We know you only agree to do the interview on the condition to answer the questions by e-mail nowadays. So let’s try to make this electronic exchange more conversation-like. Firstly, do you handle the e-mail interview more easily than face-to-face one? Does your way of speaking change in writing?
No, it is just that I don’t have much time, and I usually write interviews during the night. I don’t sleep much, and I am more focused and quiet. I cannot commit to meetings, my schedule changes all the time.
You do the photos and fashion editorials for your diary web site. It shows your ideas and the fragments of your life. It’s almost a high-end digital magazine. You operate your web site directly just like many other bloggers today. What will be the future format for magazines according you? What will be the achievement that the digital magazine never overcomes the print version?
I believe magazines need to focus on their website and give it as much thought, in terms of art direction, and innovation that they do on the print version. They usually see their website as a blog, for information only, news.
Besides, building a high-end magazine online, printed versions will be collectible, an object to keep. Magazines will become books.
And books. For example, you just come out a book <Anthology of a Decade>. It is still a print version. Could it be in digital format?
This is what I mean. At some point, form Internet, one has to edit down and keep the creative substance to archive and put the work on record through paper and book.
Alongside the photography, your devotion to music has been widely known. Can you envisage a different tool like video combining music and photo?
I do this sometime. With this California short film called “ I love USA”, or the little film I did with Georgia May Jagger, giving a tribune to upcoming band Egyptian Hip Hop. Any medium is of course a possible tool, and the interpenetration of disciplines and interests is what matters today.
On a design perspective, what will be your idea to make your very simple, purest form of works and layouts in motion? A minimalism-black-and-white motion?
Certainly. My work is always rhythmic, or more precisely arrhythmic, and pure geometry is usually combined with the photography, and a subject that comes out quite human and vulnerable. It is always about this discrepancy.
Do you like the other colors? Is there any colorful thing that you are interested in?
I like wood. The colors of wood, not color per se. I like fresh tones. So I like textures more than colors. Even of my photography, or fashion design, textures are what matters.
In a famous 2003 conversation with Ingrid Sischy (Interview magazine), you said you didn’t start with clothes until you were 16, but you had your first camera when you were 11… You really went from fashion design to photography after resigning from Dior Homme. Do you try to use photos ( without making clothes) to inherit the school of your signature fashion that you established?
Yes of course, I never stopped portraying the same subject. Nothing has changed since my fashion years; I still describe the same precise, or generation. I never cared about the medium, but the idea, my idea. Idea, one idea, becomes eventually a defined style and aesthetic. This aesthetic applies to everything.
Do you really designing clothes since these years? Do you do the sketch now and again?
No, I don’t sketch if I’m not in the studio. Designing comes naturally to me, but within a context.
Your signature design and style are still seen around on the street, furthermore on the runways. Dior Homme somehow is still the same when you started there in 2001. You started the movement toward skinny clothes in fashion. You also said you started this silhouette because it was the only thing that would fit you. If you designed clothes today, would you change this skinny silhouette or quite the contrary? We remembered some silhouettes of your last collection for Dior Homme were quite loose…
It is hard to say, because the truth is the proportions of the body is what matters really. When I did those wide pleated pants on my final season, those proportions were actually enhancing the skinny figures of my subjects. So the result and my point is actually the same than showing slim pants.
If now you put skinny jeans on a muscular body, you just change my perspective on fashion. I will not do this, as my style is already defined. I also believe a muscular body only works for a classic suit, a pair of jeans, a Speedo, or naked in a bed. Forget any sense of fashion, or designer clothes if you are not skinny. It will always look tacky, and cheap. Life is unfair.
We have never talked enough about your Yves Saint Laurent years. Every time I watch your YSL men’s fall winter 2000/2001 show on Youtube, I’m deeply touched by the music of Alex Gopher and Catherine Deneuve, by the efficiency and lighting on the runways, by the model casting, by the modernity of style, by its strength… Ten years pass, how do you look at your Yves Saint Laurent years? What do you think of the work of “new” Yves Saint Laurent today?
This is actually the only YSL collection that was my own really, as the previous one were still under the influence of the house, and the taste of the house, above all for casting. This collection is still somehow what is happening in men’s fashion today. It was a specific moment and turn.
If you did a fashion show today, which band you would invite to play live for your fashion show?
I am very spontaneous about this, and you have to understand things happen very organically around me. I’ll be going to a concert, and in the crowd will fall of a fan, that will the next day become my fitting model for the season. Then I will randomly hear or receive a demo on my website, and it will develop into a project. This is all very free, and instinctive. It’s about the time precisely I’m living in. No Strategy, no agenda, no plan, it is random and raw.
Do you think electro music like “French Touch” will come back?
