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Véronique Leroy closer to herself

The designer's 2018 / 19 fall-winter collection is a kind of upside-down journey where she tells the story of how the brand and its style have evolved since its debut in 1990. A way of saying who she is, why she choose fashion, and what she likes today. This is probably her most autobiographical collection. - Isabelle Cerboneschi, Paris.

20 March 2018

Photos: © Véronique Leroy.

See the video of the Véronique Leroy fashion show, a film by Grégoire Dyer. (With the permission of Véronique Leroy).

Instead of a show, Véronique Leroy invited her guests to the Balzac cinema on March 3 in Paris and projected their autumn-winter 2018/19 collection on the big screen. More than the collection: a short film without words that features a model and landscapes of the Burgundy countryside, chickens and ruins, the land that does its work of regeneration between seasons, close-ups on clothes in movement, on walking legs, a figure that moves away to the back and comes forward again. The process follow and a link is created between this girl who poses, who walks, and Burgundy in its bitterness. This parenthesis, in full fashion week was a crazy poet and invited silent contemplation.

At the end of the show, you could see the clothes closely, placed on a carrier, touching the fabrics, but it is not the same, a dress without life.

Nobody warned us that the parade would be a movie. What a nice surprise!
I wanted it to be a surprise to the point that I never watched the movie on the big screen. This film allows us to discover the collection in another way. I wanted to de-contextualize the show, but not to the point of showing it in the wilderness. It's been ten days since I has sleep. I was afraid it was badly perceived: we are all used to the show format. But when I saw it, I wish it lasted longer ...

When we see the model walking, we perceive the material of the clothes, even if it is in a different way than during a show. Is it reinforced by the effects of the movements of nature?
Yes, the parallels between the subjects and the images of nature, the wind in the grass, it was what I wanted. There are mottled fabrics, shifting muslin, over-coloured jeans like earth, vibrations, hyper-pixelated prints. Music vibrates, Nature vibrates and materials too.

Was this film a way to pay tribute to the Burgundy you love so much?
The original idea of ​​the collection was a weekend in the countryside, but a winter campaign. Going to Burgundy to film this collection quickly became obvious. The materials are adapted: Tweed, K-Way. It had been a long time since I had done K-Way. I went back to my first love. All the exteriors were filmed in the countryside and the rest in Paris. I wanted to make a movie, but without that being a narration. I wanted to find gestures, movements of parades that would intersect landscape scenes, but not a fake parade. The bias by which we see clothes is different: we see them through a camera and not live.

When you designed your collection, did you already have this film in mind?
No, I did not think about it right away. A few seasons ago I was surprised to dream while thinking of the preparation of the show: while do the casting,

to find a room, ... I thought there was something repetitive about it all. It's been a long time since the idea of ​​presenting my collections an other way goes through me but I do not really let it arise in me. For three seasons, Grégoire Dyer made short films of my shows, during the preparation, during the show, and this season, we thought we could go further and do something bigger. We chose to make a film instead of a classic show, while using the mechanisms of a catwalk presentation, but without it being a parody.

The colours of your collection were already inspired by nature.
Yes of course! The initial inspiration was the English countryside. We used Harris Tweed, a material that I love, rough, hardwearing. There are very few houses that make them. I get mine from Ireland.

There is a paradox between the usual speed of a show, where the girls pass very quickly, and this contemplative state that generate these images of nature where only the wind blows.
Yes, there is a contrast between this immutable nature and the slightly overrated side of fashion and I wanted the parallel between the two to be fluid. It could have been a disaster. But the result is crude yet sophisticated.

Is there a particular silhouette that best embodies this fluidity between the two worlds?
I did not think in these terms. Already because the collection is much bigger than what I showed. The selection of the film seemed to work very well compared to a gesture, the vibrations of nature: some materials, filmed in close-up, recall the earth.

What induced you to take this distance from the usual catwalk show?
It scared me, but it was very rewarding to work as a team on the film, to have exchanges.

For several seasons I have the impression that you come back to yourself, with your collections. And it seems to reflect the creator you were yesterday and the one you are today.
It feels good to hear that! It's been three seasons since I started to dive back into my archives. I have a box next to my desk with some coins. It reassures me to know that it is there at your fingertips, right next door. A bit like a childhood home. I come back to me. Not that I had the feeling of being gone, but today I have enough perspective to have a fresh look, new on what I did in my debut. Almost thirty years have passed ...

