monsieur hervé: ready to wear campaign

June 26th, 2013

“The story of the bandage dress is important as a fact my work storyline.”
– Hervé Leroux, AKA Monsieur Hervé Léger

For his first campaign, for the Fall/Winter 2013-14, Hervé Leroux chose to collaborate with The Stimuleye for creative direction: photographer René Habermacher in tandem with stylist and fashion muse Suzanne von Aichinger, bringing forward the modernity in Hervé’s timeless designs.

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Gwen Loos and Anna Martynova intertwined in slate and black draped front dresses by Hervé Leroux FW2013.
Photography by René Habermacher

As you’ve read during our interview and couture atelier visit, Hervé Leroux, born Hervé Léger, is known for his talent for creating garments using traditional tailoring techniques while taking full advantage of developments in silhouette contraction-embracing modern fabrics.

Monsieur Hervé worked as a hairstylist and a milliner before Karl Lagerfeld offered him a collaboration with Fendi, and then Chanel, as a senior assistant. Soon after opening its doors in 1985, Maison Hervé Léger became internationally famous for pioneering the bandage dresses that were about techniques of reforming the body, focusing on the three key words for femininity: curves, waist and form. The “recipe for the 90’s”, as Suzy Menkes once wrote in the Herald Tribune, was about curve-cleaving elastic bandages and a high-octane technique that defied tradition, an effect which Hervé achieved by molding his fabric to the female form instead of draping and cutting it.

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Left side: Gwen wearing a ruby deep double V-neck viscose dress recalling Hervé's iconic bandage dresses.
Right side: criss cross draped black silk jersey pieces. Photos by René Habermacher

After separating from the company which bears his name and adopting the name Hervé Leroux, as suggested by Karl Lagerfeld, Monsieur Hervé recalibrated his vision of glamour, towards a modern sensuality crafted by the hands of a real artisan. Every piece of both the Ready-To-Wear and the Haute Couture collections is created by Hervé’s own hands in his new atelier on 32 rue Jacob.

The Hervé Leroux Fall/Winter 2013-2014 Ready-To-Wear collection is about sober, soaring elegance, reflected on 50 hand-made pieces. For Monsieur Hervé, it is crucial that each piece be as specific and precise as a painting by Pierre Soulages, an important influence on the designer.

“It’s in doing that I can find what I am looking for.”
– Pierre Soulages

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The cut is soft, sensually embracing the female curves, revealing the secrets of the master for both of his obsessions. The fabric is draped only to create luxurious body landscapes on his monochrome canvases, paying homage to the morphology of the body.

Hervé creates a collection that can be referred to as a “second skin” – a fluid, easy-to-move silhouette, which slides on the body, becoming at once feminine and powerful.

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Gwen sports a Pumpkin viscose aerodynamic dress. Photo by René Habermacher

CREDITS
Creative Direction – The Stimuleye
Photography – René Habermacher
Styling – Suzanne von Aichinger
Jewelry – Fabien Ifires
Hair – Panagiotis Papandrianos
Make-up – Yannis Siskos
Manucure – Yumi Toyama
Models – Anna Martynova & Gwen Loos – NEXT
Styling Assistant – Chafik Cheriet
First Assistant Light – Laurent Pascot
Capture Assistant – Franck Aubert
Retouching – Dimitris Rigas
Text – Filep Motwary
Art Direction – Antoine Asseraf

Thank you Versae Vanni


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THE OPPOSITE OF GLOSSY

June 19th, 2013

 “Nobody wants to invade Marseille” claims Rudy Ricciotti,
architect of the MuCEM.

And yet everyone is flocking there since the Museum of Civilisations
of Europe & of the Mediterranean, dubbed MuCEM, opened its doors just weeks ago, the first national museum to open in the Phocean city, a project 11 years in the making. 

Having shot & directed the introductory ad campaign for this new institution, The Stimuleye introduces you to the man who designed it, a man as famous for the fights he picks as the building he designs.
Exclusive photos by René Habermacher.

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Portrait of architect Rudy Ricciotti by René Habermacher.

One side is the Fort Saint-Jean, linked to the city by a pedestrian steel bridge. A fort not unlike the Bastille – a bastion to defend Marseille against itself – the Fort Saint-Jean had been closed to the public for centuries.

On the other, also connected by a massive steel bridge, is Ricciotti’s creation, facing the Mediterranean Sea.
Refusing “architectural bling,” Ricciotti chose to have the new building dematerialize itself to complement the Fort Saint-Jean.

No reflections – leave it to the sea.

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The concrete filigree lace of the MuCEM, a second skin like a screen that allows views, light and air
to pervade the space. Photography by René Habermacher.

TV spot for the MuCEM's launch, directed by Antoine Asseraf with SayWho and Agence White.
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The MuCEM's a porous monolithic body planted on pier J4 in the Mediterranean sea, connected to the Fort Saint-Jean
with a 115m long slender pathway made of massive cast iron. Photography by René Habermacher.

Antoine Asseraf: Can you elaborate on your theory of world being split between two sides, matte and shiny ?

Rudy Ricciotti: Shiny is conceptual distance, reason, power and self-assurance.
Matte is frontal narration, intuition, defeat and regret.
Pick your side… I did.

AA: Mediterranean is a concept going beyond “local” but stopping short of  “global” — how do you situate yourself, and the building, within that notion ?

RR: The South is a travel certificate, not a birth certificate.
The inhabitants of Munich are more mediterranean than those of Grenoble.
The Valais region in the south of Switzerland more latin than the Vaucluse in the south of France, etc.
The MuCEM is mediterranean through anxiety and existential difficulty.

AA: What is your relationship to monumental architecture ?

RR: You are talking to me, you fucked my wife ?

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Top left: "Notre-Dame de la Garde" looming over Marseille and the the seven-level, 40 000 square meter
structure of the MuCEM. Photography by René Habermacher.
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As massive the volume of the MuCEM may seem at first, it is the use of negative space that gives the building
the air of the metaphysical. Photography by René Habermacher

AA: What is the last thing which stimulated you ?

RR: A fish soup made by my partner…
Read my last pamphlet to smile:
« L’Architecture est un sport de combat » [Architecture is a combat sport], edited by Textuel.

MuCEM

With SayWho & Agence White


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