peut ĂŞtre
peut-ĂŞtre
Charlotte Free - backstage at Manish Arora ready-to-wear Fall Winter 2011/2012 show
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CONTENTS
Issue 2
007 008 020 037 047 061 083 106 113 127 145 153 161 176 190 193
A WORD FROM THE EDITOR POLAROID PORTRAITS John Nollet INTERVIEW John Nollet BEHIND THE SCENES Peachoo & Krejberg BEHIND THE SCENES Collette Dinnigan FOCUS ON Kelsey Close BEHIND THE SCENES Tsumori Chisato INTERVIEW Pierre Hermé BEHIND THE SCENES Aganovich BEHIND THE SCENES Manish Arora FASHION INSIDERS POLAROID PORTRAITS Miles Kane LIVE MUSIC Miles Kane PORTFOLIO Mistubako HELLO DE LOU CONTRIBUTORS
Backstage at Peachoo & Krejberg ready-to-wear Fall Winter 2011/2012 show
A WORD FROM THE EDITOR
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There are so many things I have dreamt of, but I had never thought of creating a magazine until a few months ago. And yet, it has made almost all my dreams come true. In the past few months I have attended incredible fashion shows : spectacular, theatrical, exploding with colour fashion shows, as well as fragile, romantic and intimate shows. When I find myself backstage, I marvel at the models’ beauty, and am ecstatic and fascinated by the mystery of intricate and delicate chiffon pleats. Sparkling beads and embroideries remind me of the magical girls from my favourite cartoons I watched in the 1980’s, and the magic dust of old Disney movies’ fairies, making me feel like a child once again. Sometimes designers and staff trying not to panic still found themselves frantically ironing a hem ten minutes before the start of the show. Seamstresses leave behind them sleepless nights, shed a tear and give a standing ovation to the designer coming back from the runway after greeting an applauding audience. I have met so many creative and inspiring people, that I hope there will be many more “Peut-Etre” issues, so that I can continue being thrilled by the idea of trying to catch the beauty and grace of those magical moments with my camera, and share them with you. Failures gave me the strength to fight, try again, in a different way. My way. This may sound foolish, but this magazine is the result of so many hard-to-accept failures and crazy dreams. Nathalie Malric, creative director.
All images copyright © Nathalie Malric unless otherwise indicated. All rights reserved. No part of this publication may be reproduced in whole or in part without permission from the publisher. Copyright Peut-Être magazine 2011
POLAROID PORTRAITS
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John Nollet
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With no invitation in hand, I crashed the Christian Dior Haute Couture show at the beautiful Musée Rodin. At the end of the show I spotted hairdresser John Nollet as he was leaving the building, recognizing him from pictures in magazines. Hairdresser to stars such as Monica Bellucci and Vanessa Paradis, I thought him to be a very charismatic and handsome man, who possessed great style. I asked if he had time to look through a small photo album I was carrying with me, to find out whether he liked my photography. Expecting him to not even look at me, or tell me he was very busy or late, or going to another show, as so many people do, it took me by surprise when he quietly answered : “ok”. After looking through my Polaroid portraits he told me he loved them and would be happy to have his portraits taken, giving me his assistant’s email address so we could organize the best time for the photo shoot. Four months later, after a sleepless night before the scheduled photo shoot, someone rang my doorbell. The lack of sleep was due to my stressing over whether I would be able to accomplish the pictures I was expecting from myself. Anticipating John to be at the door, my stress intensified when I realized it was not him but his assistant, carrying a big suitcase full of hair accessories, thinking this would be one more person at the shoot who would see I was not up to the task. I had a precise idea of the mood of the shoot I wanted, and was glad that he had brought what I had suggested to him : a white shirt, a tuxedo, a bowtie and his removable dreadlocks. Despite my clear vision for the shoot, doubts set in when he arrived, and overwhelmed, I felt like fleeing. But alas, I was at home. John is very comfortable with photo shoots, knowing what is good for him whilst open to suggestions at the same time, helping you take the right picture. The first picture was a disaster, I did not pull the Polaroid
smoothly, and thought : “He’s going to realize I am only an amateur”. Fortuitously, a miracle happened that only Polaroids could make possible : the photograph was ruined, but with a burned effect, rendering it my favourite picture of the shoot. Another time I forgot to remove the lens cap, so the picture was blank. I was ashamed and crestfallen, yet John reassured me, saying everything was ok. He loved the other pictures we took, the tuxedo series in particular, which afforded him a classy dandy look. I loved them too, and felt the shoot was a big step for me. John was not disappointed. I breathed a sigh of relief.
