33rd Hyères International Festival of Fashion and Photography

The past weekend saw the 33rd edition of the world-renowned Hyères International Festival of Fashion and Photography take place - an unmissable appointment for fashion folk far and wide. Developing and promoting young talent in the cultural fields has always been at the heart of the festival and is an ode to the vision and legacy of festival director Jean- Pierre Blanc who has presided over the competition for more than three decades.

The fashion jury, this year headed by designer Haider Ackermann, and including Tilda Swinton, Farida Khelfa, Delfina Delettrez Fendi, and Lou Doillon, awarded the Première Vision Grand Prize to Rushemy Botter and Lisi Herrebrugh of BOTTER. The Antwerp-based couple presented an inspiring menswear collection paying homage to their mutual Caribbean heritage and touching upon the themes of a dynamic culture and gender fluidity, accompanied by a pinch of playful humour.

The collection was an homage to the distinct style of the Caribbeans with vibrant colour, details, and images symbolic of the evolving, paradisal shores. Coloured fishing nets were converted to belts; accessories included water pistols and blow-up toys - often brought for a day of fun at the beach. Together, the combination of sharp tailoring and casual sportswear resulted in an equally elegant and energetic aesthetic - as did the explosion of deconstructed finishes, splashes of bold pattern and intelligent mixed materials.

As part of the well-deserved prize, Botter and Herrebrugh will be awarded 15,000 euros, a collaboration with Chanel’s Métiers d’Art, and receive a grant of 10,000 euros from Petit Bateau plus additional royalties from the creation of items sold by the brand. Also, Mercedes-Benz will invite BOTTER to present its collection during Berlin Fashion Week’s Spring 2019 collections this July, for the International Designer Exchange Program. 

The Chloé Prize was granted to Canadian designer Marie- Eve Lecavalier whose collection stemmed from a luxury rendition of Frank Zappa’s psychedelic visions, reinterpreting 1970’s roots to the present. Her intricately woven leather pieces were particularly impressive in form of structural tops and dresses. Like many finalists, her materials embraced a sustainable approach, employing leftover leather rejected from production and recycled denim.

 

The Public Prize for Fashion went to Belgian designer Sarah Bruylant, who offered a crafty take on Christian Dior’s New Look. The iconic silhouette was revived through exaggerated bi-dimensional balloon-shaping and given a modern twist through tangy dashes of colour reminiscent of 19th-century French pointillism. Clothes to dream about! Lastly, Ester Manas who produced a series of feel-good, plus-size womenswear, was hand-picked by Galeries Lafayette to create a capsule collection.

 

The Swarovski Fashion Accessories Prize was awarded to Kate Fichard, Flora Fixy and Julia Dessirier who aimed to shift perceptions on disability through an original project which elevates hearing aids into fine jewelry pieces. Cécile Gray won the Public Prize for Accessories with golden steel, fine mesh accessories designed to compliment and elevate clothes.

For the Festival's Photography Category, the jury, headed by Bettina Rheims, awarded the Grand Prize to Irish-American photographer Eva O'Leary, due to her powerful, raw images of teenagers coming of age.

What distinguished this year’s festival was the overarching desire to create with purpose, in symbolic message and utility. Fashion can no longer be judged only on aesthetic qualities - it must represent greater meaning relevant to society and proactively engage with our own lives. This rising generation of creative talent is consciously sourcing sustainable and ethically produced materials to the point where THIS is the new normal. An alternative for anything less is unthinkable.

Europe: New Creative Frontiers

Saturday’s atrocious terror attack on London Bridge and Borough Market replayed a heart-wrenching narrative, one we have heard much too often, flooding waves of sadnesses and shock over the banks of the Thames. However, heading to university this morning on the Tube with my fellow Londoners I did not see fear and apprehension - I saw unity and compassion. If anything, people looked again into each others eyes as you passed one another, and even smiled. This is London!

Last night’s One Love concert organised by Ariana Grande in honour of the Manchester attacks only exemplified this relentless strength and even as I watched through a Facebook livestream got goosebumps as I watched police dance with families, Liam Gallagher belting “Live Forever” Justin Bieber and 50,000 people chant Love! Love! Love! and Ariana sing a touching rendition of “Somewhere Over the Rainbow”. What a time to be alive and witness such compassion and love.

