53 AVENUE MONTAIGNE PARIS
ELEMENT CLASSIFI _ __CATION Ma Manifesto
ANOMALIST #0_ SPRING ISSUE / _ELEMENT CLASSIFICATION
Cs Case Study
INDEX 28
79
MANIFESTO
5 SENSES
30
93
EDITOR’S FORMULA
CATALYST1
35
94
CASE STUDY1
Magic Mirror
DNA
Pierre Renaux
Olympia Le-Tan
47
101
SCAN1
CARTE BLANCHE
66
105
Alexandra Meynier
REFRACTION1 Fusion
Insert
MORPHOLOGY
Marianne Prévout + Beauty shoot
ANOMALIST #0_ SPRING ISSUE / _INDEX
122 CATALYST2
Marina Abramovic Institute
125
180
SCAN2
REFRACTION2
Anne Kluytenaar
145
Strange Entity
194
OLFACTION
CATALYST4
Hermessence
Romain Sochon
158
197
CATALYST3
REFRACTION3
Laurent Pernot
Sublimation
161
207
CASE STUDY2
EXPERIMENTS
David Herman
Love + Art Formulas
Us
Introduction
EDITORIN-CHIEF Kegham Djeghalian
DEPUTY EDITOR Pauline Giraut
ARTISTIC
DIRECTOR Marijana Gligic
HEAD OF IMAGES
CONTRIBUTORS
Diego Diez
Art Directors Rachel Eleftheriou Sang Jeon PZ Werk
COPY EDITOR
Photographers CĂŠcile Bortoletti Hugo Deniau Priscilla Saada Brice Pianet Moika Romain Rainer Torrado
Lorena Angenault
Ma Manifesto
MANIFESTO
ANOMALY 1_ a deviation from the common type, rule, arrangement, or form; irregularity. 2_ someone or something anomalous. 3_ an unexpected, unusual situation or quality.
ANOMALIST 1_ someone who has a special interest in exceptional cases 2_ intellectual - a person who uses the mind creatively 3_ grammarian of the Greek antiquity who considers language to be fundamentally characterized by irregularities.
ANOMALIST = [ODDITY + IRREGULARITY] = [UNEXPECTED + EXCEPTIONAL]
We seek and believe in formulas of no set formulas, formulas of oddities and new possibilities; an anomalous act that sets a new ground of understanding and perception We believe that fashion does not solely revolve around the garment but around all what makes the garment and its annexes existing and contextual to our contemporary zeitgeist. To us fashion does not only exist on the runway and in the streets. We believe in a science, a chemistry that transcends rules of equilibrium and celebrates new substances of different combinations; all is valid and nothing is stable 1 + 1 does not always equal 2 in our approaches.
ANOMALIST #0_ SPRING ISSUE / EDITOR’S FORMULA
Ed
Editor’s Formula
FORMATION: the action of forming or process of being formed; parts of a whole or a whole of parts. Beginnings of a formation to set a track of motion, a track to define where we are going… This is the first issue of our publication; issue ZERO, a ground zero with no catastrophe, perhaps an embryo in growth with no apparent features but with a defined DNA. That is how we perceive ourselves. We solidly engineered our DNA and we await its organic maturity. Terminology is important to us in section categories, perhaps not immediately recognized by our reader at first; but with repetition familiarity occurs. From an articulator ‘Catalyst,’ an alternative ‘Scan’ format of an interview, a ‘Case Study’ of a figure, to a ‘Carte Blanche’ where we give an insert booklet of twenty blank pages to a collective, an artist, a designer or an author to curate it to their liking. The collectible ‘Carte Blanche’ becomes the anomaly in every issue, the section where we hardly intervene and we accept the originality or banality of what it proposes. We believe it will bring another dimension to our discourse. Through this issue we intend to lay a foundation to build and experiment on. We invite you to be part of this formation.
Kegham Djeghalian
RP 2x4mm VANITY FAIR 406x275 MW-CDP1 FRANCE - On sale date: 2
Cs
Case Study
CASE STUDY # PIERRE RENAUX UNPREDICTABLE RANDOMNESS/// By Pauline Giraut Portrait by Michael Smith
ANOMALIST #0_ SPRING ISSUE / _CASE STUDY#1
Cs
Case Study
CASE STUDY #1 PIERRE RENAUX UNPREDICTABLE RANDOMNESS/// FORWARD THINKING DESIGNER
Cs
Case Study
PIERRE RENAUX
Forward-thinking designer and a graduate from the Royal Academy of Antwerp in 2013, Pierre Renaux’s creative universe and subversive inspirations question the standard themes of aesthetics in fashion.
IMAGES COURTESY OF PIERRE RENAUX
His Master’s collection, LIQUIDATION TOTALE, was a great success. Rewarded and honored by the critics, it was showcased in museums. Indeed, he has already been included in three Fashion exhibitions, which is quite remarkable for a designer who just graduated. His pieces were presented alongside the creations of Raf Simons, Haider Ackermann and Ann Deumelemeester.
found this shoe to be exceptional,” said Karen Van Godtsenhoven, the museum’s curator.
The MoMu (Fashion Museum of Antwerp) has recently purchased Pierre’s 3D-printed shoes for its permanent collection. “It is unusual for us to purchase a piece from a designer who’s fresh out of school but we
The title, « A QUOI BON », follows the rules of a nihilistic personal formula, which was set by the designer for his first collections, LIQUIDATION TOTALE (2013) and TOUT DOIT DISPARAITRE (2012).
Inspired by the strength and vulnerability of contemporary urban women, mixing aggressivity and underlying softness, the looks of his latest collection, blend couture-like details and sportswear shapes.
ANOMALIST #0_ SPRING ISSUE / _CASE STUDY
“
I first wanted to become a neurosurgeon, then a plastic surgeon, but my hands shake too much
“
IMAGES COURTESY OF PIERRE RENAUX
“Liquidation Totale is what is written on French shop windows right before their definitive closure, » Renaux explained, « but I always saw it as a kind of threatening message: ‘Hurry up before it’s too late.’ Or ‘We had enough’. ”I use those titles to convey my boredom with fashion and my inherent desire for change.” This collection is very much about death and rebirth,” he added, “reaching the top (the Master’s year) and then falling down (going back next year to do photocopies and make coffees as an intern). » This nihilistic approach, which is the essence of Pierre’s designing process, has become his signature. It is reflected in his subversive inspirations and creative thinking. He describes, for example, his second collection as a wardrobe inspired by vulgarity, forbidden fetishes and deathly desires. He juxtaposed these notions with that of the medical practice, which brings an artificial and cold atmosphere to the general feeling of the garments. By extension, the lookbook of the collection was entirely 3D scanned instead of photographed so that the images look like bodies undergoing MRI. All scanning errors and visual artifacts were kept intact to intensify its radiological look. His third collection uses the woman’s body to explore the absence of feeling and the idea of emptiness. “I first wanted to become a neurosurgeon,” he said, “then a plastic surgeon but my hands shake too much.” Self-destruction, unpredictable randomness and chaos are expressed in the peculiarity of fabric treatments. To translate the feeling of dereliction, he constructed the garments in such a way that they look they are breaking and mutating around the body, shattering like glass, growing like micro-organism, in perpetual dynamism. His accessories are an extension of that concept. Pierre explained that his research on emptiness led him to a bone disease
called osteoporosis, which is characterized by a decrease in bone mass and density. In between full and empty, bones and machines, his award-winning 3D printed shoes reflect the idea of a woman getting emptier and emptier with time.
ANOMALIST #0_ SPRING ISSUE / _CASE STUDY
1_
Describe your design process
Usually the first phase of my creative work is passive and takes very long, I absorb everything around me whether it be words, images, sounds or events and parties. Then it bubbles up again and I feel forced to vomit it back into a real project, from abstract to concrete. A bit like whales throwing up ambergris. From then on, it’s lots of trial and error until I reach a near-perfect calibration.
2_
What is your signature?
The constant elements that define my aesthetic are quite easy to spot: fetishism, cold-blooded sensuality, masculine femininity, modernism and a constant search for attraction/repulsion-funny/scary tensions. Also I’m very much attracted to synthetic materials and mechanical processes, as opposed to what is natural, handmade and crafted.
3_
What are your sensorial inspirations?
IMAGES COURTESY OF PIERRE RENAUX
The vibration of the stomping of super-predator women walking in heels, the unexpected touch and rigidity of the fabrics used, the blasting music of symbolic soundtracks which illustrated my few shows, taste in the sense of research into tastefulness in visual choices, and the overall specific look of the models I cast for my lookbook. The sense of smell plays a very small part in my creative process as my nose is not sensitive at all. As for my sixth sense, it is my “certainty” when an idea works as a total proposition.