The first picture was a disaster, I did not pull the Polaroid smoothly, and thought : “He’s going to realize I am only an amateur”. Fortuitously, a miracle happened that only Polaroids could make possible : the photograph was ruined, but with a burned effect, rendering it my favourite picture of the shoot.
INTERVIEW
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John Nollet
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Filmmaker, photographer and hair artist to stars such as Vanessa Paradis, Marion Cotillard and Monica Bellucci, John Nollet is known for his artistry among an international clientele. It is impossible to imagine Audrey Tautou’s “Amelie” any differently than with the iconic bob she sported, or Johnny Depp’s Captain Sparrow in “Pirates of the Caribbean” without his dreadlocks, thanks to the talented work by the French coiffeur, who believes hair can help narrate a story, both in life, and in film. He repeatedly creates looks for the Cannes, the Oscars and other film and red carpet events, and his work has appeared in advertising for such iconic luxury brands as Cartier, Chanel, Chopard, Dior, Givenchy and Tag Heuer. John sat down with Nathalie for a chat to share about his new place in Park Hyatt Paris Vendôme, his vision for the future, and his dreams.
Peut-Être : Hello John, how was the idea for the “101 Suite” conceived, and what is its concept ? John Nollet : It started with the worldwide tour “Hair roomservice around the world”in 2009, after I had worked in an haute couture “hair” collection. I say “haute couture”, because the hair was real human hair, reshaped, coloured, and thought of as accessories, or jewellery for the head. It was made for very particular and refined customers in Courchevel, in France. When I realized how successful the collection was with international customers, I thought it would be an incredible dream to carry out a world tour to discover that craftsmanship and different way to accessorize hair, and to offer this service to women. And my ultimate dream occurred to me : “Why not do so with made-to-measure Louis Vuitton luggage” ? To me, Louis Vuitton is the haute couture of luggage. So I thought to myself : “Why not make that world tour special” ? I had to find a place to do this in. I met with Malene Rydahl, who works at Park Hyatt Communication, and she immediately liked my project and has been extremely enthusiastic about it. Park Hyatt invited me on a yearlong tour in different hotels in the world to set up my Louis Vuitton trunks and introduce my work on accessories. We understood each other thanks to our shared love for made-to-measure, which is a service Park Hyatt makes a priority and offers to its customers ; we share a lot in common in the way we work. Michel Josselin, the director of Park Hyatt Vendôme suggested I have my own suite ; it is like an extension of my own apartment, akin to one extra room with a terrace. Women get their hair washed whilst lying on a méridienne, with a maximum of two people at a time, who never come across each other. It is a very luxurious service.There are exclusive objects I have found in vintage stores : chairs, sofas, antique frames, and crystal chandeliers. Some other objects made by people I love are also displayed in the suite.
PE : How free were you in the decoration of the suite ? JN : I had total freedom ! It was initially a bedroom that they gave to me like a playroom. I have been working with Yann Le Coadic and Alessandro Scotto, who listened to me talk about the project, how I imagined the room, the story the suite itself was telling, and they came up with the wonderful idea of the mirror box, which is placed in the middle of the room, creating small partition walls. Try to imagine this : the mirror box has been delivered in the empty room, it has been open, and the sofas, chairs, frames and books, everything that makes my inside world has been removed from the box and displayed in the suite. Imagine that box is left open, like an exclusive place, allowing women to have their hair washed in it, and be attended to whilst maintaining their privacy. PE : If you had been offered to hairdress Michael Jackson, what would you have changed ? JN : It depends on the time period. PE : Let’s say “Thriller” for example. JN : I liked his hair a lot. It was pretty surprising, textured, flat, kind of stuck on the skin. It was very precise. PE : And when was it not as good ? JN : Later, his hair had another role to play, which was to cover the face. I would have adopted a hairstyle thinking of MJ as a character. He was rather close to that childlike Walt Disney inspiration. I would have thought of him as a character that would be quite longhaired, slightly wavy, so as to keep its natural look. I would have suggested a Jim Morrison hairstyle, pretty voluminous and wavy, slightly covering the face. PE : Tell me about your dream of opening a hair school. JN : It is a dream, and not a concrete project yet, but it still is something I would love to do : create a school that would gather in one place hairstyles in the different modes you can