However, as Prime Minister Theresa May stated in her powerful speech, these are barbaric events and the world we live in is changing. Therefore, so must our approaches and actions.

Now, I need to take a step back.

I write about fashion and planned before the terrible events to recap on a fantastic panel discussion I watched at the Hyères Fashion Festival regarding Europe and its new creative frontiers. The events this weekend stressed that future of Europe remains uncertain - with shifting teutonic plates politically, socially and environmentally. Thus I’d say it is (even in the context of fashion) worth examining what impact does this uncertainty mean on future creativity.

The discussion was chaired by renowned fashion commentator Godfrey Deeny, with an illustrious panel: fashion editor of la Repubblica Simone Marchetti, designer Boris Bidjan Saberi, designer Peeter Ilison, general director of Paco Rabanne Bastien Daguzan and Eric Peters responsible for the EU’s drive to guarantee a single digital market.

On that hot April afternoon, in the gardens of Villa Noailles the sun was beaming through the plastic greenhouse-like tent where the panel was held (it was quite funny seeing fashion heavy weights including Pascal Morand - president of the Chambre Syndicale- forced to wear ill-fitted polyester blue baseball caps to shield from the blinding rays) making it a dream location for some serious chin scratching thoughts.

Many compelling points were made, beginning with the importance of culture and meaning. Culture and art have the distinct ability to reflect society, and are thus able to show fractures within a system, often foreshadowing major events. One of the most recent fashion examples foreshadowing such change is Demna Gvasalia’s sartorial revolution. The creative head of both Balenciaga and Vetements has offered an “anti- fashion” approach. His “norm-core” designs including sweatshirts and provocative t-shirts are an antithesis to perfectly coiffed couture, shamelessly challenging the status quo of Parisian Mode.

In an interview with Suzy Menkes, Gvasalia stated that "Young people want a change; there is a certain Zeitgeist that we feel everywhere - not people of my generation, but under us, people who are 20 now… Even in Paris, which is a very conservative city, the young generation is hungry for change.”

However, Boris stated that young brands such as Vetements must also think of the long term and not just look at quarterly bottom line profits. Culture can only be generated through time and as things speed up continuously, we start to lose that meaningful exchange and creative purpose. This is a huge problem and could potentially inhibit future innovations.

Apropos future: another main theme revolved around the new generation - the new kids on the block. Boris stated that kids today don't know anything, can’t do anything, are difficult, and are just Google kids... As I wrote his comments with my pen in my notebook, I stir in agitation at this very unfair accusation. Marchetti too found this remark to be very false stating that kids today experience knowledge differently from previous generations, and that is ok! He added his generation has the responsibility to act like a bridge connecting the old with the new.

In regards to Italy, Marchetti emphasised the importance of fashion to the future of the Italian economy - a continuous stimulator for growth. 2016 saw turnover in the Italian fashion sector of €83.6 billion - more valuable than the Italian car industry thank you very much!

[embed]https://www.youtube.com/watch?v=6UMwftLlrQQ[/embed]

Although the Italian economy struggles, the Italian fashion sector keeps growing, due to the increasing  global demand for highest quality craftsmanship and for the “human made”. Brands such as Dolce and Gabbana and Valentino respond to this trend and are investing in their people through training, education and opportunities to learn and develop skills.

On a European context, the luxury consumer is looking for the unique and individual - small niche boutiques offering the exceptional. Not something mass-produced which everyone else has. A wonderful trend shifting away from often devastating outcomes of the mass-market, making way for diversity and more creativity (not industry group think). This compliments the trend we also see on the supply side. Gone are the days of new talent aspiring to work for the big brands of Louis Vuitton or Prada. No, now it’s about collaborating with small teams, being independent, being true to a creative vision and a unique offering - thinking local not global.

With fashion schools and events such as Hyères providing generous sponsorships and through communicating through social media, it is easier than ever to get your vision out into the world. Peeter however stated that as a young designer, his digital platform is more like his business card and that having a physical store is still very important as you need to feel and experience the product. See not all millennials are tech obsessed. 

The big message for sustaining a positive future for Europe was the need for generating dialogue and encourage open cultural exchange and collaboration. This is when the good stuff comes out. Europe has deep roots in tradition and heritage. Those roots will helps weather the storm of volatility and allow the industry to look ahead and to flourish to new heights.

