La Parisienne
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Question: Do you have an objective in your photographs? What is it? Hedi Slimane: Photography has always been about documentary, the depiction of the instant, a moment, sometimes a place. Each project is somehow an experimentation of a specific context or a character. Question: You’ve described your menswear style as “Fashion = music + youth + sex.” Is that what your photography is also about? Hedi Slimane: It is maybe less of an hedonistic process. Youth has always been a subject in my photographs, since age 15 really, when I started to photograph my friends, and has been a subject of portraiture until now. Music is somehow related to it, and a metaphor of restlessness, romanticism, utopia somehow. Sex is not a subject in my photographs, or would only be if it had to do with romance, sometimes vulnerability. The photographs are quite clearly about happiness, or search for happiness. Question: Your subjects are often vulnerable. Is there someone you would most like to photograph next? Hedi Slimane: I am quite moved by the signs of time, age, and the urge of my subject to create always, despite a life already behind. I am quite attached to my “heroes.” I fear we could loose them, and I become protective of them. Photography is always a way to preserve, [a vain] attempt to keep your subjects alive, both in their youth and grace or elderness.
March 4, 2013 PARIS By Nicole Phelps Stella McCartney's shows are always a dialogue between masculine and feminine. Mannish or womanly, the clothes usually give off a fair bit of heat. Her new collection for Fall wasn't exactly sexless, but it did have a cooler, less come-hither sensibility than usual, which seemed to play against her strengths. It started with banker's pinstripes—the first look a double-breasted jacket with uneven, diagonal hems worn over a long skirt in a thinner stripe with a folded drape in front. More covered-up pinstripes followed: men's coats that topped cropped pants, a buttoned-to-the-collar shirt tucked into pleated trousers, and an unstructured dress extending to the mid-calf. Backstage, the designer talked about "inserting the feminine into masculine," but the models' willowy frames tended to get a bit lost in the clothes. A striped turtleneck sweater shown with a flippy miniskirt felt more like the old Stella. The generous proportions of the menswear extended into polo-neck dresses that more or less fell in loose lines from the shoulders to several inches below the knee. McCartney showed these in fine gauge knits inset with delicate lace, as well as in a gorgeous ultraviolet silk. Sans collars, they came in a peeled-back wallpaper print spelling out SKATE, a print that maybe suggested, like the models' wool baseball caps and the sturdy tire-tread shoes, that she had been looking to the street for ideas. Of everything on the runway today, it was easiest to picture the oversize tartan coats in the real world when the weather turns cold again. Things warmed up some for evening, and there McCartney was thinking along languid and more structured lines. In the former category, simple squares of silk were suspended from wide bands of elastic. In the latter, a lapel spilled down the front of a strapless bustier dress in black silk jacquard, but it couldn't detract from its seductive appeal.