It could, possibly, but in a different form. When I was working with Alex, the Daft Punk etc. at the time, it was a sub culture, a new sound. It was raw and real. The success came, just like for anything else, and suddenly we all felt we needed to forget about the machines and go back to an acoustic sound.
The good artists never go though. The Daft Punk is still on top of the game. A new generation will come and eventually create this movement that will take over the world of music. Paris would need something like this to happen, as it lost it in the early 2000, after the golden age of French Touch.
I heard that you also listen to old Rock & Roll, soul music from the 50s and the 60s. Do you try to find kinds of the roots of music for inspiring your creation? Do you collect vinyl records?
I just love the sound of it, and the texture of it. I also live in California and listen to music in the car, and it is sunny outside. I listen to surf music also, and a new idea of surf music, coming out through new LA bands (waves for instance.)
You talked a lot about a sub-culture movement “Jerking” in Long Beach, Los Angeles. As an observer of youth culture, is “Jerking” going to last strongly? Will it go through this cycle of decade? What is going to emerge soon?
What happened with “Jerking” is that the movement started in long beach, in ghettos area. It started with fashion, and specifically with the fashion I created, the skinny movements, and skinny jeans movement in the early 2000. The movement was against the violence in the street. So obviously there was this connection with my work, and I decided to document it, and give it a tribune. Some of the bands are actually quite known here.
You said that your life is about experimenting with the energy of the city at its certain moment of evolution. You did it with Paris in the late 90s, Berlin, in the early 2000, London, in the mid 2000, and L.A. in the early 2000. You have a house in L.A. today. What is the values that you endorse in L.A.? What is warming up in this city?
I’m very sensitive to the vibration of the city, and I understand it might sound weird. Ok, I’m maybe a freak, but each time was a specific time creatively, in Paris, Berlin, London, or L.A. now.
I feel like always interacting with a scene that is about to emerge, and of course I have now more leverage if I believe something is about to happen, and can try to give it more of an audience.
L.A. is just at its best. The 90s were not good at all, and the city started to emerge in the early decade, but only for a couple of years, has been really vibrant. The art scene is incredible and new great artists, such as Sterling Ruby the last couple of years, or lately Mark Hagen, and dozens of others are now of great interest. The music scene is equally strong, with local natives, Warpaint, No Age, Wavves etc. Besides L.A., California is of course the center of the digital world, and of entertainment.
It is just now a truly inspiring place; I believe the most interesting right now.
How do you face Asia? From Made In Japan to Made In Chine, what is your point of view?
I an actually facing Asia now, which is another strong point of L.A. Asia is right in front of us. Asia for me is just like Europe. I don’t see it as one thing, but a variety of cultures, point of view. I am of course more knowledgeable of Japan, because Japan and I have a common history in fashion. But China seems to have absorbed my style organically, and proportionally. I feel this will be an interesting relationship to pursue creativity.
If IKEA made design more accessible, could the same situation happen to high fashion?
I’m personally not interested. I never wanted to do all this capsules for all those chain stores, from H&M to Uniqlo. I believe you belong to somewhere. I like to do clothes that are well done, with good fabrics. I like high end and luxury, that is my chapel, and I don’t intend to indulge. Of course I could also start to do a brand of jeans sometimes, because I always see jeans as a really noble thing, just like a hand made tux jacket.
What do you wear today?
A tweed jacket, skinny black jeans, doc Martens, and a 70s gold Pateck.
You are always doing many photographs of musicians, actors, boys and youth, but also many female celebrities like Lindsay Lohan, Georgia May Jagger, Freja Beha… What is your criteria choosing the girls to work with? Why did you accept to shoot for Lady Gaga’s album cover?
I like very natural girls, freckles, and very lean figures. I like femininity, almost like a 70s archetype. Freja is a good example of course. Gaga, on a different note, was a commission from the record label. It was a job, like I would do an ad for Prada. It is not my world in music, but on a flip side, I’m a friend with Gaga, she is a sweetheart.
We are almost sure that you will get back to fashion design in the future, I know it’s been asked a million times but would you design for women? How do you look at the trend of very sexual (more than sexy) femininity nowadays?
My taste is actually very girly. I like any attribute of femininity to be enhanced. I also maybe have a hedonistic view on it. And yes, of course I will design again.
You are going to have a big photography show in Brussels. What do you try to say in this show?
I don’t show often. I don’t like to print my photographs and make editions out of it. I like to keep them quite rare. The show is an American show, and connected to the Anthology, and the US book in particular.
I also invited my friend Gus van Sant and the Texan artist Oscar Tuazon to participate. Will be an idea of Americana.
There will be another group of show in Paris at the same time. Alongside your solo show in Brussels, why do you want to have another show in different perspective and city? How do you enjoy the curator job?