In not only a creative context, Europe today more than ever is united and motivated to conquer today’s biggest threats including climate change and terrorism. There is a very exciting energy bubbling under the surface full of determination and new ideas. Despite deep tragedy, we see optimism and hope.

And I’d like to end this piece with a quote Marchetti added - and this is one of my favourite quotes from the festival and sums up our love of fashion so perfectly:

Fashion is not about clothes. Fashion is about stories and dreams. We need that.

Yes we do, especially today.

Fashion Technology: One Millennial's Myopia

Being in the demographic cohort of a millennial, people assume we from the “Me Generation” are obsessed with technology. Our thumbs start to twitch if we are not holding our iPhones, our quivering social status is based on follower count, we demand instant gratification with everything (food, dating, movies, music) and we expect to be connected 24/7.

Why yes, this may be the case for some, I define myself as a romantic. Someone who emphasises emotion and authenticity, someone who values true human craftsmanship and the beauty of nature. (I know I am not alone on this considering the rise in the sales of vinyl, hard copy books, and “vintage”) Although we were very young, we are the last generation to experience the world pre-smart phone, pre- “likes”, pre- amazon prime and that makes us as a generation of nostalgics fond of simpler times from our childhoods.

That being said, I innately have mixed feelings when reading about the new technologies being developed and how they will change our world, especially in relation to fashion.

At the Hyéres Fashion and photography festival, one of the panel discussions focused on the future of Fashion Tech featuring Lucas Delattre (journalist and professor at IFM), Bradly Dunn Klerks (general manager at Iris Van Herpen ), Dr. Amanda Parkes (considered by Vanity Fair as the " One of the 8 most powerful women in Silicon Valley"), Carole Sabas (journalist) and Charles Thurat (Heuritech artificial intelligence specialist ).

Parkes argued the most important research within fashion tech is regarding materials: new fibres that contain many technological innovations. She states, “The future is bio-tech. You start to have mushroom leather or roots, the new materials become more environmentally friendly. This will change the way we use clothes, they will start to be part of the Internet of Things (IOT), for example your clothes will monitor your state of health.”

In the future, the technology will be hidden in the fibres. The fibres can be used as a battery which will charge in the sun, it will be completely invisible. We can then create real clothes, not just the gadgets we wear. When we talk about electronic wearables, The priority is to quantify and analyse the body's performance. Fashion [however] is more about personal expression, identity. There is a big gap between fashion and fashion tech. We are trying today to find bridges that meet this emotional need. This is a very different approach to the gadget.

Bradly Dunn Klerks  however challenged her with another point of view.

Klerks questioned the purpose of the creation of these bridges. “In our work, we like to think of purity, minimalism, we do not see gadgets on the body. As a designer, we are completely opposed to this, we focus on pure design.”

On this point, Carole Sabas  explained that the issue is that engineers and designers do not talk together, however the launch of Google Jacquard is a successful example of the merging of the two fields. Jacquard interwoven into the Levi’s Commuter denim jacket allows the wearer to control their mobile experience and connect to a variety of services, such as music or maps, directly from their jacket. Products on the markets today also include glasses that can take pictures, and earrings as bluetooth headsets or headphones.

These innovations in technology can surely benefit millions of people who have disabilities, thus stressing the need for functionality, but surely we do not all want battery fibres within handwoven cashmere sweaters? Especially in regards to luxury with the handcraft needed for producing a heritage piece, the opposition against embracing “tech” with open arms is understandable.

Is not luxury, driven by emotion, something which is timeless? Something special passed down from generation to generation? Is not technology the polar opposite driven by function and changing every day? How realistically can they ever truly merge?

Advancements in fashion technology however are not only within materials. We see a rise in VR, AR and of course robotics. Have you heard of Amazon’s Echo look - the next generation of Alexa?

The Echo Look has a camera and can speak and listen, enhancing the human, AI interaction. The fashion conscious can use Echo look to take style selfies without hands (selfies, which are then stored by Amazon) and with the fashion feedback app Style Check, can mechanically construct the “perfect outfit” (based on data) from your wardrobe. Amazon says it will employ machine learning to rate fashion options and help users choose between outfits and ultimately, give the user’s wardrobe a score. The feature is using the help of human stylists to train the entirely robotic style recommendations in the near future.

Do we truly demand our outer identity to be shaved down to an emotionless algorithm?

