catapulted to success in French Cinema with his breakthrough role in Sauvage; solidifying him as one to watch. The Camille Vidal-Naquet directed film, depicted Maritaud as a male sex worker in the streets of Strasbourg in search for love. Maritaud’s ability to play emotionally complex characters has proved to be a reason why he is helping to change the landscape of French cinema and challenge Queer roles within. 

NR speaks with the actor about some of his most prevalent roles and the preparation behind the characters and where we can expect him in the future. For the 28-year old Saint Laurent muse, 2021 will be a fruitful year with projects such as L’énnemi de Stephan Strekker, and in Tom by Fabienne Berthaud.

Felix, It is great to speak to you. First of all, growing up, was there a significant role that inspired you to get into acting?

I won’t lie, I never thought about acting before some people asked for it, it just happened, and for good because i really do love this way to explore life through my body.

Before that I was more inspired by art history, artists, paintings, I’m not watching a lot of films, I don’t have many references about movies and cinema, I just participate sometimes.

One of your first roles was in ‘120 Beats Per Minute’ (2017) directed by Robin Campillo. It is a unifying movie between the personal and the political, tracing back the story Act Up Paris and the lobbying of their activists for adequate legislation, proper research and treatment for those with HIV/Aids. It also centers on the romantic lives of the characters in the movie. Why did you decide to pick this role?

First i always had been really moved and inspired by the history of the creation and actions of ACT UP, even when I was in fine art school at 19 with friends we did « anti-patriarchy » actions creating a group called ACT HOLE as a tribute to ACT UP activists, so when they called me to do a casting ( my first one) for the film i though i already belong to it. 

A standout performance for us was your role in ‘Sauvage’ (2018) in which you play the role of a young sex worker. Could you tell us about the preparation you had done prior to filming?

The casting process was quite long, the idea was really to create a body to the character, a way to move, to stand, to walk, to be naked etc. Camille hadn’t in mind a body like mine writing, he was thinking of a more fragile body type, even if i’m not strong btw, my body was imposing something that we had to adjust and adapt using dance workshops and lots of talks, practicing the body movement of the character on Paris streets,

“trying, trying things to find this strength into vulnerability that is what makes to me the beauty of this young sex worker.”

How was it working with Camille Vidal-Naquet, the film director of ‘Sauvage’?

It was really great, he really knew what he wanted about the film and the character, and we had a really friendly relationship, with all the team actually, so it created a space of strong artistic expression based on truth, empathy and love, because that’s what the movie is about. Camille is a really precise director, and on the other hand he is really open to what the team had to say, or propose.

You have mentioned previously that the character you played in ‘Sauvage’, stepped into your shoes rather than the other way around especially because of how specific the script was. Could you expand on this?

I don’t think of characters as persons you’re building entirely consciously, I don’t want to either. I think that what’s interesting to catch on camera is more an energy, something more fluid than a definition of codified, psychological things that people used to think as the way to define or describe characters.

I think that at a moment of commitment to a character, you can’t ‘control’ it anymore, you just have to give it a space, a medium, the body. So as it was a really intense role, and a really intense shooting too and as I trusted the script and Camille I just let the characters vibration the use of my body, it was really intense, but I did learn a lot from it.

So I’m giving space to my characters, I let myself be pure energy just to let them in, creating their own narratives with my body,

“I think of this job as a relationship, and I try not to impose things on relationships.”

You have also worked with Gaspar Noé in his medium-length movie ‘Lux AEterna’ (2019) produced by Saint Laurent’s creative director, Anthony Vaccarello. Could you tell us more about the movie and how it was working with Gaspar Noé?

I don’t know if I would say ‘movie’ to talk about this work of Genius Gaspar Noé, to me Lux Aeterna is a kind of a narrative manifest about creation of chaos with many levels of understanding. The movie makes me feel like a parallel to what movies are doing to life, changing perceptions of realness, creating a form of chaos as a distortion of an equilibrium between senses and the ‘ways it goes’.  

I like working with Gaspar, it’s really something. As Saint Laurent produced the movie, he had the opportunity to do what he wanted and express it really freely,

“I never saw a script, or texts to learn, pure genius energy.”

You have a strong affiliation with Parisian fashion houses such as Lanvin and Saint Laurent. How does fashion inspire you and your work?

I feel fashion is like a place in society where desire is key and expression of the self is at the center of purposes, style is a way to express people’s self. I met Anthony Vacarello during a radio show we were both invited by Beatrice Dalle, then he invites me to some shows and we get to know each other better, i really like his vision about desire, this provocative chic sexiness with beautiful fabrics and materials, I think he’s making women really powerful and sexy, I really do like what he does, I like wearing SAINT LAURENT leather jackets, its makes me feel so much strength. For Lanvin, I knew Bruno Sialleli from a long time maybe 10 years from common friends, I like his poetry, it’s soft, colors and shapes are soft and sometimes belongs to dreams, joyful ones, and as we have almost the same age we have lots of references in common, he’s a really nice guy.

Your latest role was in ‘L’Ennemi’ directed by Stephan Streker (2020), a movie encapsulating the idea that as human beings we are our own worst enemies in the end. The character you play, Pablo, was written with you in mind. Can you tell us a bit about Pablo and how you played him?

Pablo is jailed with the main character of the movie, they share the cell, it’s a really close relationship into space at first and then into minds, their relationship show a form of class warfare between them, an average politician jailed in front of a young guy, it’s a beautiful relationship and working with Jeremie Renier was a real pleasure, he’s a great guy and always ready to play what I do like a lot.

You have had a lot of success French cinema with these independent movies. Do you have any desire to break into international mainstream cinema?

I wouldn’t say mainstream as to me this word belongs to something I try to escape most of the time in my own life, but yes, I will do every project where i feel like it can reach a level of emotions and sensations i would enjoy, I have many projects to come outside of French films, I love to discover new horizons and way to create so I stay really open to new experiences.

What’s next for you?

You’ll see me soon in L’énnemi de Stephan Strekker, and in Tom by Fabienne Berthaud where I play a guy coming out of prison and finding out he’s a father with the great actress Nadia Teresckevitch, and in You Won’t be Alone, an Australian/American/Serbian horror movie by Goran Stolevski that is  gonna be legendary. At the same time I’m focusing on self stuff like artworks langage to understand more of life, creating pictures, poetry and having fun with DATAs.

Credits

Photography · MICHELE YONG
Fashion · MIREY ENVEROVA
Art Direction · LAURA GAVRILENKO
Grooming · MIKI MATSUNAGA
Creative Direction and Interview · NIMA HABIBZADEH and JADE REMOVILLE
Production · THIRTEENTH PRODUCTION

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