“ (an) anomaly I detect in myself is my destructive impulse to create, and my creative impulse to destroy ”
vibration of the stomping of “ ...the super-predator women walking in
“
heels
IMAGES COURTESY OF PIERRE RENAUX
ANOMALIST #0_ SPRING ISSUE / _CASE STUDY
4_
Define anomaly as a phenomenon. What is yours?
An anomaly to me is something that doesn’t adapt but forces everything else around to adapt to it. It is the most necessary natural occurrence. I guess I could define my anomaly by my sincere difficulty to compromise, belong and conform, and my sharp desire to improve. Another anomaly I detect in myself is my destructive impulse to create, and my creative impulse to destroy.
5_
Do you have a formula? If so, what is it?
Never talk about what you want to do, just do it.
F
UCK
E
VERYTHING
A
ND
R
UN
ANOMALIST #0_ SPRING ISSUE / _SCAN #1
Sc Scan
IMAGES BY MARIJANA GLIGI C
_SCAN # EXAMINING ALEXANDRA _MEYNIER By Kegham Djeghalian and Pauline Giraut Portraits by Marijana Gligic Hair & MUA by Diego Diez
ANOMALIST #0_ SPRING ISSUE / _SCAN #1
Sc Scan
_SCAN # 1 EXAMINING ALEXANDRA _MEYNIER HYBRID OBJECT_ACCESSORY DESIGNER AT IFM
PROPERTIES_
IMAGES COURTESY OF ALEXANDRA MEYNIER
1
AND_
“THE TEN TON” collection / photographer: Emilie Barret
COMPOSITION_
1
PROPERTIES_
AND_
COMPOSITION_
ANOMALIST #0_ SPRING ISSUE / _SCAN #1
EXAMINATION_
01_
Could you describe the different phases of your creative approach? Do you follow a rule? I’m always looking for meaning in my work, I cannot work without a strong story at the base. After this I always integrate handmade textures somewhere in my work but it can interact before or after starting to design.
02_
What are the constant elements of your work? _Textures
AND_
_Black _Humor
03_
2
SYSTEM_
It depends. My latest collection was building a garment through the raw material. The raw material came first and it shaped my garment/object, like for example I wove plexiglas and leather together around the body. However, now, I tend to intervene in the raw material itself, to treat it and alter it into something else, another form, another entity‌ perhaps into a more sophisticated form.
IMAGES COURTESY OF ALEXANDRA MEYNIER
What are the stages of transition from raw material to your physical creation?
ANOMALIST #0_ SPRING ISSUE / _SCAN #1
IMAGES COURTESY OF ALEXANDRA MEYNIER
“THE TEN TON” collection / photographer: Emilie Barret
If you had a 6th sense, what would the experience be? I have always been fascinated by the myth of Cassandra (also named Alexandra by the way ...coincidence)blessed with the power of prophecy but doomed into never been able to be believed.I think precognition is one of the 6th sense I would love to experience. Or maybe it is the fate and the dramatic issue that like so much in this.
EXAMINATION_
05_
06_ What are the sensorial experiences that catalyse your creativity? _Sight I am very much sensitive to lighting. It needs to be calm and subdued to sooth me and initiate possibilities _Hearing The sound of natural elements amazes me but as I live in Paris I would say pure silence allows me to focus and create.
I would define it as a little dose of a chaos disturbing the continuity of a whole. A characteristic that makes each one of us unique. My anomaly would probably be my laught as it clearly sometimes break the flow.
AND_
04_
Define anomaly as a pheonomenon. What is your anomaly?
07_
Do you have a formula? If yes, what is it?
_Taste Raw food.
SYSTEM_
_Touch The feel and tactility of skin and leather.
MOVE FORWARD
2
_Smell Burnt wood.
PROFILING_ PERSONALITY_ 3
1_
I can find something positive in even the most difficult situations
2_
During tough time, I am prone to unhealthy behavior [abusing drugs or alcohol, getting less sleep]
3_
I feel uneasy in situations where I am expected to display physical affection
4_
I present myself in ways that are very different from who I really am
5_
I procrastinate on matters relevant to work
6_
I break promises
7_
I lose important things/documents
8_
When I’m really sad or down, I seek the company of others
9_
I go out of my way to better myself
10_
When I get angry, I have self-control.
11_
Interaction with other people is:
12_
I
lose my temper
dis a gre e
st ro n g l y dis a gre e
exc e ll e nt
ve r y good
good
lit t l e
no
what life is all about
fun but not all the time
great on special occasion
a necessary evil
of t e n
s o m e tim e s
rare l y
q uit e of t e n
n e ve r
PROFILING_
a g re e / dis a gre e
PERSONALITY_
a gre e
3
st ro n g l y a gre e
PROFILING_
11_
I am easy to get to know
12_
I find it difficult to function when I’m under pressure to meet a deadline
13_
I am suspicious when I receive an unsolicited favor
14_
My work suffers when I have problems in my personal life
15_
I enjoy exploring new places
16_
I am an outgoing person.
3
PERSONALITY_
17_
I get angry over things that others consider minor
18_
I can calm myself down when I’m under stress
19_
I need someone to tell me that I have done a good job in order to feel good about my work
20_
I like to attend gatherings where I can meet new people
21_
I am a private person
dis a gre e
st ro n g l y dis a gre e
PROFILING_
a g re e / dis a gre e
PERSONALITY_
a gre e
3
st ro n g l y a gre e
_
IMAGES COURTESY OF ALEXANDRA MEYNIER
“ I would have been a sculptor if not a designer”
ANOMALIST #0_ SPRING ISSUE / _SCAN #1
ALL RIGHTS RESERVED
ASSOCIATIONS_
COLOR : Black, grey, white, burgundy REPETITION : Getting to know a technique, alienation.
DISTORTION : Lawrence Malstaf, Anamorphosis, Uniqueness, synethesia.
B E AU T Y : Imperfection / A strong feature: scar / Tilda Swinton
C Y B O R G B O DY : Dream body, having a bionic leg or arm, Aimee Mullins the muse of Mathew Barney
4
FREE_
SCULPTURE : Passion, technique. Theo Mercier. Wax, Urs Fisher. Umberto Boccioni “Unique Froms of Continuity in Space.” I would have been a sculptor if not a designer
ASSOCIATIONS_
ANOMALIST #0_ SPRING ISSUE / _SCAN #1
4
Mathew Barney
FREE_
Artwork by Théo Mercier “Possession of the World is Not My Priority”
ALL RIGHTS RESERVED
ASSOCIATIONS_
THE ABSURD : Humor, cynism, theater, life, people. FORM FOLLOWS FUNCTION : Specific work process, boring.
TEXTURE : Life, porcelain, leather and skin in general, ears.
EUGENE IONESCO : Absurd, Cynical, Genius, Grandfather.
TA B L E AU V I VA N T : Vanessa Beecroft, Robert Wislon, the street...
4
FREE_
O B S E S S I V E B E H AV I O R : Wanting to know everything all the time, curious, touching everything all the time.
ASSOCIATIONS_
ANOMALIST #0_ SPRING ISSUE / _SCAN #1
4
Vanessa Beecroft performance
FREE_
Robert Wilson
ANOMALIST #0_ SPRING ISSUE / _REFRACTION1
Re
1
Refraction
_FUSION Art Director / Styling_ Pzwerk Photographers_ Pricillia Saada Hair and Makeup Juan Romero Models_ Agustin & Anthony @Success_ Guillaume & Thibault @Dauphine Lutte
ALL SHOES FROM ROMBAUR
N
ANOMALIST #0_ SPRING ISSUE / _REFRACTION1
DRESS MAISON MARTIN MARGIELA
ANOMALIST #0_ SPRING ISSUE / _REFRACTION1
ANOMALIST #0_ SPRING ISSUE / _REFRACTION1
ANOMALIST #0_ SPRING ISSUE / _REFRACTION1
ANOMALIST #0_ SPRING ISSUE / _FIVE SENSES
Fs
Five Senses
_FIVE SENSES SIGHT_TASTE SMELL_TOUCH _ SOUND__6TH Places, objects and creations; we relate to them with our five senses. A sixth sense always comes in the process.
ANOMALIST #0_ SPRING ISSUE / _FIVE SENSES
Fs
Five Senses
_Sight
HANS_ EIJKELBOOM Hans Eijkelboom’s book People of the 21st Century is a multilayered and unusual book. At first sight, it looks like a highend travel brochure, a complex medieval polyptych, or predella panel scanning the panorama of a city. But the subjects we see in his pictures are very ordinary; nothing is advertised and no miracles happen here. The banal of everydayness is observed and magnified. The book showcases a long-term project that the artist embarked on 20 years ago. Within self-imposed geographical and temporal constraints, Eijkelboom does a direct yet complex anthropological exercise. He detects and documents different repetitive visual and behavioral patterns of people encountered in the same location and within a limited period of time (people in striped T-shirts, fur caps or beige trench coats; young couples walking arm-in-arm; women in suit dresses; people in red jackets). The photographer positions himself as a neutral eye, reporting what he sees, letting us make our own analysis. However, by juxtaposing these images together in a grid of themes, which Eijkelboom calls Photo Notes, he gives the habitual sight and action of strangers we encounter in the street another dimension; a dimension that questions the social norms of conformity, individuality and belonging to the collective. PEOPLE OF THE TWENTY-FIRST CENTURY Hans Eijkelboom with an essay by David Carrier Edition PHAIDON
by P.G.