Advocates of pushing such technologies within fashion call those who resist (many whom are designers) dinosaurs, stuck in the past, or narrow minded, but maybe they (we) love the emotional raw, organic “magic” of fashion, as we are human - living, breathing beings - not soulless cogs in a machine. I would consider it a grave tragedy if in the future fashion is fully automated, calculated, electric, and void of the human touch.

But I am a millennial you ask? How could I not be excited by these new technologies you ask?

I want a professor who speaks to us instead of reads from a powerpoint, I want to define my self-worth not based a social media following, I want to climb the peak of a mountain not “experience” it on Oculus Rift, I want to pursue research without having my personal data collected by big companies, I want to share my voice without having Facebook Ads tailored to me, I want to learn history not to google history, and I want to wear clothes that do not pulse electricity, "harvest" my personal data, “enhance” my experience and quantify my identity.

Or perhaps that is only one millennial's myopia.

Diary of the 32nd Hyères Festival

...I think that is the main success of the festival of Hyères - it might not keep to Swiss timing, but it brings people together in conversation (or on the dance floor of the Hippodrome) and isn't that really what it’s all about anyway?

Pulling into Hyères with the London College of Fashion team, I was immediately struck by the authentic allure of the town. The French coastal town radiated a charm you thought no longer existed in the 21st century -  with wise old men reading their papers at the local cafe, prim ladies picking up their baguettes at the boulangerie. Kids with smiles on their faces buzzed around the town square performing wheelies on their bikes, naturally showing off among their classmates. The lush palm trees accompanied the long winding road, which snaked its way up to the the residential villas. The villas were so glamorous and proud, boasting an unobstructed view of the sleepy town and the deep blue of the Atlantic in the not too far distance. The landscape was peaceful and perfect - no more and no less. Coming from the hustle and bustle of London pulsing with electricity, Hyères felt like a welcome vacation not only for the body, but freedom for the mind.

With such an atmosphere of tranquility, it is hilarious that up on the eastern hillside is the modernist Villa Noailles: cultural centre for the The 32nd edition of the Hyères International Festival of Fashion and Photography. The festival attracts flamboyant fabulous fashion folk far and wide to celebrate the the new generation of creative talent and to discuss relevant themes affecting the fashion industry. I loved walking through the town and immediately spotting the “Fashion People” - given away not only by their bright pink name tags - but their exaggerated clothing silhouettes, the sharp tailoring, the effortless style, the subtle pout of the lips, and the iPhone in hand. Very serious people, for very serious business. As somewhat of a newbie, I follow the school of “fake it until you make it” although my effortless chic probably doesn't quite resonate as inside I am fangirling WOW! It’s Molly Goddard! WOW! It’s Bertrand Guyon! WOW! Its Pierre Hardy! *Stay cool*

The festival which ran from April 27th - May 1st spoiled guests with beautifully expositions displaying talent from the leader of the photography jury Tim Walker, Nicolas Ouchenir, Jean Cocteau, Arno Bani, and my personal highlight - pieces from the House of Schiaparelli. The Schiaparelli influence was found all over the festival thanks to details of shocking pink and a quirky, surrealist energy. Being able to interact with Schiaparelli couture was a rare treat of finding new embroidery details, elevating your appreciation for the craft which goes into each piece. How impressive that her creative vision still is so prominent and influential even today in 2017 - hence a creative director such as Bertrand Guyon has such a special responsibility with keeping that legacy alive. Not only were there exhibitions to see, but also hands-on workshops such as doing embroidery with Maison Lesage, flower compositions with Christian Tortu, or jewellery making with Xenia Laffély.

Taking part in the Maison Lesage workshop, I sat together with 6 other “students of embroidery” from all walks of life, sewing together beads in the shape of classic Chanel motifs (camellias, handbags, little jackets, hats, the double C logo) onto a large stretch of nylon sheer. It was so soothing concentrating on your own delicate embroidery as well as rewarding to see your collective efforts come together as a whole. Some have argued that what makes us human is the handiwork, and I must admit, it was a worthwhile experience inviting more gratitude for the petite mains and how we must preserve these truly human practices.