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work with as a job, be it for photo shoots, film, fashion shows, hair advertising, and share it to others. I wouldn’t be the only teacher ; I like the idea of sharing and passing on of knowledge. There are so many hairdressers I absolutely respect and who possess knowledge I don’t. I would like them to share that with those students. I love the idea of a master class where different people would come to teach : other hairdressers, filmmakers, photographers, and women who would come to talk, so that students would learn more about their expectations as clients. Filmmakers would come to explain how much a hairstyle is important in the character of a moviFilmmakers are like photographers; they see things through a frame and have to stick to the narration of a story. Hair, even if it has a tiny role to play, can help the narration of the story. Everyone has a status in their life, a job, a place where they live, and a way of living. Hairdressers in a salon and hairdressers on a studio set are ultimately rather similar ; because they have to understand the person they are hairdressing, and who tells them his or her story. PE : I hear you would like to organize hair haute couture shows. JN : I am a dreamer ; I imagine things that are not always rational or commercial. But yes, I would love to have hair shows. PE : With seasons and trends ? JN : Exactly, to inspire women. Hair is the most beautiful costume or ornament that exists. It is a “fashion” accessory you live with day and night, you can never leave it ; you can’t take it off like a pair of shoes or a coat. To me, a good haircut is more important than a dress. When you are naked, hair is the only “accessory” left, and that is what contributes to revealing the personality inside each one of us. For further information contact Virginie at : jn@john-nollet.com
“To me, a good haircut is more important than a dress” Color photos : Jean Marc Palisse & John Nollet. Black & White portraits in Park Hyatt presidential suite : Nathalie Malric.
BEHIND THE SCENES
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Peachoo & Krejberg
Ready-to-wear Fall Winter 2011/2012
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Peachoo Datwani and Roy Krejberg, the Indian-Dutch duo behind Peachoo & Krejberg, took inspiration from the dance of flying crows for their Fall 2011 collection. The palette was not confined solely to the black of crows however, starting with ivory, and also including grays and silver. This designing duo combine traditional couture techniques and ancient handcrafted skills with sharp cutting to obtain a distinctive style comprising of contrasting volumes and proportions, interplaying shapes and fabrics. To recreate the feathers and movements of crows, they used different fabrics : from felted wool to laser-cut chiffon, from fur to beads. These were juxtaposed with metal-coated fabrics, leather, silver pailettes, satin, tulle and beautiful Alenรงon lace. These long lined and layered looks were complemented with striking makeup, delicate mohair web stockings and long leather gloves that were worn past the elbows, tying in with a collection that was both romantic and edgy, somber and light. Clarice Chian
BEHIND THE SCENES
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Collette Dinnigan
Ready-to-wear Fall Winter 2011/2012
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Australian designer Collette Dinnigan drew inspiration from Argentina for her “Portrait of a Woman” collection, using feminine silhouettes that were reminiscent of eras past, combining them with rich fabrics. Dresses and jackets were structured or bustled, including beautiful sheer organza “New Look” style dresses with nipped in waists and full skirts, as well as some fluid pieces. Multi-textured looks were created with rich fabrics and details such as French lace and Rococo embroidery, Italian lace brocade and Venetian wool, organza and silk chiffon, which were oft highlighted with fur, encrusted with crystals or ornately embroidered. In contrast, accessories were modest, with patent pumps, gloves, dotted stockings and waist-cinching belts pulling the look together with understated elegance. Clarice Chian
FOCUS ON
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Kelsey Close Major Models
BEHIND THE SCENES
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Tsumori Chisato
Ready-to-wear Fall Winter 2011/2012
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Tsumori Chisato maintained her trademark “kawaï mixed with bohemian cuteness” aesthetic for her Fall 2011 collection, but added a healthy dose of elegance as well. The show opened with a series of pastel colourblocked knit dresses, separates and striped tights, which were both whimsical and playful. Worn with cottoncandy-colored knit helmets and big round glasses, the Tsumori Chisato girls sported a cute aviator look with sweet orange-coloured lips. The looks ranged from refined to quirky, such as the voluminous sleeved pussy bow sweaters, paired either with a sequined skirt covered in Japanese woodblock style prints, or a cute pair of pastel blue, gold trimmed knitted shorts with a sequined star. Another pair of pastel blue knit micro-shorts was heavily embellished