IMAGES COURTESY OF PHAIDON
Photos from the book People from the Twenty-First Century
Fs
Five Senses
_Taste
L’EVENEMENT _GOURMET DIY Taste; when you design your culinary experience, learn how to make it and savour it in a restaurant setting. On the Rue de Charenton in the 12th district in Paris, XXXXXXX gives private master-classes in French cuisine. In the modern yet rustic professional kitchen, the client is immersed in a well-rounded sensorial experience. French gastronomy is part of our cultural heritage. Due to the diversity of France’s terroir and its rich cuisine, French culture of taste is unparalleled. L’Evenement Gourmet offers a fun, full learning and alternative culinary encounter. Clients learn different techniques, which they apply in cooking an intricate dish, only to enjoy it at the end of the session. L’EVENEMENT GOURMET 154, rue de Charenton 75012 Paris
by D.D.
IMAGES COURTESY OF L’EVENEMENT GOURMET
ANOMALIST #0_ SPRING ISSUE / _FIVE SENSES
Preparation of different culinary experiments in L’Evenement Gourmet
ANOMALIST #0_ SPRING ISSUE / _FIVE SENSES
Fs
Five Senses
_Smell
SCENTED MATCHES The scent of a match is usually associated with the smell of red phosphorus, sulfur and potassium chlorate. Coated with a scented solution, however, and it becomes another way to quickly and elegantly perfume the ambient air. Inspired by the remarkable deodorizing property of matches, L’Officine Buly 1803 and Cire Trudon have created the scented matches. Elegant, long and delicate, asleep in their illustrated boxes, they fill a room with fragrance in one fell swoop.
“A sliver of wood infused with perfume to fill the air with pleasant aromas and good feeling. You don’t have to worry about getting burned when striking one of our scented matches: just place it in a saucer and let its light smoke perfume the atmosphere. BULY 6 Rue Bonaparte, 75006 Paris http://www.buly1803.com CIRE TRUDON 78 Rue de Seine, 75006 Paris www.ciretrudon.com
by P.G.
ALL RIGHTS RESERVED
L’Officine Buly 1803 and Cire Trudon’s scented matches.
Fs
Five Senses
_Touch
WANDA NYLON The touch of slick Vinyl and PVC with a thin stream of water running over it, a tactile quality associated with the Paris-based brand Wanda Nylon. Conceived by Peter Hornstein and stylist Johanna Senyk, the house’s starting point was to develop functional and fashion forward urban wear inspired by water repellent materials; the trademark of the brand that remained consistent in all their women and men’s collections. Wanda Nylon uses recyclable and eco-friendly vinyl, PU and PVC to perfect their tailored ‘space age’ cinematic inspired looks. One would say they make apparel coming straight from the Blade Runner movie. In their last presentation of Fall-Winter 2015, Wanda Nylon showcased their collection in a setting that encapsulated the brand’s concept: models paradedsexy and shiny looks in slow sensual movements behind an installation of a circular curtain of rain. They captured a cinematic mood reminiscent of Helmut Newman’s black and white photos. On a cold and rainy day (or not so rainy), Wanda Nylon suggests a possibility and a reason to show-off edgy luxury apparel…but where is my umbrella?! WANDA NYLON can be found in Colette, Le Bon Marché, l’Eclaireur and Maria Luisa in Paris. www.wandanylon.
by K.D.
IMAGES BY MARIJANA GLIGIC
Fall / Winter 2015 presentation
Fs
Five Senses
_Sound
SKETCH At the top of a white marble staircase surrounding a futuristic egg-shaped lounge bar, there is an all-white space with a Rubiks cube ceiling in rainbow colours. Inside, are free-standing pods, each of which is a unisex toilet. Entering the alien cocoon is an experience in and of itself because you hear people mumbling and clapping when you flush the toilet. Sketch London is a full sensorial experience. A converted 18th century building in Mayfair hosts one of the most unique sights in London. After visiting all of the different spaces this amazing place has to offer, one might think you had seen and experienced all, until you go to the bathroom. Conceived by French master chef Pierre Gagnaire and restaurant mogul Mourad Mazouz, Sketch is a multifaceted and inimitable site composed of five separate areas. The Gallery is constantly changing because it is regularly given over to artists who transform its interior. Sketch is one of the most visionary and original destinations for food, art and music. SKETCH 9 conduit street London W1S 2XG +44 (0) 20 7659 4500
by D.D.
IMAGES COURTESY OF SKETCH
View of the Sketch bathroom and restaurant
Fs
Five Senses
_Sixth Sense
CRITICAL COSTUME When garments and costumes transcend their materiality and form an alternative conceptual sense and possibility is unveiled. Critical Costume is an international conference and exhibition, originally initiated in Edge Hill University in the UK, which investigates costume practices as a means of critically interrogating the clothed body as performance. Critical Costume functions as a platform for new experiments in design. This year’s event is taking place at the University of Aalto in Helsinki. The exhibition is curated by professor Sofia Pantouvaki and Jorge Sandoval, and it showcases the work and experiments of international costume and fashion designers as well as visual artists.
CRITICAL COSTUME 25-27 March,2015, University of Aalto, Helsinki, Finland. http://costumeinfocus.com/
IMAGE COURTESY OF ANNIKA SALORANTA
ANOMALIST #0_ SPRING ISSUE / _FIVE SENSES
Magic Sculptures_ by Annika Saloranta and Laura Malinen at Aalto University
ANOMALIST #0_ SPRING ISSUE / _CATALYST1
Ca
1
Catalyst
MULTIPLE IDENTITY In her film, Magic Mirror British visual artist Sarah Pucill combines in a Kaleidoscope aesthetic a reenactment of Claude Cahun’s black and white photographs with extracts of her book Aveux non Avenus. Part essay, part film poem, Magic Mirror translates the startling force of Cahun’s poetic language into a choreographed series of tableaux vivants, intermixed with stagings from her writing. The kaleidoscope aesthetic that runs through the film serves not only to weave between image and word but also between the work of Cahun and the films of Sarah Pucill, creating a dialogue between two artists who share similar iconography and concerns; self as image and words, self as other and self as split and multiple.
SARAH PUCILL
CLAUDE CAHUN GENDER NARCISSUS SELF IMAGE
WORD REFLECTIONS
MAGIC MIRROR, DIR. SARAH PUCILL, 2013, 16mm b/w, sound, 75min Digital format available on DVD by LUX London www.lux.org.uk
MAGIC
ANIMATE
INANIMATE
ALL RIGHTS RESERVED
SCREENSHOTS FROM THE FILM MAGIC MIRROR
D DNA
_DNA OLYMPIA _LE-TAN by Diego Diez
IMAGES COURTESY OF OLYMPIA LE-TAN
ANOMALIST #0_ SPRING ISSUE / _CASE STUDY
Olympia Le-Tan (born in London and raised in Paris) is a self-taught designer. She is the daughter of the famous illustrator, Pierre Le-Tan. After starting her career with Karl Lagerfeld at Chanel, Lanvin and working closely with Gilles Dufour, she created her own brand in 2009. Her eponymous label is inspired by her two passions and obsessions: embroidery and literature. She launched her ready-to-wear collection in 2012 and opened her first boutique in Paris in 2014.
“ hand-made “
with love in France
Each season, she creates a new limited-edition collection of bags and evening bags based on a theme of her choice. Inside each bag there is hand-sewn tag saying “hand-made with love in France”. Her minaudiere clutches are her iconic product and are a must-have for the fashion-loving crowd. Olympia perfectly embodies the woman she is designing for, and her creative and social universe are a big part of her brand. In 2011, she collaborated with Spike Jonze and Simon Cahn on an animated film called “To Die by Your Side” that was presented at the Cannes Film Festival. Olympia has also been involved in many creative projects outside of the fashion world, such as creating special minaudieres for Wes Anderson’s “Moonrise Kingdom”. On Saturday 7th of March 2014 Olympia presented the new Fall/Winter 2015-2016 ready-to-wear collection at Paris Fashion Week entitled “The Red Shoes” after the Hans Christian Andersen fairy Tale. Besides her fascination with literature and embroidery, Olympia’s other signature influence is the 50s pin-up silhouette, always with a humoristic approach. “People have been saying I’m too sexy,” Olympia said after her runway show. For years, her tongue-in-cheek pinup aesthetic has been her strongest identity. For this collection she attempted a more artsy allure instead of full-on bombshell, still sexy but with a more sophisticated approach. Olympia mixed Ballet Russes, Seventies London nostalgia and her idol Kate Bush into a collection that is visually impacting and intricately detailed. Graphic motifs were taken from the original costumes designed for Diaghilev’s Daphnis and Chloé. There were also trompe l’oeil curtains adorning shirtdresses and velvet outfits.