The festival was a melting pot of creatives, students, and professionals - all very different - but all with a fierce passion to belong and contribute to a sector they love. The diversity of cultures and minds encouraged open discussions bringing about questions and comments on the Future of Fashion. As in many organisations, political systems, industries, we find ourselves at a tipping point with many changes coinciding and fogging up the vision with how to move forward. Two major themes included the relationship between technology and fashion and the state of Europe and future of creativity - both topics worthy of much more exploration (I hereby promise to write an article on both ASAP!!).

However in summary, there was a strong divide between the fashion romantics and the tech pioneers with not much exchange in the middle. My romantic heart ached when one of the engineers explained the development of a big data database or “The Shazaam of Fashion”  where any fashion designer can look up any images and any inspiration when creating a collection. Bradly Dunn Klerks director of Iris Van Herpen (A luxury label known for using 3d printing techniques) said NO! He argued, as a designer one must feel, explore, travel, go outside, not just look at a database. Some of my colleagues from LCF believed his vision was outdated. While technology is moving forward and we cannot deny that, high technology does not need to be involved in all parts of life. Emphasising human craftsmanship does not make you a dinosaur and narrow-minded. Again like in politics, an open minded, empathetic conversation within Fashion x Technology is missing.

Regarding Europe’s future creativity, Simone Marchetti renowned journalist for La Republica felt optimistic and I don't think his point could have been better proven than the display of ambition and  talent summoned through the finalists in photography, accessory design, and fashion.

The Winners

The winner of the festival’s first Swarovski Prize for accessories (€15,000) is designer Marina Chedel of Switzerland who presented an avant-garde shoe collection rightfully named “Over the Peak.” Inspired by the structure and summits of the Swiss Alps, Chedel delivered a collection which connects the organic, rocky feeling of the mountains to the middle of an urban town. She draws a link from the mythical creature called a Dahu, a type of chimera which has one leg shorter than the other, which symbolises a physical connection with nature even from a saturated metropolis.

For photography, the Grand Prize of €15,000 from Chanel and €5,000 of lab services from Janvier goes to Irish Daragh Soden. Soden’s work is called Young Dubliners.

“Young Dubliners is a celebration of the unique character of a city’s youth; the city I grew up in: Dublin. During a time of economic struggle in Ireland, a housing shortage in Dublin, and austerity measures squeezing public services and domestic budgets, the young people of Ireland’s capital are championed in empowering portraits as they make the transition to adulthood.”

It was Vanessa Schindler (SWITZERLAND) who won this year’s prestigious Première Vision Grand Prize as well as the Public and City of Hyères Award. Schindler, a graduate from the Geneva University of Art and Design, experimented with alternative textiles and materials such as the liquid polymer urethane. When mixed with textile fibres, the urethane brings shiny, molten results, with no need for stitching. I found this mix of materials especially exciting - being very soft, oily, slimy, sticky and hence quite carnal and raw to the senses. She explains her work is about “frozen liquidity,” which aids in creating new conceptions and constructions of clothes. The silhouettes are sophisticated and ooze luxury, with some parallels with Vetements Spring 2016 collection (such as the velour purple dress).

Vanessa Schindler (I rated a 3.5/5)

Gesine Försterling (GERMANY) delivered an exceptional menswear collection which played off the notion that a man is defined by his profession, often interpreted by the clothes he is wearing. Today, one can’t just guess someone’s profession by their clothes, as being out of work is just as likely. Thus, Försterling argues fashion codes are no longer professional reference points and has chosen to blur uniforms to adapt to this new economic environment. Försterling reinterpreted traditional workers’ clothes of aprons, dungarees, shirt fronts and suit jackets as well as classical work fabrics — denim, twill, thick cotton toile, wool broadcloth — and reassigned them to unexpected items using handmade and industrial methods.

Her careful embroidery of pearls, sequins, and threads added embellishment to these fabrics and blurred the lines between masculine, feminine and high low. Each silhouette - some resembling ponchos, some Arabian thawbs - helps man escapes from all stereotypes, even with truly beautiful clothes. I am glad Försterling won the €15,000 Chloé Prize and look forward to her work in the future.

Gesine Försterling (I ranked a 4/5)

Maria Korkeila (FINLAND) won an honourable mention award from the jury for her “Under Wraps” menswear collection, with a €10,000 grant from Schiaparelli. Korkeila also presented a rich menswear collection with great detail and embroidery as well as Schiaparelli approved trompe l'oeil. Her psychedelic collection was drawn from flirtatious icons of the 1970s resulting in an atmosphere which was funky, a bit rock and roll and plain fun. Provocative imagery (typical Playboy imagery) was plastered upon the chests of the male models, all swatches of dated (but feel good) colours of  golden yellows, tea browns, and chocolates.