with beads and pearls of differing sizes, and worn with an elegant printed pussy bow silk blouse, with a delicate Pierrot collar and voluminous sleeves. Trompe l’oeil featured heavily in this collection, from the sequined silk and knit top with a “hand” for a strap, to the sweater-knit jumpsuit with the effect of a chic little Chanel-looking suit and blouse, even down to the stockings, with drawn on bow ballet slippers. Aside from these ballet slippers, models also strutted their stuff in leather ankle booties, two-tone lace-up brogues (with the laces and perforations drawn on for a fun twist) and fanciful high heels. The 19th-century Salon Impérial at Paris’ Westin provided the perfect backdrop, with ornate floor-to-ceiling mirrors and gilt chandeliers it was a spectacular stage for Tsumori’s show. Clarice Chian
INTERVIEW
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Pierre HermĂŠ
www.pierreherme.com
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Dubbed “The Picasso of Pastry” and the “Dior of Desserts”, one thing is for certain : Pierre Hermé is a couturier of pâtisserie. With a preference for an elegant and pared down aesthetic, unusual flavour combinations and daring use of savoury ingredients such as balsamic vinegar, olives and truffles, Pierre is particularly renowned for his macarons, elevating their flavours from classic to avant garde, including white truffle and hazelnut, Heinz tomato ketchup, and the flavour that has baffled a few : chocolate and foie gras. Although at times his customers may not understand his more daring ideas, like a proper high fashion designer, he stands by his vision saying : “I create the cakes I want to eat”. Here, he shares his inspirations, including rose flavours and his (bestseller) “Chanel Suit” Ispahan, and also his made-to-measure workshop.
Peut-Être : Hello Pierre, can you tell me of a flavour that reminds you of your childhood ? Pierre Hermé : I come from a family of bakers and pastry chefs, so there are a lot of flavours that come to mind. But if I had to choose only one, I would say “tarte aux quetsches” (a traditional plum tart) made by my father. Quetsches are plums that can only be found in Alsace, and is a wonderful ingredient ; although you can find quetsches in Paris, they are completely different to those found in Alsace. PE : Did the fact your father was very demanding with his job have an influence on the fact you are now a pastry chef ? PH : My father gave me the will to do this job. He was passionate, and in love with his job. PE : You have created wasabi, sesame, and green tea matcha macarons. You seem to be very fascinated by flavours from the Japanese culture, why are they so inspiring for you? PH : I may be inspired by flavours from Thailand and Italy as well. I am not particularly inspired by the country itself, no matter where the flavours come from. PE : You have a lot of boutiques in Japan, how do you explain your great success out there ? PH : Japanese people love new products, luxury brands, and French culture. I think this is the reason for our success in Japan. PE : For the upcoming Spring season you are proposing peas and mint, asparagus and nut oil macarons. How do you have such incredible ideas ? PH : Well, for example, when I made the “fragola” macaron (strawberry and balsamic vinegar), the idea came from an Italian tradition, where strawberries are eaten with balsamic vinegar poured over it, that is where my inspiration came from. For the wasabi and strawberry macarons, the idea came from a
farmer who grows wasabi in Japan. He told me that the wasabi roots parts that are deeper in the ground have a more sugared taste than the other parts of the roots. So I thought of that slight aggressive taste of wasabi combined with strawberry. PE : Have you already tried recipes you gave up on because you were not satisfied with the result ? PH : Yes, and if after two or three tests I can’t find a solution, I leave it and come back to it a few months or even years later. When I create a product, the most important thing is the taste ; we then solve the technical issues little by little. When I decide to work on a flavour, I write a recipe, make technical choices, than work it out little by little. PE : Do you ever obsess over any flavours ? PH : I’m currently obsessed with rose ; I make a lot of things with rose. It’s a subconscious obsession I noticed in retrospect. When I made a list of recipes, I thought “there is rose everywhere !”. PE : Do you think it’s an endless source of inspiration ? PH : I currently have numerous ideas with this flavour. Next year it may be peach, chocolate or vanilla. But there are a lot of things to do with the rose, because few things have been made thus far. PE : When do you discover new flavours ? Are there any people in particular who know the kind of flavours that could inspire you and talk to you about them ? PH : My curiosity allows me to discover new flavours. When I visit a foreign country I’m interested by its culture. It can be luxury places or supermarkets, I enjoy wandering in supermarkets when I am in foreign countries, in supermarkets you see what people buy everyday, it’s very interesting.