Those 2 shows are of course a single project. On one hand a solo show of photographs relating to my perspective. On one hand a solo show of photographs relating to my perspective, foreigner, of Americana. On the other hand I curate a show on California art. This time 20 artists are giving their own perspective, sometimes historical (Ruscha, Baldessari, Burden etc) on California. It is a “Double Entendre”, and holistic view.
When was the last time you saw Gus van Sant?
Yesterday at home, he showed up with a new haircut, and this morning on the phone. I cannot think of someone more gentle and pure, and of course talented in the most unassuming way.
What is the movie you see lately?
I see movies all the time on Netflix, I’m obsessed with Netflix. I see everything, and lately a lot of old Clint Eastwood 70s movies.
If Hedi Slimane were a label, which typography it would be?
I only use one typography since I started to design, I’m not going to change now.
My taste is actually very girly. I like any attribute of femininity to be enhanced. I also maybe have a hedonistic view on it. And yes, of course I will design again.
Forget any sense of fashion, or designer clothes if you are not skinny. It will always look tacky, and cheap. Life is unfair.
PPAPER Taiwan featured Hedi in their latest issue, which got me interested is he said he will back to do design again. I'll try to post the interview later.
Hedi Times
Among the many innovations Hedi Slimane brought to men’s fashion was the way he sent his young models down the runway: in an urgent, headlong bolt, as if the clothes on their backs carried an expiration date. As it turned out, that was far from true. Four years after Slimane walked away from Dior Homme, the skinny rocker look he pioneered is still very much in currency.
“Nothing has changed since 2002. Men’s fashion is a slow-motion cycle, operating with a certain delay,” Slimane says. “I’ve heard two million times how skinny jeans are so last season…but nothing truly makes it in the streets now except for this.”
Slimane definitely made a mark on the “Noughties,” and his new book of photographs—the four-volume box set Anthology of a Decade, out this month from publisher JRP-Ringier—provides a striking visual reminder. It documents the period with velvety black-and-white images taken at fashion shows, rock concerts and on the streets—anywhere cool kids congregate and nudge the culture forward.
Now based in Los Angeles and devoting himself to photography, Slimane seems sanguine about what he describes as a mere pause from fashion. In an e-mail exchange, he makes it clear that he harbors no regrets about his time away from the atelier. “I had enough time to define my style precisely,” he says. “It would have been different if I had left fashion before having defined it. I also never intended to give up on design, but to take a necessary and healthy distance.…I do still love design, and somehow have protected my passion for it. I’ll catch up with it in time.”
Meanwhile, twin exhibitions at Almine Rech’s galleries in Paris and Brussels, wrapping up their monthlong runs on March 26, are testament to Slimane’s other new career as a fine artist, whose works range from fragmented photos that can be hung across corners to minimalist sculptures. Both European expos are dedicated to America, where the transplanted Parisian has befriended a range of cultural figures, from filmmaker Gus Van Sant to artist Sterling Ruby.
Here, Slimane goes on the record about the current state of men’s wear and the various links between music and fashion and the celebrity juggernaut.
Do you find photography as fulfilling as fashion design?
It is reassuring that pictures will always be there. You are slowly building an archive, the portrait of an era.…Fashion design is fulfilling at a different level. It is mostly a really pleasant process, light and seducing. I always had a hedonistic view of fashion design.
Has being a photographer given you a more objective view of the fashion industry?
It seems quite refreshing to be on this side of fashion, to have the distance and freedom. The fashion system has been busy keeping up with broadband and blogging/social networking. It is not always for the best, but it did give fashion a global audience. The unfortunate outcome might be the obsession and collusion between the celebrity culture and high fashion. It is just a big global mess of random endorsement. Nothing looks worse than a dress or a suit on a red carpet. It is an ongoing tragedy of cheap fashion on cheap celebrities, followed by ubercheap comments. I only like designers’ clothes on models. Good models have an inner understanding of the clothes and design.
When you look at the styles documented in your book, does anything look dated to your eye?
My principles are obviously still revisited by the industry. My style ended up an open commodity. Even the suit business still follows those proportions.
What do you see coming next?
The next big thing will come out of a small thing, as always—a small scene or music movement that might emerge out of nowhere. The interesting thing is that it will certainly build up instantly on the Internet, from one day to another.
Early in your fashion career, you were associated with electronic music. What first drew you to the indie-rock scene?
The mid-Nineties, just after the grunge influence, was a golden age of electronic music. The moment that changed everything was 9/11. It had just as strong of an impact on creativity as it had on geopolitics. For sounds and culture in general—fashion included—everything had to change. It was like the end of illusions—[going from] the high of the electronic world to a reassuring, imperfect gritty world saturated with archaic electric or acoustic guitars and vintage amplifiers, and the return of live performance. This is why my collections evolved—the birth of a new music: The White Stripes, The Strokes, The Libertines...