The models wore skin tight sweaters decorated with images of female busts in jacquard sewn onto tulle fabric which revealed their own masculine anatomy. These improper images (one probably wouldn't wear this to a dinner at your girlfriend’s parent’s house) are in some shape or form part of each piece, partially hiding the wearer’s flesh, thanks to layers of orange plastic. Korkeila places this “cheesy” hyper sexualised imagery upon male billboards, who essentially become the prop for their very own fantasies.

Maria Korkeila (I ranked a 3.95/5)

The influences of Balenciaga and Vetements were running inspirations through all of the finalists work. Jaquemus also seemed to be a reference point for the New Zealand designer Herminone Flyn who also reinterpreted work wear and suits for an avant grade approach. Flyn offered a classic trench (within a trench, within a trench) which was immaculately tailored and looked worthy for a Margiela runway. Another stand out piece was the technicolor dream coat by Danial Aitouganov. An overarching theme linking the collections together would be careful deconstruction and repurposing classic pieces such as suits, shirts, jackets into something new.

[embed]https://www.instagram.com/p/BTm2hWSjEhp/?taken-by=wataru_tominaga[/embed]

Wataru Tominaga winner of last year’s Grand Prix du jury Première Vision 2016 closed the fashion show with his second collection, created with the help of Chanel Métiers d’Art: Lesage Embroideries and Lognon Plissés. Thanks to loud colours and daisy motifs I believe Tominaga presented the perfect finale as it embraced the spirit of youth- which in itself invites elements of naivety, optimism, energy, and bright eyed wonder. The neon colour palate brought a zap of energy and emphasised the quest for the new and fresh. Tominaga incorporated tassels and climbing rope most commonly used for hiking journeys, onto kilts and sweatshirts, bringing about a sense of adventure. Here’s to all Hyères Finalists climbing onwards and upwards: Embrace the ride kids.

[embed]https://www.instagram.com/p/BThmaK1Fj5u/?taken-by=modernmelange[/embed]

As somewhat of a kid myself, paving my own path within fashion, it is a thrill to be part of the “next generation” bringing new ideas to the table, and contributing to the evolving nature of the industry. If there is a main takeaway from the festival, I would say one cannot undervalue exchange – culturally or intellectually. Being able to speak to so many great minds and hear conflicting opinions and having the empathy to understand a different view is essential in moving forward. I think that is the main success of the festival of Hyères – it might not keep to Swiss timing, but it brings people together in conversation (or on the dance floor of the Hippodrome) and isn’t that really what it’s all about anyway?

*Photos by Lucy Staartjes and author's own

Inside Hyères 2017

Go to Inside Hyères for an exclusive peak into the world's most prestigious fashion and photography festival!

April 27th - May 1st 2017

The Hyères Festival of Fashion and Photography brings together members throughout the creative industries to promote emerging talent in the disciplines of fashion and photography. The festival also features exhibitions, workshops, round table discussions and three competitions: in fashion, photography, and accessories.

The competition element allows the chosen candidates to present their portfolio and collections to a panel of distinguished professionals. Notable champions emerging from the festival include Viktor & Rolf, Stéphanie Coudert and Felipe Oliveira Baptista.

For this years 32nd edition of the Festival, the Fashion jury is headed by Schiaparelli creative director Bertrand Guyon, while Tim Walker heads the photography jury, and Pierre Hardy presides over the accessories jury.

The festival will also celebrate influential designer Elsa Schiaparelli through an exhibition and provide workshops with notable artists and the craft masters of Maison Lesage - the embroidery house for Chanel.

To give you a direct glimpse into the Hyères festival, I will be documenting everything at Inside Hyeres: whether that be interviews, photo logs, summaries of round table discussions, fashion show coverage, or candid shots from Villa Noailles! Join me and the LCF team as we immerse ourselves into the heart of fashion and photography!