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PE : Do you go there searching for ideas ? PH : I don’t actually look for ideas, I merely find them. It’s a question of attitude, which is different between looking for and finding. PE : Do you have an example of an idea you found after visiting a supermarket ? PH : Are you familiar with “Daim” chocolate bars ? For years we could only find them in Ikea stores. It’s a toffee coated with chocolate, which gave me the idea of a toffee cake, with a filling containing big crunchy toffee pieces, with chocolate macaron and chocolate mousse coating. PE : Do you feel there are some trends in pastry, like there is in fashion ? PH : Not really. PE : Does it influence your choices and recipes ? PH : Not at all. Most of the time it’s things you see retrospectively. Creation is not a democratic action, otherwise it’s called marketing. I propose things to people who come to our pastry boutique ; I’m not interested in making market studies. PE : Are you interested in your customers feedbacks though ? PH : I’m interested in them, but they have no influence on my work. I’ll tell you a story : the “Ispahan” cake is my favourite. When I started working on the rose flavour in 1987, I created a raspberry and rose cake called “Paradis”, and it did not sell well. Anyway, I kept offering that cake for 10 years, because I thought it was interesting.
After 10 years I said, I want to do something else, try other flavours, work on the rose differently. Then I created a raspberry, rose and lychee cake called “Ispahan”. Again, it didn’t sell well. And suddenly, it became the bestseller in our boutique in rue Bonaparte. Now when you go to a supermarket or delicatessen, you will see raspberry and rose, lychee and rose biscuits, syrups, and yoghurts. If I had cared about my “defeat” with rose cakes, I would have “buried” them a long time ago. PE : Why that sudden change in people’s behaviour ? PH : People started doing things with rose flavour, it started being accepted in people’s habits. And I also think that more people dared to try the rose flavour. This is what is special with people who visit our boutique, they come to discover new flavours. PE : Do you think you can “teach” people ? PH : I don’t think that way. I’d rather think that a flavour starts to spread in people’s culture. PE : Can you talk to us about your special workshop ? PH : It’s a workshop by appointment only, at Rue Fortuny in the 17th arrondissement in Paris, where customers come to order exclusive cakes, macarons, and chocolates. It’s a place dedicated to that made-to-measure service. PE : What exclusive flavours have been ordered ? PH : Last year, I created a licorice and lime macaron, a vanilla, basil and raspberry macaron, a yoghurt, a ginger and raspberry macaron, and a lily-of-the-valley, rose and ginger macaron. I try to do something that matches the personality of that person standing in front of me who ordered that flavour. PE : How would you react if you saw someone dipping a Pierre Hermé macaron in a cup of coffee milk ? PH : I wouldn’t be rude, I would suggest they eat it differently, explaining the best way to taste the macarons. I would recommend tea, but not wine; dessert wine with pastries makes no sense.Would you drink a savoury wine with a savoury meal ? That’s an invention by wine waiters to sell dessert wine. I have too much love for wine to drink it with cakes, they are much better appreciated separately. PE : What are your currents projects ? PH : I’m releasing a book called “Rêves de pâtissier”, with 50 classical desserts, and a revisited recipe for each one of those desserts. PE : Can you tell me more about your next unexpected macarons flavours ? PH : Green tea with lemon and chanterelle macaron, a carnation macaron, and a vanilla with rose and clove macaron.
