Both Femme-enfant and enfant terrible of French cinéma, Ludivine Sagnier has been popping up on screens for well over a decade now.
However, we’ll forgive you if you haven’t noticed it, because Ludivine is a chameleon, blending in with her characters, making you forget she’s Ludivine.
She has “the mystery of lightness”. We didn’t say it, Christophe Honoré did.
As she appears in his upcoming film, THE BELOVED as well as Lee Tamahori’s DEVIL’S DOUBLE, we were commissioned to do an interview and video portrait we did for Vogue Italia, out on August 1st 2011. Here is an exclusive teaser out-take, where Ludivine plays for us the imagined role of TERMINATRICE, in a Versace dress.
TERMINATRICE. Music OUTLANDS by Daft Punk.
Set to Daft Punk’s TRON soundtrack, TERMINATRICE is one of the 5 teasers René and I directed for the video portrait of Ludivine. Set in the new and newly-starred Jean-François Piège gastronomic restaurant (designed by India Mahdavi and M/M) and adjoining Thoumieux hotel, Ludivine offered to us one very full day of her very full schedule between 2 trips to Cannes…
The last thing that stimulated her ? Meeting Robert de Niro.
More on August 1st.
DREAM. Music ANTIPHONIE by Discodeine. Dress, Valentino. Launched on Un Nouveau Ideal.
ALIEN. Music GLASS JAR by Gang Gang Dance. Trench, Burberry. Launched on Fashion Copious.
CRISE. Music SECRETLY by Skung Anansie. Dress, Fendi. Launched on Jules Fashion.
And yet they are releasing their third fashion film superproduction, IS THIS REAL LIFE for designers Mastori and Motwary, on Vogue Italia; and doing the cover story for UNDER THE INFLUENCE, out on Friday.
They are… Suzie Q and Leo Siboni.
THE HEALING POWER OF ELECTRICITY, in UNDER THE INFLUENCE magazine, by Suzie Q & Leo Siboni.
Antoine Asseraf: how did the two of you meet ? Suzie Q & Leo Siboni: We met while studying at Ecole des Gobelins, Paris, in 2005. At first we helped each other out for our personal projects, and then in 2007 we started working together.
And what was your first project as a duo ? It was a photo series for the fashion magazine DOUBLE, named SCREENPLAY. We used different films by John Ford, projected as a background.
The idea was to establish a relationship between John Wayne and the model.
SCREENPLAY, by Suzie Q & Leo Siboni.
At Gobelins, did you both study photography ? And why did you start with fashion photography ? Yes, we both studied photography. For us fashion is a way to experiment, fashion imagery is about mise-en-scène, putting the clothes forward.
Paradoxically, what we like the most are the constraints.
It helps you create, pressures you to act quickly. It’s rather intense.
Funny that your photo series should be about cinema… Cinema inspires us a lot. We work more and more with the idea of an image within the image, of a certain depth, a frame within the frame. In the end I think we’re attached to the idea of the screen. Read the rest of this entry »
At last, at last. After an epic ping pong interview months in the making, here it is. Painter – turned video artist turned – precocious fashion film director Justin Anderson.
He has a bum fetish, just like everyone else.
BIKE by Justin Anderson, for Armani Jeans. Still by René Habermacher.
Antoine Asseraf: What is the last thing that stimulated you ?
Justin Anderson: On Friday night – I watched a film by Jean Pierre Melville – ARMY OF SHADOWS.
It had a big effect on me. It is brutal but very paired down without any melodrama. None of the actors either particularly young or good looking, the direction is tight and the subject really tough. It is about the French resistance to German occupation – it is about death, betrayal and torture.
The film was gripping was absolutely masterful. What I love is that I discovered this film because I loved the way Alain Delon looked in LE FLIC in his raincoat – which then led me to such a film. I feel very lucky to live in a time in which it is so easy to discover these kinds of gems and I love the fluid way you can to move from one to the other.
So, which would you say are you main influences in film-making – classic films such as the ones you just mentioned, or more experimental fare ?
All kinds of image making influence me particularly fine art – which is how I trained. I would say the paintings of Fontana, Morandi, Barnett Newman, Stella, Ryman, the sculptures of Brancusi, Donald Judd artist like Walter de Maria. Dan Graham, Bruce Nauman were particular influence to me. These have all impacted on my filmmaking as much or more so than other film makers because that is what I studied for years. I suppose my taste currently in film making are as you say classics. I was hugely influenced by Buñuel when I was introduced to it as a 14 year old boy by a very good art teacher at school – he knew exactly how to stimulate a 14 year old boy.