How important is the link between fashion and music? Which one is leading the dance?
It is an interesting connection since the Fifties, really. Music has shaped men’s fashion, and transposed in a playful and witty manner its riding or military heritage. It is difficult to figure out who leads, but music and fashion are connected genetically. They create those sonic and stylish tribes that would define decades—early-Fifties rockers, Mods, Teddy Boys, punks, grunge, New Wave, etc.
What are you listening to these days?
California is now defining an interesting sound, something like a gritty transposition of surf music, with bands such as Wavves. Los Angeles is today one of the most vibrant scenes in the U.S., with musicians such as Local Natives, No Age and Warpaint. The U.K. also has a lot of newcomers—among them, The Heartbreaks, Egyptian Hip Hop and Zoo Kid.
What’s your take on the state of men’s fashion in 2011?
It is in a holding pattern. The cycles are obviously much longer than the rhythm of the fashion seasons. When some kind of revolution in music will come, it will be the time for fashion to change.
Any predictions about the next big look?
I would need to be back in an atelier to answer you.…But we should drop for good this predictable story each season, about a lean and youthful male figure versus conventional men’s wear and male proportions. There is obviously room for everything.…Besides, an athletic man, or whatever you want to call him, will only look good in a very classic suit, a pair of classic jeans, athletic clothes or simply naked. Forget fashion. This is not going to happen, unless you want to look like a Chippendales dancer in designer clothes.…And by “fashion,” I mean men’s fashion at the same level as women’s. This is what I always pursued during my design years, defending the idea of men’s fashion rather than men’s wear.
Do you harbor any ambition to do it again, designing either elite fashion or something more democratic?
I only like luxury fashion. You have to decide where you stand. I like well-made, authentic clothes, well-crafted tailoring. I also like the dream and fantasy of luxury, the exception and rarity of it. I have no interest at all in fast retail. It is ambiguous.
How do you look back on the time you spent at Dior Homme and YSL Homme?
I have a really affectionate relation to it; it is part of me. I am mostly really protective of my models—my clothes were always about and for them.…YSL years were the age of innocence in some way. I did not have any idea of what I was doing, and I was working with the most wonderful, historical team, next to Yves Saint Laurent, Pierre Bergé. It was so Parisian, charming and authentic. I also have a wonderful memory of the making of Dior Homme, which was almost like a utopia.
How have you adjusted to life in Los Angeles?
Too well, I guess. I am deeply attached to California in general. Los Angeles is also today the city I find the most relevant or interesting with regard to the Internet age, the entertainment industry—which fashion seems to have become a part of—and contemporary fields, art in particular, and indie music lately. I am not quite sure where I’ll end up next. This is never something I plan; it simply happens.
Is your working attire different from what it was when you were a fashion designer? What sorts of things are you wearing these days?
I still wear the same thing—a lot of vintage clothes, which I sometimes correct or refit with my local Beverly Hills tailor. I wear my suits. And I might need to go back on the treadmills soon and design something else to wear.
Comeback King
ELLA ALEXANDER 09 June 2011 0 Comments
HEDI SLIMANE has confirmed he will return to fashion design, having given up his role as creative director of Dior Homme in 2007. He has since become a photographer, taking pictures of Kate Moss, Lindsey Wixson and Courtney Love.
"Yes, of course I am [planning a return], but I'm really down to earth with fashion, and I have a business and brand-oriented mind," he said. "I know what it takes to make a brand strong in the long term in a global economy. Besides design and communication, I need to make sure I have the right tools to make a new design project successful in the long run."
When his comeback does happen, don't expect any high street/Slimane collaborations - the designer asserts any such lines are out of the question.
"[I would] never," he explained. "I could do my own jeans line, for instance, because I have legitimacy in launching the skinny jeans in fashion, and jeans for me feel like a real noble item in fashion, a social territory almost. On the other hand, I don't like the collusion between high fashion design and high street. You have to know where you stand. I belong to luxury fashion. That's what I've always felt and embraced. I like the best quality, the best fabrics and the most creative field in fashion. I will stay consistent. I belong to this world."
Although Slimane himself has become one of fashion's most influential names, he is still inspired by the work of his fashion predecessors.
"I have some designers I love, some I'm friends with," he told Prestige. "I was close to Yves Saint Laurent, since I worked for him years ago. Yves Saint Laurent simply touched me. I'm really fond of Azzedine Alaïa, who is a true couturier in a modern definition, but also within the beautiful Parisian definition. Azzedine is a really key relevant designer in the evolution of fashion since the Eighties."
GOOD, I'm feeling bored with the state of fashion lately, Hedi needs to come in and shake up the industry again.
Did you really say this? I can't even count the numbers of houses that fired their creative director this year or are looking out for a new one. It's anything but boring fashion nowadays.