a screen within a screen – SUZIE Q & LEO SIBONI

June 30th, 2011

They’re not even close to turning 30.

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.
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EYE 2 EYE: la lutte de l’amour

March 12th, 2011

Caroline Daily interview of Antoine Asseraf about “La Lutte de L’Amour” (The Struggle of Love), the SS2011 film he made for Erotokritos.

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.

La Lutte De L'Amour

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