IMAGES COURTESY OF OLYMPIA LE-TAN
ANOMALIST #0_ SPRING ISSUE / _DNA Olympia described her girls as “a bunch of trippy ballerinas”. The show had a contagious vivacity despite the somewhat tired reference of a girl’s desire to be a ballerina. Olympia hinted at drug references like LSD and mushrooms in her press release, creating the imagery of a ballerina on mushrooms or an insane Kate Bush. Harlequin decoration, Pierre Le-Tan prints, tulle, ankle-strapped Louboutins, Stephen Jones’ Nureyev feather crowns, shimmering tops, ballet tights, slippers, and ballet-themed bags and minaudieres created an overall joyful experience.
IMAGES COURTESY OF OLYMPIA LE-TAN
ANOMALIST #0_ SPRING ISSUE / _CARTE BLANCHE
ANOMALIST #0_ SPRING ISSUE / _CARTE BLANCHE
Cb
Carte Blanche
CARTE BLANCHE _BY MAISON PARTICULIÈRE__
ANOMALIST #0_ SPRING ISSUE / _CARTE BLANCHE
Maison Particulière is a nonprofit organization, set in a private residence which can be visited without appointment. Nothing is for sale, discovery, appreciation and emotion are all free for the asking. In this house, temporary art exhibits are organized together with art collectors who choose themselves the showcased artworks. Maison Particulière gave Patricia de Solages, a visual artist and photographer, their Carte Blanche to fill.
Light filters through the clouds, illuminating a snow canvas drawn by ashes arising from earth, an infinite stage where its main character is the landscape with volcanos still in effervescent activity, the sun caressing the mountains and valleys on which the glacier rests, while it reveals the splendour of earth calligraphed by nature. A volcano’s heart arises, still steaming, in a surprising performance of sleeping fire, sheltered by ice. My heart, beating slowly to avoid distracting the sense of ecstasy this performance awakens in me. My admiring eyes discover the beauty of our planet while my camera captures its strength, fragility and harmony echoed in my existence. Sunlight, leaving in its path, traces that remain impregnated in my spirit, feelings I can not name but that I can share in the calligraphy of an intimate landscape.
World. Action. Nature. Ice. Being. Intimate.
Patricia de Solages
+
Mo Morphology
_MORPHOLOGY PLASTIC SURGERY + ANOMALISTIC _ BEAUTY Interview by Kegham Djeghalian Photographer: Hugo Deniau Art Director: Diego Diez Assistant stylist: Pauline Giraut Make-up artist: AmĂŠlie Moutia Models: Djenice Duarte, Pavlina Drozd & Yana Vilkina
ANOMALIST #0_ SPRING ISSUE / _MORPHOLOGY
MORPHO _LOGY An interview with french plastic surgeon Marianne Prevot inspires Anomalist Diego Diez to ponder over notions of beauty, alteration, deformation and aestheticization in a beauty shoot.
01_
Classical Aristotelian aesthetic notions, Greek beauty proportions; in 2015, are they still applicable on our contemporary beauty norms? Even if beauty « canons » are changing with time, I think that Greek beauty proportions will always be applicable to human beings. Symmetry, order and well defined limits of the face and the body, give emotions and contemplative pleasure to everybody, almost anytime. In Aristotelian aesthetic notions, the idea of beauty is not separated from the idea of ‘good.’ The external beauty is always linked to the inner beauty and even now, in the 21e century, the beautiful movie stars, very often, embody the good heroine.
02_ “I have to explain the limits and draw the borders for a beautiful, natural and long lasting result.”
In plastic surgery what is the fine line between beautification and deformation? This is a very good and important question. As you probably noticed, the fine line is sometimes crossed by the doctors, who are responsible for those ‘puffy faces’ or other deformations. We can see these ‘puffy faces’ in cocktails parties, clubs, fashion weeks and so on…! For me this fine line is like a dangerous border that I would never cross. That’s why, as a plastic surgeon, I have to refuse surgeries and injections everyday to people who are constantly seeking change to attain youth and beauty.
ANOMALIST #0_ SPRING ISSUE / _FIVE SENSES
03_
Can you describe your philosophy on beauty, regarding self-perception, identity and the need to change? I can say that my philosophy on beauty is harmony. I mean harmony between the body shape and the face lines (external beauty), and harmony of the human being in its globality. I must understand the need of my patients and I have to be sure I am capable to give him or her the adapted treatment. I mean if my patients are suffering because of a defect, aging or breast asymmetry for instance, I will give them the satisfaction to match their external beauty with their internal feeling. They don’t feel old or asymmetrical, of course. Sometimes patients are asking to change their body drastically because they want to change themselves. In those cases, which are rare, it is much more complicated.
PORCELAIN DENTAL PROTECTOR BY ALEXANDRA MEYNIER
ANOMALIST #0_ SPRING ISSUE / _MORPHOLOGY
04_
In your opinion do people want to con form, to be like clones or keep their particularities? Most of my patients want to keep their particularities; they only want to look better, not to change or to be like clones. Of course, sometimes I need to show them how vain it can be to change too much or to try to be someone else.
05_
What is the role of a plastic surgeon in people’ search for perfection? I think that the role of a plastic surgeon is to make a good diagnostic and give the adapted treatment to the patient, like every medical Doctor. If perfection can be reached without risk, then I’m pleased to give the best of myself to satisfy my patient. But often, I have to explain the limits and draw the borders for a beautiful, natural and long lasting result.
“ I have to refuse surgeries and injections everyday to people who are constantly seeking change to attain youth and beauty.”
ANOMALIST #0_ SPRING ISSUE / _MORPHOLOGY
06_
What is more important to you as plastic surgeon, perfection or overall facial harmony? To answer your question, I must say that, for me, perfection IS harmony, I don’t choose between one or the other. As discussed before, a kind of perfection can be reached for some patients. Again, perfection is not usually what my patients are looking for. They are looking to feel good. In any case, I always avoid the « surgical look ».
07_
What are the most common procedures that are asked from you? And why do you think is that the case? The most common procedures that are demanded from me are, for both men and women, to improve the aging face lines (face, neck and eyelids), and for women, to attain beautiful breasts (breast lift, breast reduction or breast augmentation). I love to do those procedures because it a real relationship of trust with the patient, which is necessary. These surgeries usually have good results with very minimal risk.
08_
How do you manage people’s expectations for the result they might have? First I must be sure I understand my patient. I listen to my patient and ask many questions about their wishes, their way of life and the reasons why they want to improve their appearance; if they are married, if the spouse agrees with the operation, if it suits their familial and professional context. You know, I try to appreciate their personality. Then we can go further with pictures, drawings and 3D reconstructions. If we envision the same final result we can organize the required steps to achieve it.
“ perfection is harmony”
ANOMALIST #0_ SPRING ISSUE / _MORPHOLOGY
09_
What subtle changes make a big difference in the over all balance and attractiveness of a patient face? The smile! The eyes, what you feel inside! A satisfied, self confident and happy person will always be more attractive. Many studies have been done on the face attractiveness showing that youth and blue eyes are attractive; it does not mean I will apply that on all my patients. My job is not to change people into clones but to make my patients happy. Last week, a patient told me that her face changed to a younger and more attractive one, according to her husband and relatives, only because I removed a bad dark spot on her upper lip! Often the combination of subtle changes, like reducing wrinkles or improving jaw lines, will reach the goal.
10_
How do you define “anomaly”? « Anomaly » is not ugly or coarse features. It means that there is something wrong coming from an accident, surgery (mastectomy for breast cancer for instance), or from congenital disease. As a plastic surgeon, I try to help those people return to their normal state. The goal of reconstructive surgery is to go from abnormal to normal; aesthetic surgery tries to bring people from normal to fine. The body image must match the brain.