Véronique Leroy closer to herself

20 March 2018

[Click on the image to see the gallery]

The designer's 2018 / 19 fall-winter collection is a kind of upside-down journey where she tells the story of how the brand and its style have evolved since its debut in 1990. A way of saying who she is, why she choose fashion, and what she likes today. This is probably her most autobiographical collection. - Isabelle Cerboneschi, Paris.

Instead of a show, Véronique Leroy invited her guests to the Balzac cinema on March 3 in Paris and projected their autumn-winter 2018/19 collection on the big screen. More than the collection: a short film without words that features a model and landscapes of the Burgundy countryside, chickens and ruins, the land that does its work of regeneration between seasons, close-ups on clothes in movement, on walking legs, a figure that moves away to the back and comes forward again. The process follow and a link is created between this girl who poses, who walks, and Burgundy in its bitterness. This parenthesis, in full fashion week was a crazy poet and invited silent contemplation.

At the end of the show, you could see the clothes closely, placed on a carrier, touching the fabrics, but it is not the same, a dress without life.

Nobody warned us that the parade would be a movie. What a nice surprise!
I wanted it to be a surprise to the point that I never watched the movie on the big screen. This film allows us to discover the collection in another way. I wanted to de-contextualize the show, but not to the point of showing it in the wilderness. It's been ten days since I has sleep. I was afraid it was badly perceived: we are all used to the show format. But when I saw it, I wish it lasted longer ...

When we see the model walking, we perceive the material of the clothes, even if it is in a different way than during a show. Is it reinforced by the effects of the movements of nature?
Yes, the parallels between the subjects and the images of nature, the wind in the grass, it was what I wanted. There are mottled fabrics, shifting muslin, over-coloured jeans like earth, vibrations, hyper-pixelated prints. Music vibrates, Nature vibrates and materials too.

Was this film a way to pay tribute to the Burgundy you love so much?
The original idea of ​​the collection was a weekend in the countryside, but a winter campaign. Going to Burgundy to film this collection quickly became obvious. The materials are adapted: Tweed, K-Way. It had been a long time since I had done K-Way. I went back to my first love. All the exteriors were filmed in the countryside and the rest in Paris. I wanted to make a movie, but without that being a narration. I wanted to find gestures, movements of parades that would intersect landscape scenes, but not a fake parade. The bias by which we see clothes is different: we see them through a camera and not live.

When you designed your collection, did you already have this film in mind?
No, I did not think about it right away. A few seasons ago I was surprised to sigh while thinking about the preparation of the parade: to do the casting, to find a room, ... I found that there was something repetitive in all that. It has been a long time since the idea of ​​presenting my collections otherwise goes through me but I do not really let it arise in me. For three seasons, Grégoire Dyer made short films of my shows, during the preparation, during the show, and this season, we thought we could go further and do something bigger. We chose to make a film instead of a classic show, while using the mechanisms of a catwalk presentation, but without it being a parody.

The colours of your collection were already inspired by nature.
Yes of course! The initial inspiration was the English countryside. We used Harris Tweed, a material that I love, rough, hardwearing. There are very few houses that make them. I get mine from Ireland.

There is a paradox between the usual speed of a show, where the girls pass very quickly, and this contemplative state that generate these images of nature where only the wind blows.
Yes, there is a contrast between this immutable nature and the slightly overrated side of fashion and I wanted the parallel between the two to be fluid. It could have been a disaster. But the result is crude yet sophisticated.

Is there a particular silhouette that best embodies this fluidity between the two worlds?
I did not think in these terms. Already because the collection is much bigger than what I showed. The selection of the film seemed to work very well compared to a gesture, the vibrations of nature: some materials, filmed in close-up, recall the earth.

What induced you to take this distance from the usual catwalk show?
It scared me, but it was very rewarding to work as a team on the film, to have exchanges.

For several seasons I have the impression that you come back to yourself, with your collections. And it seems to reflect the creator you were yesterday and the one you are today.
It feels good to hear that! It's been three seasons since I started to dive back into my archives. I have a box next to my desk with some coins. It reassures me to know that it is there at your fingertips, right next door. A bit like a childhood home. I come back to me. Not that I had the feeling of being gone, but today I have enough perspective to have a fresh look, new on what I did in my debut. Almost thirty years have passed ...

See the video of the Véronique Leroy fashion show, a film by Grégoire Dyer. (With the permission of Véronique Leroy).