“Creation is not a democratic action, otherwise it’s called marketing”
BEHIND THE SCENES
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Aganovich
Ready-to-wear Fall Winter 2011/2012
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Nana Aganovich and Brooke Taylor’s collection was a mosaic in shades of blue - from sky to midnight, robin’s egg to navy, and many shades in between : azure, cobalt, cerulean and ultramarine. The collection began with loose, untailored shirtdresses and jackets that were slightly masculine. The collection then ebbed into more feminine pieces, from simple yet beautiful fluid silk dresses to shapely coats. Geometric puzzle pieces were worn layered, affording the wearer many options within one silhouette, without adding bulk. Knitwear also featured in the collection ; including a sweater dress that draped on with an oversized feel cut to flatter to the body, unlike the boxy feel many oversized pieces tend to have. Models sported bushy geometric bobs or Bowler hats and headscarves designed by milliner Justin Smith, complementing the sculpted, geometric and rounded silhouettes of the collection. Clarice Chian
BEHIND THE SCENES
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Manish Arora
Ready-to-wear Fall Winter 2011/2012
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The runway shows of Indian designer, Manish Arora, are renowned for his passion, exuberance and incredible showmanship. His Fall 2011 show was no exception, presenting strong Indian influences of beautiful colours, hand embroidery and detailed beading mixed with prints of magic dolls, done in collaboration with German artist Amrei Hofstätter. A dramatically bearded magician, resembling Rasputin and dressed in billowing black, conjured model Ashley Smith on the runway out of fire in a metal cage, then pink-haired model Charlotte Free out of thin air in a glass box, ultimately dividing her in two in his final magic trick. However, the real magic laid in Manish’s embellishments, with three-dimensional origami folded and unfolded creations, pearl-coated fabric embroidery, hand cross-stitched suede patchwork and hand-cut velvet patchwork, vinyl chip patterns created 3-D flowers. There were also headpieces for embroidered dolls, cascading beaded fringes and intriguing cages worn over dresses. Amidst all these embellishments were some beautifully cut clothes, such as lightly sculpted sleeves and rounded leg-of-mutton shouldered coats and knee-length dresses. The fabrics ranged from silk, velvet, net, suede, leather, silk, satins, wool, crepe, cotton lycra, felt and fur, along with laser cut vinyl ; colours included deep night colours like emerald green, midnight blue, black, red, maroon, deep pink, dark grey among others. The model’s makeup was equally striking, with dramatic and elongated eyebrows, a feline-shaped eye line with pre-made maroon velvet stencils applied onto eyelids, matching the lips. The attention to the details in the clothes, accessories and makeup made for a very luxurious and modern collection. Clarice Chian
FASHION INSIDERS
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Alexandra Golovanoff
Yvan Rodic
Lynn Yaeger
Giovanna Battaglia
Anna Dello Russo
POLAROID PORTRAITS
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Miles Kane
LIVE MUSIC New album “Color Of The Trap”
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Miles Kane
Paris, Le Point Éphémère - March 23th 2011
PORTFOLIO
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Mistubako
www.mitsubachi-kibako.net
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Mistubako (that means “wooden honey box” in Japanese in the traditional beekeeping) lives in Yokohama and writes poetry. Since 2000, she has been creating text and photographic works inspired by bees, including performances like poetry reading and storytelling. In 2006, she founded studio “Abejas e Colmenas” and has been collaborating with painters and architects. Now she is searching for the way to create unrepeatable poetry by mixing collected pollen, flower petals, seeds and words. Her dream in the future is to become a beekeeping poet. She tells us about her “Nostalagia Cyanogen” series , an awe-inspiring photographic collaboration with her grandfather Noritami Matsuo, who passed away when she was 2 years old. She combined her Polaroid pinhole pictures with the beautiful photographs her self-taught grandfather took in the early years of the 20th century.
Peut-Être : Hello Mistubako, do you remember when you discovered your grandfather was a photographer ? What do you know about him ? You told me he was not a professional photographer, even though his photos are amazingly beautiful. Mistubako : Yes, I remember very well. I was about 11 years old and my mother showed me her photo album, when I saw a photo of her with her mother it made me feel warm and tender, not because of the familial relationship, but a more universal feeling. I asked my mother some questions and she told me that my grandfather took that photo, and that he was an amateur photographer, and had won several photograph prizes. PE : What did your mother tell you about him ? M : She told me he was very interested in culture. He loved music, bonsai, collecting stones, reading Chinese poems and watching films. He always told my mother that women should be also educated and have their own profession. He had his own philosophy and did not believe what society would say at the time. PE : Does she remember how he got his camera and photographic material ? M : No. He already had his camera before my mother was born. She believes it was connected to my grandfather’s birthplace. He was born in Nagasaki, which had extensive trade relationships with European countries due to its location. This allowed him to see many foreign products. Interestingly, Hikoma Ueno, a pioneer Japanese photographer, was also born in Nagasaki. My grandfather’s camera was a box type and very large, that is all my mother recollects about his photographic equipment. PE : Did he have his own mini lab to develop photographs ? M : Yes. He made it by himself.