“ The body image must match the brain” DOCTEUR MARIANNE PREVOT AIHP-ACCA-Paris Spécialiste FMH Chirurgie Plastique et Esthétique Avenue Eugène Pittard, 34 CH- 1206 Genève. Tel: +41 22 346 18 18 Fax: +41 22 731 79 82 contact@drprevot.com www.drprevot.com
ANOMALIST #0_ SPRING ISSUE / _CATALYST2
Ca
2
PERFORMANCE ART
Catalyst
MAI
long durational work
MARINA ABRAMOVIC ART SPIRITUALITY SPACE SCIENCE TECHNOLOGY AUDIENCE
THE MARINA ABRAMOVIC _INSTITUTE
PERFORMANCE
ARTISTS
The vision: you enter a space; you sign a contract to stay a minimum of six hours in this space; you are given a lab-coat and headphones to completely block away any sound; you hand in all your belongings to be stripped of any reminder of the outside world. You enter another type of reality, an alternative reality to anything you have known. You inhabit a spatial experience that will change yourself; a futurist vision. A timeless space of production conceived by the iconic performance artist Marina Abramovic to foster collaborations between art, science, technology and spirituality, bringing these fields into conversation with long durational work. The Marina Abramovic Center (MAI) will provide educational and collaborative space to host workshops, lectures, residencies and research. Through a series of interconnected pavilions, from the Eye-Gazing chamber to the Crystal Cave, the Levitation Chamber and the Multi-Use Gallery, the MAI space will be used as a living archive, preserving and hosting performances of historic pieces as well as a laboratory for exploring the immateriality of the arts. Audience members become performers and viceversa. The distinction between artist and onlooker melts away.
IMAGES COURTESY OF OMA
MAI is materializing in a former theatre building in Hudson, New York. The vision is coming to life through the collaboration with the architects Shohei Shigematsu and Rem Koolhaas of the OMA firm.
THE MARINA ABRAMOVIC INSTITUTE http://www.mai-hudson.org/
_1. Towers Wrapper _2. Performance Hall _3. Crystal Room_ 4. Marina Abramovic with the OMA Model of MAI
ANOMALIST #0_ SPRING ISSUE / _SCAN #2
Sc Scan
IMAGES BY MARIJANA GLIGI C
_SCAN #2 EXAMINING _ ANNE KLUYTENAAR By Kegham Djeghalian and Pauline Giraut Portraits by Marijana Gligic Hair & MUA by Diego Diez
IMAGES BY MARIJANA GLIGI C
ANOMALIST #0_ SPRING ISSUE / _SCAN #2
Sc Scan
_ SCAN #2 EXAMINING _ ANNE KLUYTENAAR MENSWEAR DESIGNER AT IFM
PROPERTIES_
IMAGES COURTESY OF ANNE KLUYTENAAR
1
AND_
COMPOSITION_
H O LO
G I CA L
C HAR
AC T E R
I ST I C
[S]
1
MORP
PROPERTIES_
AND_
COMPOSITION_
ANOMALIST #0_ SPRING ISSUE / _SCAN #2
EXAMINATION_
01_
Define anomaly as a phenomenon. What is your anomaly? It is defying and deviating from the common rule. My anomaly is exposing my personal and intimate story in my work.
02_
AND_
Do you have a formula? If yes, what is it?
MY FORMULA IS RELATED TO HOW I PROCESS THINGS. THE ONLY WAY FOR ME TO MAKE SENSE OF THINGS, TROUBLES, PROJECTS OR CONCEPTS, IS TO TALK ABOUT THEM IN DETAILS TO CLOSE PEOPLE.
03_
My creative process is quite chaotic. I never have set rules about how to start and how to proceed. I put thoughts on paper, I collect images and I draw but with no specific order. I function differently in each project.
IMAGES COURTESY OF ANNE KLUYTENAAR
2
SYSTEM_
Could you describe the different phases of your creative approach? Do you follow a rule?
ANOMALIST #0_ SPRING ISSUE / _SCAN #2
IMAGES COURTESY OF ANNE KLUYTENAAR “LUX IS CROSSING” collection / photographer: Emil Pabon
What are the 5 sensorial experiences that catalyse your creativity? _Sight Contemporary and classical ballet _Hearing Violins and cellos _Taste Truffles and strong sweet liqueur
EXAMINATION_
07_
_Smell Petrol and cold sea air [What you smell when you are on a ship] _Touch The contact with water when I swim
04_
Small gestures through subtle minute details and applying codes of femininity to menswear.
AND_
What are the constant elements of your work?
05_
What are the stages of transition from raw material to your physical creation?
If you had a sixth sense, what would the experience be? I would say that my sensitivity to color analysis could be my sixth sense
2
06_
SYSTEM_
Inspiration, enthusiasm, doubt, research, doubt, enthusiasm, doubt, result.
3
PERSONALITY_
PROFILING_
ANOMALIST #0_ SPRING ISSUE / _SCAN #2
1_
I can find something positive in even the most difficult situations
2_
During tough time, I am prone to unhealthy behavior [abusing drugs or alcohol, getting less sleep]
3_
I feel uneasy in situations where I am expected to display physical affection
4_
I present myself in ways that are very different from who I really am
5_
I procrastinate on matters relevant to work
6_
I break promises
7_
I lose important things/documents
8_
When I’m really sad or down, I seek the company of others
9_
I go out of my way to better myself
10_
When I get angry, I have self-control.
11_
Interaction with other people is:
12_
I
lose my temper
rare l y
a lm ost n e ve r
exc e ll e nt
ve r y good
good
lit t l e
no
what life is all about
fun but not all the time
great on special occasion
a necessary evil
of t e n
s o m e tim e s
rare l y
q uit e of t e n
n e ve r
PROFILING_
of t e n
PERSONALITY_
s o m e tim e s
3
q uit e of t e n
PROFILING_
ANOMALIST #0_ SPRING ISSUE / _SCAN #2
11_
I am easy to get to know
12_
I find it difficult to function when I’m under pressure to meet a deadline
13_
I am suspicious when I receive an unsolicited favor
14_
My work suffers when I have problems in my personal life
15_
I enjoy exploring new places
16_
I am an outgoing person.
3
PERSONALITY_
17_
I get angry over things that others consider minor
18_
I can calm myself down when I’m under stress
19_
I need someone to tell me that I have done a good job in order to feel good about my work
20_
I like to attend gatherings where I can meet new people
21_
I am a private person
dis a gre e
st ro n g l y dis a gre e
PROFILING_
a g re e / dis a gre e
PERSONALITY_
a gre e
3
st ro n g l y a gre e
IMAGES COURTESY OF ANNE KLUYTENAAR
“ My Creative process is quite chaotic…I put thought on paper, I collect images and I draw with no specific order ”
ANOMALIST #0_ SPRING ISSUE / _SCAN #2
ASSOCIATIONS_
CURVE : Fluid FR ANCIS BACON : Full of intense emotions
M I C R O - D E TA I L : Everything is about details
COMBUSTION : Bursting and exploding
FLUIDIT Y : Desire to control fluid matter and vice versa
4
FREE_
GENDER : Everything is classified into masculine and feminine
ASSOCIATIONS_
ANOMALIST #0_ SPRING ISSUE / _SCAN #2
FREE_ 4
ALL RIGHTS RESERVED
Francis Bacon ‘Self-Portrait”
ASSOCIATIONS_
M U TAT I O N : Transformation AFFECTION : It is a necessity
SOCIAL CONVENTION : It needs to be challenged
VIRILIT Y : Contradicting oneself
IN-BET WEENNESS : It is to have the ultimate balance
4
FREE_
D UA L I T Y : Duality of masculine and feminine in everyone
ASSOCIATIONS_
ANOMALIST #0_ SPRING ISSUE / _SCAN #2
FREE_ 4
ALL RIGHTS RESERVED
Psalm, Ian Thomson
ANOMALIST #0_ SPRING ISSUE / _OLFACTION
Of Olfaction
__OLFACTION__ HERMESSENSE MENTAL_CON STRUCTIONS__
“
“
When I write a perfume, the scents are the words. And with these words I construct a story. There is breathing, and there are transitions, just as in sentences. Perfume, first of all, is a mental construction_ JEAN-CLAUSE HELLENA, July 13th 2006 New York Times
ANOMALIST #0_ SPRING ISSUE / _OLFACTION
In an attempt to decipher five of Jean-Claude Hellena’s Hermessense creations for Hermes, Sang Hyun Jeon and Cécile Bortoletti collaborate to interpret the metaphysical qualities of these fragrance creations through a personal visual reading of the olfactory experience.