Currently I working my way through the classic European film makers of the last century, Bergman, Antonioni, Chabrol, Renoir and recently Melville. Having not studied film I feel like I have a lot to catch up on.
UNTITLED VIDEO STILL by Justin Anderson. Courtesy of Gerwerbe Karl Marx Gallery, Berlin.
So how did you transition from fine art – painting if I’m correct – to video ?
I started working in video quite along time ago whilst still studying at the Rijksakademie in Amsterdam. The work was structuralist and minimal – I chewed gum live on television for 5 minutes, made a video in NYC where I drew the lines of a huge tennis court across midtown Manhattan and the dove them with a camera attached to the roof of a car. The video camera was moved through space like making a drawing – instead of leaving a marking on the space you were recording what is there.
I made a video of a guy dressed in protective sports gear standing against a wall and shouting “Just do it” in German whilst I served tennis balls at him as hard as I could. It was quite violent (our friendship ended soon after!).
At the time I was making very large paintings of the lines on parts of sports courts- it all seemed to flow from one to another- the video camera was just another from of mark making. The videos had virtually no editing and certainly no close ups or variants in the shots. Read the rest of this entry »
Stimuleyees and Stimuleyettes, at last, here it is – the Vogue Italia film commission for bag designers Jamin Puech… La Main Dans Le Sac / “Caught Red-Handed”
When Vogue Italia asked us to make a film for their A Short Film With section with bag designers Jamin Puech, we were at first a bit puzzled. Up to that point, all the films in the section were built around designers preparing their fashion shows, but Jamin Puech didn’t have fashion shows.
Dress and belt by Lanvin, necklace and bracelet by Andra Neen. Photo by René Habermacher.
So we drew inspiration from the opening scenes of Hitchcock’s MARNIE – we never see the face of Tippi Hedren who plays a con artist opposite Sean Connery. We only see a silhouette do questionable things with different bags, purses and luggages… Together with stylist Michaela Dosamantes we built graphic and cinematic scenes around each bag, building up to the moment she gets caught.
Bag by Jamin Puech, glove by George Morand, suit by Max Mara, necklace and ring by Karry' O,
bracelet by Andra Neen. Photo by René Habermacher.
The title is a French expression meaning “the hand in the bag” which means that you’ve been caught in the act.
It was too perfect a title.
Left: jacket and trousers by Carven, blouse by Equipment, sunglasses by Prada, necklace by Andra Neen.
Right: coat and belt by Dries Van Noten, gloves by George Moran, necklace by Andra Neen.
Photos by René Habermacher.
Though we loved the Hitchcock soundtracks, and used it to set the mood while editing, we wanted something more contemporary and original for the sound, so we asked our past collaborator Lori Schonberg and his colleague Shane Aspegren of the Berg Sans Nipple to write something for us.
Top + pants by Giambatista Valli, Fendi belt, Pierre Hardy shoes and Karry’O earrings. Photo by René Habermacher.
Of course the film also benefits from the setting : caviar and seafood restaurant Prunier, by the Arc de Triomphe in Paris, where you can treat yourself to “all that comes from the sea”, including delicacies such as the “Christian Dior” oeuf en gelée with Tradition caviar. Designed in 1925, and owned by Pierre Bergé since 2000, the restaurant is an Art Déco jewel, featuring the work of the best artists of the time, such as I.M. Cassandre, but also of modern artists like Bob Wilson, whose installation sits at the bar.
La Main Dans Le Sac by Antoine Asseraf & René Habermacher – more info, full fashion and production credits: www.maindanssac.com
The Stimuleye is proud to announce its upcoming film for Vogue Italia, La Main Dans Le Sac.
Literally, “the hand in the bag”, as in “caught in the act”.
Made in collaboration with bag makers Jamin Puech, the film will debut on Vogue.it’s A Short Film With section,
featuring original music by Berg Sans Nipple.