PE : Can you tell me more about his utopia ? M : He lived from 1891 to 1963 and faced some wars and many turning points in the economy and ideology. He was a Christian and very liberal, so he was not satisfied with his homeland. Perhaps he was searching for his identity and a peaceful spiritual land he would be able to belong forever. I think this was his utopia. PE : What did you think about his photographs when you discovered them ? M : I was really surprised that he was interested in photography in his generation. I am very curious about how he learned photography and how he acquired his camera. I think it is a very advanced idea for an ordinary person like my grandfather to own a camera during his time. He must have been curious and resourceful enough to learn photography on his own. PE : When did you start doing your own photography ? M : I started about 6 or 7 years ago, simultaneously with visiting the local apiary. I started taking some photographs of honeybees and their beekeeping environment for my notebook where I write poetry. PE : Did your grandfather, even if you didn’t know him, have an influence in the fact that you are now a photographer or in the way you photograph things ? M : Well, yes, but not only in my photography, but more so for writing poetry and other artworks. PE : How did you have the idea of making diptyques and an exhibition of your photos with your grandfather’s ? M : The story writing came first. My grandfather went over to Manchuria with his whole family around 1930. I think he had his dream to live his life peacefully and built his home as a uto-
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Grand Pa Matsuo - Self-portrait
pia. That is one’s history of life. I think one of the important elements in a photograph is the timeline or a tense. When you combine photos and add another time stream it produces dialogue with a deceased person, in a different context and with the past. PE : What are your influences and inspirations ? M : Honeybees and beekeeping, because I feel intentional art in their small organic life system and the environment around them, even though they (the bees) are not really aware of it. PE : How important is photography in your life ? M : Well, I think it is not that important. For me, it is one of the tools and processes to compose and witness my works. PE : What are your current and further projects ? M : I am thinking making of a book of the Nostalgia Cyanogen series by my private press called “Studio Abejas e Colmenas”, to which I will add some poems. The way I want to develop my idea is that all those diptyched images and words are individual, not supported by each other to build the pages. I want to start beekeeping too ; that is my life artwork. Nostalgia Cyanogen’s design and image of “Blue Mistubako” by Daisuke Matsumura.
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“When you combine photos and add another time stream it produces dialogue with a deceased person, in a different context and with the past�
Mitsubako’s mother
Grand Ma - Hisa Portrait with book
When our eyes met at the supermarket two years ago, I was overwhelmed by Lou’s beauty. She was carrying food in her crossed arms and looked straight into my eyes. Her face was so sweet and pure that I asked her father if I could take pictures of her. Her parents trusted me, and now we are friends I am so happy to witness her grow up beautifully. In every issue she will comment on some pictures I have taken of her.
Lou, 28th march 2009.
is an girl on the picture It seems the young to photograph her explorer who wants guinea pig.
I had my hair cut lik e a boy (but I am a girl) and one day m stopped by and I m y friend Nathalie ade moustaches an d a beard like if I w as a general.
rie
mother Ma
y god me with m ’s It . ” té u o chouch tnam. res a “Câlin tu a fe re lives in Vie tu e ic sh w o N This p . e o came hom Claude wh
I think this picture is pretty because I like black & white pictures. The express ion on the face is cheerful.
MENTIONS LÉGALES Peut-Être Magazine 181-183 boulevard Voltaire 75011 Paris Nathalie Malric Clarice Chian Olivier Bousquet Jeremy Derny IMPRESSION Studio Pixart Srl Unipersonale Via Aquilonia, 4 interno 7 00177 ROMA RM ITALIA Paru août 2011 Dépôt légal, août 2011 28,00 euros France Métropolitaine et Europe ISSN en cours
Before Elie Saab’s ready-to-wear Fall Winter 2011/2012 show
CONTRIBUTORS
193
CREATIVE DIRECTOR PHOTOGRAPHER Nathalie Malric FASHION AND LIFESTYLE WRITER EDITOR Clarice Chian GRAPHIC DESIGNER Olivier Bousquet WEBMASTER Nicolas Lussagnet SUBSCRIPTIONS OFFICE COORDINATION Jeremy Derny www.peutetremagazine.com contact@peutetremagazine.com WISH LIST Aganovich : www.aganovich.com Collette Dinnigan : www.collettedinnigan.com.au John Nollet : www.john-nollet.com Manish Arora : www.manisharora.ws Peachoo & Krejberg : laura@totemfashion.com Pierre HermĂŠ : www.pierreherme.com Tsumori Chisato : www.tsumorichisato.com
First edition
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Myf Shepherd - backstage at Peachoo & Krejberg ready-to-wear Fall Winter 2011/2012 show