Art Direction by Sang Hyun Jeon Photograhy by Cécile Bortoletti Model: Marc Ferrasse, Laurie Iversen Hair & MUA Yoshiko Haruki All garments by Hermès
ANOMALIST #0_ SPRING ISSUE / _OLFACTION
CUIR D’ANGE
baby powder
+ violet
+ calfskin leather
+ clean sheets
+ narcissus
+ musk
+ goose feathers
+ champagne
+ heliotrope
=
cuir d’ange
ANOMALIST #0_ SPRING ISSUE / _OLFACTION
SANTAL MASSOIA
creamy whisky liqueur
+ suede
+ smoky sandalwood
+ dried fruits
+ dulce de leche
+ massoia lactone
=
santal masso誰a
ANOMALIST #0_ SPRING ISSUE / _OLFACTION
VANILLE GALANTE
cognac vapor
+ vanilla orchid
+ ylang ylang
+ cigar leaves
+ cotton flower
+ sandalwood powder
=
vanille galante
ANOMALIST #0_ SPRING ISSUE / _OLFACTION
POIVRE SAMARCANDE
black pepper
+ smoky grey
+ gin
+ the piquancy of green chili pepper
+ dark and striped jute fabric
+ shavings of oak
=
poivre samarcande
ANOMALIST #0_ SPRING ISSUE / _OLFACTION
AMBRE NARGUILÉ
amber orange blossom honey
+ cloves
+ rhum
+ turkish coffee with cardamom
+ grilled sesame
+ cachmere
+ cinnamon
+ pumpkin squash
=
ambre narguilĂŠ
ANOMALIST #0_ SPRING ISSUE / _CATALYST3
Ca
3
Catalyst
LAURENT PERNOT MEMORY
PRESENT
HOPE
DESPAIR
LIFE
DEATH
LL STI
LIG
IM AG MO E VIN GV OB ISU JEC ALS TI NS TAL ATI ON S
INVISIBLE
HT
VISIBLE
‘Open-ended poems’ is the best way to describe Laurent Pernot’s body of work. From the conception of light and object installations, to the production of static or moving visuals, his work embodies multiple forms. He experiments with temporal, fleeting and immersive processes to engage his viewer. His work questions and revolves around the notions of the visible and invisible, life and death, memory and present, hope and despair. Enigmatic and at times spectacular, his work often establishes a fragile narrative easily relatable to his audience.
The rigor of Pernot’s work and ability to capture the viewer in a very intimate and sensual manner seduced the fashion world, where he was invited to participate on several occasions. He was commissioned by Jean-Paul Gaultier to conceive a video design that was projected on stage and on the garments of the Fall Winter 2009 haute couture collection. On another occasion his work was featured in Dior’s St Germain boutique. An ever-evolving creator, Pernot is an artist to be followed as he does not cease to surprise, impress and impact his viewer in every new work he presents. LAURENT PERNOT http://www.laurentpernot.net/
EMOTIONAL IMPACT
LAURENT _PERNOT
IMAGES COURTESY OF LAURENT PERNOT
From left to right_ 1 - 3.” And, if Tomorrow, the Great Forces of Nature Gathered to Liquidate the Advent of the Industrial Revolution and Postmodernity” (2014) _4. “Captivity” (2008) _5. “You Will Never Die” (2010) _6. “Self-portrait Face to a Winter Canvas” (2014) _ 7. “Window through the Wind” (2010) _8. “Too Weak to Get Out of the Abyss, Strong Enough Not to Fall Into“ (2014)
ANOMALIST #0_ SPRING ISSUE / _CASE STUDY #2
Cs
Case Study
IMAGES BY MARIJANA GLIGIC
CASE STUDY#2 DAVID HERMAN _METHODOLOGY & PROCESSES__ By Kegham Djeghalian Portraits by Marijana Gligic
MIROIR FROISSÉ Artwork by Mathias Kiss
ANOMALIST #0_ SPRING ISSUE / _CASE STUDY #2
Cs
Case Study
IMAGES BY MARIJANA GLIGIC
CASE STUDY#2 DAVID HERMAN _METHODOLOGY & PROCESSES_ CREATIVE DIRECTOR _FASHION DIRECTOR_ EVENT PRODUCER _CURATOR
Cs
Case Study
DAVID HERMAN
“
I consider myself a creative researcher above all, a researcher who works in a laboratory
A hybrid practitioner of creative direction and curation in fashion and design, David Herman has developed his own creative process for a multitude of projects. From event design, campaigns and image consultancy to curation of festivals and publications, Herman does not shy away from applying his methodological concepts in creative problem solving.
ANOMALIST #0_ SPRING ISSUE / _CASE STUDY #2 I was eager to immerse myself into everything related to l’Art de Vivre. A combination of music, food, architecture, environment…it is a comprehensive art approach. I wrote quite a peculiar thesis at the end of my studies, which was about Libertinage (Libertinism). I wanted to talk about the relationship between sex, hedonism, pleasure and tourism in a positive way (not in the sense of sexual tourism). I wanted to demonstrate that this is the basis of refinement in French culture. It was a way to articulate the notion of the erotic emotion as the catalyst of experiential pleasure. What is an erotic emotion to you, David?
IMAGES BY MARIJANA GLIGIC
David Herman, where did it all begin? what were your formative years like? I was born in an area that was culturally poor. I came into culture quite late in my life. I discovered at a later stage that I could have some sort of creative sensitivity. I started my education in the field of economics but I gradually leaned towards something more ‘sexy’ and I did it through tourism. I did not expect tourism to be so wide and rich and full of senses. I did two schools that were kind of complementary; one was managerial and more related to the classic tourist industry (ski and sea resorts…). It was quite pragmatic. But then I realized that my head was full of notions related to the social sciences and sociology. My second course of study was in Tourism and event studies in the city of Anger, which to me is the heart of French culture with its old-fashioned French traditions that I really love. This school was more social-science-oriented and we had courses on general culture and arts, and most importantly on l’Art de Vivre.
When I design an event and people leave saying ‘It was great, I had such a great time,’ it means that somewhere and somehow that event was constructed (designed) to infuse an emotion, an erotic emotion that gives the experience of pleasure even in the platonic sense. It is an emotion that allows you to forget your standard everyday environment and takes you elsewhere. It creates an experience that you will remember. You would let go and indulge in this journey of pleasure presented to you through this event. I associate different elements to create this experience. When you go to a restaurant and you feel you had such a strong pleasurable experience, in most cases, it is because the experience with the food was very erotic in nature. Everything I do now is connected to this principle. How did your journey in culture start? After these studies, as I did not have a strong cultural background, I forced myself to work in major cultural areas. I felt the urgent need to do so.I started to work in music events and festivals like the Eurokéenes de Belfort. When I started
“...my head was full of notions related to the social sciences and sociology ” Trois, face à la Mer” by Cyrille Weiner
ALL RIGHTS RESERVED
ANOMALIST #0_ SPRING ISSUE / _CASE STUDY #2 working in Paris, I worked in a little agency called C13 that was very connected with night club culture. This was at a time when the Rex Club was very attractive and Le Pulp, a lesbian club, was the most hyped place in Paris‌very decadent! This agency I worked with was involved with the Villette Sonique festival. And that is how I got to know Etienne Blanchot, the man who founded this festival, and eventually I followed him in his work in cinema, in creating film festivals. I became immersed in film events going from one project to another. Your first encounter with fashion, how did it happen? Through my work in cinema I developed this desire to work in fashion, to approach it with my professional background in music and cinema. In 2004, I finally ventured into fashion with The Tricolore label project, which is a mixture of fashion and visual arts, and I did it with a designer - that was his initial project in fact. Tricolore started as a T-shirt project where we collaborated with visual artists to illustrate the T-shirts. It was not streetwear at all in nature. In every collection, it was as if we curated an exhibition actually. As we did not have enough budget or capital to properly launch it, everything was based on collaborations. We were directly working with brands like Le Coq Sportif or Le Bon MarchÊ to produce and distribute our collections. The process was not only for clothes but it was also for the promotion of the label so most of the time we were creating installations and performances. So when we were collaborating with the brands they were buying the concepts as well as the products. For them it was a tool of animation for their selling points.
ANOMALIST #0_ SPRING ISSUE / _CASE STUDY #2
IMAGES COURTESY OF STANDARD MAGAZINE
You had been involved with Standard magazine for a long time. can you tell us a bit about this experience, how it took place and what your role in the magazine was? In 2006, I started working with Standard magazine, as it was very appropriate to me. Back in the day Standard was a sort of a Dazed and Confused in France. Standard shows fashion from a cultural point of view, which was more adapted to my background. As I did not have creative legitimacy, I started to work with them as the business guy who tried to find sponsors, advertising etc…
A major signifier in your career is a shaded view on fashion film ASVOFF. How did the asvoff project come into existence? When I was working in Standard magazine I felt that it had the potential to do something digital. Around 2007/08, I was feeling that there was something very strong emerging in digital content which fashion was in need of. Fashion media
are in a period of time where the “ We perception of fashion as an industry is slowly dying, whereas the perception of fashion as a cultural production platform is rising
“
To bring in money, the most efficient way was to build customized creative projects for brands (customized advertorials and things like this). I could not rely on the creative team in the magazine for these events and that is how I started to initiate non-official creative direction. I had to conceive the concept, produce, direct and edit it. I was really doing it from A to Z. I had to find my own way, my own method to develop these projects, thus creating my own version of a moodboard, as I really had to sell the projects to the brands. I had to make it sexy and interesting for them to do it. I used the projects and fashion stories I developed for the brands through the magazine to connect it with the launch event of every issue. So each issue was done like that and, in a way, I was unofficially becoming the creative director of the magazine.