LA MAIN DANS LE SAC
A Short Film With Jamin Puech ⎜ Directed by Antoine Asseraf & René Habermacher for Vogue Italia – Talents Styled by Michaela Dosamantes Featuring looks by Prada, Jil Sander, Lanvin… ⎜ Starring Quinta @ IMG Original soundtrack by Lori Schonberg & Shane Aspegren of the Berg Sans Nipple Filmed at Prunier Paris
In a joint interview with Caroline Daily, we talk with Yelle collaborator and 2008 Hyères winner Jean-Paul Lespagnard about his first Paris Fashion Week presentation…
I Could Be Yours - Fall/Winter 2011/12 presentation, filmed by Antoine Asseraf & René Habermacher.
Antoine Asseraf: Did your presentation go well this week?
Jean-Paul Lespagnard: It went really well. The feedback is really good. It was very difficult to organize, obviously, but as I always say “we learn from our mistakes”. ha ha. In the beginning I wanted to do something simple and small and in the end, I found myself doing 7 shows in one day! My assistants tell me all the time that when I tell them something, I think that it is really simple, when in fact it isn’t. So when I tell them that we are going to do something difficult, but that we will succeed, they know that it is going to be a mountain of work! But really really happy with how everything went. The people from the press are really enthusiastic. The people that came by the showroom are very enthusiastic too. I had some buyers–one from a boutique in NY, one from a boutique in Hong Kong, among others.
Was it complicated to plan?
It was a personal choice to put myself in the “off” on presentations by appointment. And i think that I will continue to do that. Because, this idea of doing 6 shows in one day was difficult and I launched myself into a crazy adventure, but I really want to do it again. I think its great because people can come whenever they want to. There is something that I like about not having chairs, it was standing only. I think that the next time, what I could do is have little portable stools for people that want to sit down. I just really like the idea of something spontaneous like what we did. So something that I am going to work on and try to perfect for next time. This defilé was meant as a way for me to come back after the festival and to present my work to buyers. When the buyers came to my showroom, they said “its great, its fresh, we have never seen this before, but we are not sure where to place your work for the moment” This is good actually because now, they have 6 months to digest what they say and to think about ideas for where to place my collection and about where my stuff fits in with other designers. I really very very happy with my fashion week in Paris! Read the rest of this entry »
Less than one week before the launch of the 26th edition of the Hyères International Fashion & Photography Festival, The Stimuleye brings you “25 Hyères” covering the 2010 edition – including interviews of Dries Van Noten, Walter Pfeiffer, Olivier Lalanne, Théo Mercier and many others.
“25 Hyères” premiered on POP, where you can also read an exclusive interview.
THE STIMULEYE presents 25 Hyères
2010 Hyères International Fashion + Photography Festival
For the last few months, I’ve had the pleasure of working with director Justin Anderson of Ponyboy on a series of films commissioned by Armani: the Chase Trilogy.
Still from Justin Anderson's Chase film, by René Habermacher.
Garden for Emporio Armani, starring Theoharis Iannidis & Dafne
Chase for Armani/EA7
Bike for Armani Jeans
The last thing which stimulated Justin:
On Friday night- I watched a film by Jean Pierre Melville- Army of Shadows.
It had a big effect on me. It is brutal but very paired down without any melodrama. None of the actors either particularly young or good looking, the direction is tight and the subject really tough. It is about the French resistance to German occupation- it is about death, betrayal and torture.
The film was gripping was absolutely masterful.
What I love is that I discovered this film because I loved the way Alain Delon looked in LE FLIC in his raincoat – which then led me to such a film. I feel very lucky to live in a time in which it is so easy to discover these kinds of gems and I love the fluid way you can to move from one to the other.
Armani Chase Trilogy
Directed by Justin Anderson
Creative Direction by Antoine Asseraf / The Stimuleye
Production: Ponyboy / Queen of Spades
Starring: Theoharris Ioannidis, Dafne, Aline, Nastasia and Bo.
Styling/Fashion director: Isabelle Kountoure
Assisted by Tui Lin
Make-up: Yannis Siskos
Producer: Jason Scanlon
DoP: Ross McLennan
Local producers: Angela Tsepas/Andreas Mitsopoulos
Caroline Daily: what is the first film which made an impression on you ?
Antoine Asseraf: The most striking memory for me is David Lynch’s Lost Highway.
It was my first Lynch, and the mix of glamour and goth, the changes in personality, the concept of looping, free intepretation, all left me without voice.
With David Lynch, there is always a staggering artistic direction, a mix of architecture, music, design and casting which create entirely novel worlds.
In a different register, there is also Danny Boyle’s Trainspotting, which left a mark because it’s such a violent film, but with an “english” type of violence – very different from the hollywood violence to which i had grown accustomed.