See you there :)

The Responsibility and Effect of Fashion Photography

The 32nd International Festival of Fashion and Photography returns once again to the picturesque town of Hyères next week from April 28th to May 1st. The festival promotes young creative talent within the fields of fashion and photography and through its competition has launched the careers of the likes of Viktor & Rolf, Stéphanie Coudert and Felipe Oliveira Baptista .The judges of this year’s fashion competition include Bertrand Guyon Creative director of Schiaparelli, Simone Marchetti Journalist for La Reppublica, and Camille Bidault-Waddington Fashion editor and consultant among others. Alongside launching stars into the stratosphere, the festival features mind provoking exhibitions, round table discussions, and workshops addressing contemporary themes within the arts.

I myself am particularly excited for this year’s festival as I too will be taking part, along with a brilliant team of students from the London College of Fashion led by Amanda Johnston, Katarina Rimarcikova and Caryn Franklin MBE.

In preparation for the festival, Ms. Franklin - former editor of i-D magazine, host of BBC’s The Clothes Show, co-founder of All Walks Beyond The Catwalk, Professor of Diversity in Fashion, MsC graduate of Applied Psychology in fashion, and one of the most powerful and poignant voices within the fashion industry - presented a captivating lecture titled “The Psychology of Selfhood within Fashion photography”. Her lecture provided us students with a taste of the complex and evolving relationship between fashion and photography and their joint effect upon society, cultural norms and ourselves.

In light of the recently banned Saint Laurent ad featuring a model with a covered face and in a very unnatural, compromising position, Ms Franklin’s lecture was particularly relevant because she encouraged us to question what we really see in fashion photography opposed to passively accepting everything we view as “Normal”.

At the beginning of her lecture, she explained that models in fashion photography can exhibit selfhood as an attribute, an added asset to an image. A selected model is able to project uniqueness and realistic physical traits, and should convey elements of Emotional connectability, Relateability, Character, Personality, Confidence, Strength, Playfulness and/or Honesty in order to more accurately communicate a desired message for a targeted audience.

An image thus invites audience interaction. Whether we coincidently glance at a side of a bus whizzing through Oxford Circus or perhaps knowingly engaging within the glossy pages of a Vogue. We the audience instinctively ask, This could be me? How am I similar? Do I feel good or bad about myself when looking at this image?

We view fashion photography for information above clothing detail and as a result, fashion imagery can act as a sort of driver for social comparison behaviour as it features how one should or could be when encountered with an idealised self.

However, as we are on average exposed to around 5,000 advertising images a day we become numb from what they represent and thus regard these images as “normal”. We tend to forget to question what something actually means. What is the image’s intention? What does an image represent?

What does the image of the Saint Laurent model represent?

Is it “normal” when a model is regarded as a coat hanger? Is it “normal” for a model to be reduced to a become a sexualised article? The absence of selfhood leads to objectification where a person is understood as a body -or a collection of body parts - valued predominantly for the use to (or consumption by) others.

One highly concerning example outlining one process of stripping away the selfhood from models was the casting by Balenciaga in March 2017, which was very rightfully called out by James Scully:

“… I was very disturbed to hear from a number of girls this morning that yesterday at the Balenciaga casting Madia & Rami (serial abusers) held a casting in which they made over 150 girls wait in a stairwell told them they would have to stay over 3 hours to be seen and not to leave. In their usual fashion they shut the door went to lunch and turned off the lights, to the stairs leaving every girl with only the lights of their phones to see. Not only was this sadistic and cruel it was dangerous and left more than a few of the girls I spoke with traumatized. Most of the girls have asked to have their options for Balenciaga cancelled as well as Hermes and Ellie Saab who they also cast for because they refuse to be treated like animals…”

[embed]https://www.instagram.com/p/BRBoNplj3rA/?taken-by=jamespscully[/embed]

The result of fashion images showing models with the absence of the selfhood have devastating consequences, especially when viewed by the next generation.

Visual Artist Yolanda Dominguez asked a group of eight-year-old children to describe what they see in the commercial campaigns by some of the world leading fashion houses. They concluded women were identified as looking hungry, scared, and ill, while men were described as superheroes, bosses or “studying to go to university.”

Such perceptions are dangerous when of course addressing societal inequalities of gender, race, age et cetera, but also do not do justice to the heritage or a fashion brand or talent of a photographer, creative team or designer. Obviously, fashion photography holds immense power and responsibility and if reckless can result in unintended effects such as negative self perception and feelings of shame and anxiety.

As promised, I will keep you fully posted on the activities of the Hyères festival and the adventures of the LCF team!