JUST DON’T DO IT.
ASVOFF was inspired by a couple of factors: first, my film festival work experience; second, the Hyères festival, an annual fashion rendez-vous where you have a lot of crossover content coming together to inspire fashion professionals. ASVOFF was a real concept consisting of my past experiences, what was inspiring me from some existing projects and what I wanted to achieve.
“ Fashion needs other
art forms and fields to exist and pulsate healthily
“
(fashion video and film) was already an interesting, developing sub-field in the industry. I wanted to push this aspect in the magazine but I was not followed or supported, which was quite frustrating. With my cinema, film and festival experience, I got in touch with Diane Pernet to create a project, an event about fashion film. It materialized in 2008 in what is known today as ASVOFF festival (A Shaded View On Fashion Film).
What is the significance of the moving image in fashion in your opinion? What are the attributes of this new genre? It reinforces the perception of fashion as a cultural field and not only as an industrial one. We are in a period of time where the perception of fashion as an industry is slowly dying, whereas the perception of fashion as a cultural production platform is rising. I have the feeling that, in the future, buying clothes will be like buying a book, you don’t buy it simply because it is beautiful but because you have a cultural relationship with it, which is already starting to be the case. Fashion film is not advertising. It would not work if it were so. Fashion film works as long as it is a story that you narrate and not a product you sell and it is the same for any digital content. In the cyber world, people are now active actors whereas, before, people were passive. We are witnessing a different relationship between the product and the buyer. This is why in order to boost interest in your product you have to talk and
Diane Pernet
ALL RIGHTS RESERVED
ANOMALIST #0_ SPRING ISSUE / _CASE STUDY #2 communicate to people in a language that interests them.
pulsate healthily, thus the diverse and hybrid nature of what contemporary fashion is.
This fact influences the whole fashion consumer. As a fashion brand you have to convince people that you have the same values and culture as them. That is why fashion film has become one of the best ways to portray fashion and mediate it. It is a healthier relationship in my opinion, it is not a commercial relationship but a cultural one between the consumer / audience and the brand.
In the last few years you have been flirting with the car industry through various projects. Can you elaborate a bit on this?
Why do you think contemporary fashion has become such a diversified and hybrid field? I always compare fashion (like any creative field) to a heart with arteries. Sometimes the heart is big and feeds the other organs - the other creative fields - and sometimes the heart is small and needs the other organs - creative fields - to pulsate and exist. At the moment I believe we have reached a period where fashion is like the small heart example; it needs other art forms and fields to exist and
The fashion and car industry have had a symmetrical development. They did not know of each other but very often they were finding themselves meeting. They produce dreams but they also have to respect some industrial constraints; they have to sell in order to exist. In the exhibition of Automobile et Mode at the Salon de l’Automobile 2014, I wanted to analyze the historical background of both fields and show how symmetrical they are. I wanted to demonstrate how today they are intersecting, crisscrossing and even starting to work together. This collaboration between these two fields will profoundly refresh their way of functioning and the way they manage creativity. Some companies not related to fashion, like car companies, are legitimately expressing themselves through fashion today. The car industry is very creative as it is changing a lot with the arrival of electricity and with the emerging awareness of heritage. We want to promote the heritage of the car industry. Our relationship to the car is changing. In many cases, the car industry has a lot more to say than a lot of fashion brands. Renault wanted to develop a new brand that is called Initiale. Initiale is a signature that is adapted to all their product ranges (Cleo Initiale, Espace Initiale‌). When they apply the Initiale concept to one of their ranges it becomes a luxury car even if it is a Twingo! When I went to the Renault design center they were developing the visual identity of Initiale, a very specific visual merchandizing concept dedicated to this new line. I realized they have the same approach that Louis Vuitton had, around 10 years
ago, when they were re-inventing the brand. They use the same strategies as luxury fashion houses with the difference of making it accessible to a larger market.
ciated the approach and creative process so much that they wanted us to have it as a pop-up store for a couple of weeks in Joyce instead!
I collaborated with Renault to launch their Initiale bag collection. We had the same strategy as that of Louis Vuitton. We needed to launch and sell the bags in a place that reminds of luxury boutiques in the heart of Paris and that is why we did it in Joyce boutique. But at the same time we needed to design it in a way not to intimidate or over-impress the customer and have the product quite accessible. We chose Mathias Kiss to do our set design for this event and, somehow, it was the perfect formula that made the event very successful. It even exceeded our expectations. This event was supposed to be for 2 days but the direction of Joyce appre-
What is your methodology to approach all these various creative endeavors? I consider myself a creative researcher above all, a researcher who works in a laboratory and is confronted with different topics and problems. He needs to find ways to solve and demystify these problems. There is always a methodology. It is about creativity at the end no matter what the final result or its form is. I need to rely on logic, on mathematical reasoning and repetitive cycles in history. I need to ask very basic but fundamental questions about humans, about how they relate to their environment. I need to always ask and answer those essential questions when I collaborate with a brand:
_WHERE DO THEY COME FROM? _WHERE ARE THEY NOW? _WHERE DO THEY WANT TO GO? Initiale Bag by Renault in Joyce Paris
Photo by Peter Lindberg in the Exhibition “Automobiles & Fashion 2013�
A major key is to be very respectful to their history, and there is a way of analyzing the history and trajectory of a brand: - - -
To know how and when the brand was born To know when their golden age was and analyze why it was the case And finally, to know where it is now and its actual position among its peers
IMAGES COURTESY OF DAVID HERMAN
All these elements should be the starting point of the creative process in our field because, through these temporal definitions of the topic or brand (past/present/ future), we can directly relate to the brand and relate to the consumer/audience. We create nostalgia, fantasy and desire. I believe my methodology comes from my background in tourism, as it is a way to create the best conditions in order to produce a seductive emotion. In a way, you have to bring specific people to a precise place, at the right moment and in the right conditions so that they can be stimulated by the project or the event.
A big reason for the success of many projects I was involved in is that, due to my diversified background and path, I am capable of bringing some freshness usingthe methods of other fields. It is interesting to see how fresh and innovative you can be in a field like fashion by referring to the methods used in another field since a long period of time. The main reason for the success of ASVOFF is that we applied to fashion the method of organizing and producing a film festival, which has existed since decades! It seems there has been a pattern for you in jumping from one environment and field to another. Was that a conscious choice or was it an organic personal growth? I started from tourism then went to music, then cinema, then fashion and now I start to express myself in architecture and decoration more and more. I go towards what appeals to me at some stage in my life. I become obsessed with it, and this obsession allows me to play with it! Probably, if I had remained in one field I would not have been fresh anymore and
it would have eventually killed my creative sensibility. It is not easy to change fields all the time but it is always such an inspiring and invigorating process that adds a lot to me. I need to constantly move forward. I collaborate a lot with Mathias Kiss at the moment. I bring him as much as he brings me in knowledge and inspiration. We exchange our experiences and adapt our practices to each other, and we come out with impressive results. I have a strong feeling that my career will eventually turn to gastronomy. I don’t know when or how but I know, and I have known for a long time, that it is going to happen. But I also know that I need to go through all these stages and all these fields to reach my destination, gastronomy. I have been very impressed by all these amazing historical balls from the time of Louis the 14th until the last century. These balls showed real global excellence, excellence in the minutest details and excellence in every sensorial aspect that produces an experience; fashion, music, decoration, food, drink, lighting, animation… In retrospect, that fascination makes sense to me when I look back at my professional career starting from tourism to where I am now. As if I was trying to get all the tools from the different fields in order to reenact all these historical balls. Perhaps it is my ‘Frenchness’ and my very French
obsession with excellence and elegance that is the base of this desire! Do you believe in Eureka? Do you have some catalysts of inspiration? Yes, I believe very much in Eureka, not in the sublime and divine intervention traditionally associated with it but rather in the long process of research and selfsearch. It is a matter of perseverance and a matter of being sensitive and capable of drawing on your past experiences. For me creativity is not always about inspiration but about an active mental exercise. Inspiration is not a passive act; you need to be active. You need to seek it or else it is not going to come. It is a motor that is constantly working.
“ Inspiration is not a
passive act; you need to be active. You need to seek it or else it is not going to come ”
IMAGES COURTESY OF DAVID HERMAN
Sous l’emprise du pouvoir by Matthieu Lavanchy
ANOMALIST #0_ SPRING ISSUE / _CASE STUDY #2
Diagram by David Herman
Do you have a formula? I do have a formula or a scheme! It is related to creativity and temporality. There is past, present and future… What gives way to creativity in the present is a feeling of nostalgia to the past and a feeling of naiveté towards the future. You fantasize about the future and you fantasize about the past. Both create an idealization of time that is not present. These phantasms and idealizations are what nourish creativity. So in a Cartesian logic nostalgia equals naiveté.You have two kinds of emotions: hot emotions and cold emotions. Most of the time hot emotions are related to sex, violence, sickness, and hunger... Cold emotions take time and are not as urging. Nostalgia and Naiveté are cold emotions. Depending on the specific
period, society will be turned to the past or will be oriented towards the future. After the Great War, people wanted to forget the past and fantasize about an alternative reality of the future. They were working on futuristic codes and new realities for progress. Naiveté for future utopias was the catalyst for creativity. Then came other crisis in the following decades and naiveté began to dissolve with the dark perception of the future (apocalypse, dystopia…). This, in turn, gave way to the rise of nostalgia to the past; a past when we had a hope for a utopian future. Nostalgia and naiveté are the basis of creativity. But in the creative world there are so few people who are aware of that. This is the foundation of my entire creative endeavor.
IMAGES COURTESY OF DAVID HERMAN
What is an anomaly to you? What is your anomaly?
“ Nostalgia and naiveté are the basis of creativity ”
Something that is not natural or true. It is related to a mistake, a fausse note! In everything we do, we reach a truth at some point, a reality that is pure. If there is an anomaly in it then there must have been a mistake, an interruption or an unnatural disruption in its process. My anomaly is the lack of self-confidence and over-anticipation. Even though these two words sound very destructive they have been one of the ingredients of success in my career. They always give me more challenges to overcome, humble me in my practice and always push me to constantly question myself.
L’ANOMALIST PARIS BECAUSE YOU’RE WORTH IT
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Refraction
Art Director_ Rachel Eleftheriou (Fashion&Image Designer) Photographers_ Brice Pianet (Graphic Artist) and Moika Romain (Painter/Photographer) Storyboard Assistant Developer_ Dani Hortelano (Architect) Model_ Daniela Lierah Beltran
_OSMOSIS
DRESS MAISON MARTIN MARGIELA_ T-SHIRT INTIMISSIMI
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DRESS MAISON MARTIN MARGIELA_ T-SHIRT INTIMISSIMI
DRESS COS
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DRESS MAISON MARTIN MARGIELA_T-SHIRT INTIMISSIMI
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JACKET JOHN GALLIANO_ TROUSERS MAISON MARTIN MARGIELA
SHIRT MARNI BY H&M
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DRESS MAISON MARTIN MARGIELA
ANOMALIST #0_ SPRING ISSUE / _CATALYST4 “I am still looking for easy ways to do fashion, to offer a vision of dreams, but time is hard. When a thousand jacket designs come out every month, where do you start?
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Catalyst
ROMAIN SOCHON
CONSTRAINTS Seduction
SENSES POETRY AESTHETIC
ART DE VIVRE
Details are strong, or they must be, even if to start we must get an idea of proportions (the look), but the perfect translation from any inspiration is to design a « closure » to that fast consumption. Furniture designers or designers such as Hans Hollein, Alain Richard or Ico Parisi helped to develop this collection, because, first of all, a chair has to support you while you are sitting down. Here is the essence of design: working with constraints. And in here, in this discipline, the path used that we must look at, is the steps coming over for aesthetic, to push the mechanical, to make sense for our senses. Anything pleases seduction. There is certainly a boy for whom I tried to propose an « art de vivre ». Even if it is hard to define him properly, I want him to be common and alive, riding a bike to work. There, and again, constraints are already the basis of my work on fashion. In this direction, the fabric itself impels the design of the piece. Those navy blue pants turned out asymmetrical because the fabric out of the roll offered a pattern of four stripes each meter, which was distanced by this plain navy blue color. That is how it was done but at the same time, the whole shape needed to be cool, huge for a lot to hide. So yes, the only rule to follow is to constantly question our work. For the best. Maybe.” ROMAIN SOCHON
ROMAIN
romainsochon.com
IMAGES COURTESY OF ROMAIN SOCHON
Design process and sketches ( Collection “Racces Secours”)
Think... Just Think
Refraction
Art Director_ Rachel Eleftheriou Photographer_ Reiner Torrado
ALL GARMENTS AND ACCESSORIES BY MARTINEZ LIERAH
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Model Marta Makaj Hair and Makeup Henri Nuko
_SUBLIMATION
ANOMALIST #0_ SPRING ISSUE / _EXPERIMENTS
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Experiments
_EXPERIMENTS LOVE FORMULA +ARTIST RECIPE
ANOMALIST #0_ SPRING ISSUE / _EXPERIMENTS
LOVE FORMULA An empirical methodology for creating intimacy in an experimental contex.
The study of the psychologist Arthur Aaron explores how the intimacy between two strangers can be accelerated by having them ask each other a specific series of personal questions. The 36 questions in the study are divided into three sets, each set intended to be more probing than the previous one. The idea is that mutual vulnerability encourages closeness. To quote the study’s authors, “One key pattern associated with the development of a close relationship among peers is sustained, escalating, reciprocal, personal self-disclosure.”
SET I 1. Given the choice of anyone in the world, whom would you want as a dinner guest? 2. Would you like to be famous? In what way? 3. Before making a telephone call, do you ever rehearse what you are going to say? Why? 4. What would constitute a “perfect” day for you? 5. When did you last sing to yourself? To someone else? 6. If you were able to live to the age of 90 and retain either the mind or body of a 30-year-old for the last 60 years of your life, which would you want? 7. Do you have a secret hunch about how you will die? 8. Name three things you and your partner appear to have in common. 9. For what in your life do you feel most grateful? 10. If you could change anything about the way you were raised, what would it be? 11. Take four minutes and tell your partner your life story in as much detail as possible. 12. If you could wake up tomorrow having gained any one quality or ability, what would it be?
SET II 13. If a crystal ball could tell you the truth about yourself, your life, the future or anything else, what would you want to know? 14. Is there something that you’ve dreamed of doing for a long time? Why haven’t you done it? 15. What is the greatest accomplishment of your life? 16. What do you value most in a friendship? 17. What is your most treasured memory? 18. What is your most terrible memory?
19. If you knew that in one year you would die suddenly, would you change anything about the way you are now living? Why?
ANOMALIST #0_ SPRING ISSUE / _EXPERIMENTS 20. What does friendship mean to you? 21. What roles do love and affection play in your life? 22. Alternate sharing something you consider a positive characteristic of your partner. Share a total of five items. 23. How close and warm is your family? Do you feel your childhood was happier than most other people’s? 24. Ho do you feel about your relationship with your mother?
SET III 25. Make three true “we” statements each. For instance, “We are both in this room feeling ... “ 26. Complete this sentence: “I wish I had someone with whom I could share ... “ 27. If you were going to become a close friend with your partner, please share what would be important for him or her to know. 28. Tell your partner what you like about them; be very honest this time, saying things that you might not say to someone you’ve just met. 29. Share with your partner an embarrassing moment in your life. 30. When did you last cry in front of another person? By yourself? 31. Tell your partner something that you like about them already. 32. What, if anything, is too serious to be joked about? 33. If you were to die this evening with no opportunity to communicate with anyone, what would you most regret not having told someone? Why haven’t you told them yet? 34. Your house, containing everything you own, catches fire. After saving your loved ones and pets, you have time to safely make a final dash to save any one item. What would it be? Why? 35. Of all the people in your family, whose death would you find most disturbing? Why? 36. Share a personal problem and ask your partner’s advice on how he or she might handle it. Also, ask your partner to reflect back to you how you seem to be feeling about the problem you have chosen.
HOW TO BECOME AN ARTIST_ Art Ideas you can do yourself. Excerpt from Rob Pruitt’s 181 Art Ideas You Can Do Yourself
1. Change your name 2. Make someone happy. 3. Make someone cry. 4. Make a painting with make-up. 5. Use a magazine as a sketchbook. 6. Draw something small, scan it, print it out big. 7. Watch your TV without sound or listen to TV with the screen covered. 8. Make a drawing by pressing pause and tracing the image off the screen. 9. Spend the day in a costume. 10. Sneak your own merchandise into stores. 11. Collect stuff. 12. Make a monochrome meal. 13. Live in a monochrome house. 14. Dress in monochrome. 15. Buy something expensive and put it on a pedestal. Return it for your money back. Repeat.
ANOMALIST #0_ SPRING ISSUE / _EXPERIMENT 16. Put everything inside outside. 17. Bring everything outside inside. 18. Put 2 identical things side by side. 19. Put 10 identical things in a row. 20. Make up brand names. 21. Name your plants. 22. Invent a new color and name it. 23. Make a portrait of someone by printing their phone number poster size. 24. Stalk someone. 25. Frame your credit card statement. 26. Make a photo album of all your worldly possessions. 27. Record yourself talking for fifteen minutes, let your consciousness stream. 28. Write captions on the glass for the view outside your window. 29. Save and transcribe your voicemails. Publish your emails. 30. Title your life.
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#0_ SPRING ISSUE / _FORMATION