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Hedi Slimane
Having unveiled another triumphant albeit sinister Dior Homme collection, the usually reticent Hedi Slimane talks to James Anderson about motoring, music, melancholy and munching fish fingers.
Over the past five years, appreciative fashion insiders have become accustomed to Slimane's runway shows being unique spectacles encapsulating the designer's vision on all levels. The music, the stage set, the lighting, the models - or Hedi's boys as the whippet-thin, hand-picked urchins have become known - are all part of a discerning Dior Homme package that has further set the rather aloof Slimane apart from his designer contemporaries. This clear sense of purpose has subsequently translated not only into retail success for the brand itself, of course, but has also helped to boost the coffers of eager-to-imitate high street stores.
For autumn/winter 06, Slimane proposed a collection that would be, as expected, elegant and precise. It shifted the emphasis from his customary narrow-legged trousers to those fashioned from loose swathes of fabric, while maximising his meticulous attention to detail via a selection of tweed topcoats, pin-striped suits, black leather blousons, satin trenches and dramatic capes. Significantly, however, the presentation of this was noticeably darker and more eerie than in previous shows. Models were thinner and paler than before - some being of the awkwardly big-eared ilk, adding an almost alien-like ambience to the proceedings - while their hair was starkly slicked-back in a strictly no-frills manner. From out of the shadows they sauntered: gaunt, haunted and partially illuminated by a column of fire at the end of the runway. Laughter was definitely not on the agenda unless it was a spine-chilling cackle, perhaps.
Silhouettes in the collection suggested a departure from the customary super-slim look, to wider shapes. What prompted this? It was possibly more structured, but the proportions didn't change fundamentally. The Oxford bags were putting in perspective the couture jackets... and fitted like gloves.
You acknowledged a new feeling of melancholy after the show. Was this a personal sense of melancholy or a wider, cultural gloom? I suppose it was a general comment, "le retour du sentiment", a sort of spleen, in the romantic tradition. This is pretty clear in current indie music.
Who inspires you? People I meet really inspire me, mainly musicians. I guess the first image of menswear I saw was an album cover of David Bowie at the age of six. Stage wear is more appealing to me than men's fashion. I have a problem with fashion that doesn't build from the inside. There is never a difference between my life, what I go through personally, and what I design.
Considering your high profile as a designer, you give relatively few interviews. Are you shy? I suppose the point is to keep the right distance in order to go on with your projects and protect your freedom. People always end up developing expectations that do not have much to do with you. Politics is at the comer, and you enter the rat race without knowing it. The bottom line is that I like to design and hold on to my beliefs and faith. The rest is speculation, and l assume it comes as a package.
Does criticism of your work bother you much? I deal with it as it is part of the game. I have had so much written about me so far, in every possible direction. I see it from a respectful distance not that it has anything to do with my later choices. I ended up designing by accident and I don't deal with any agenda.
Some people get shirty about the fit of your clothing, moaning that it is cut only for men with extremely lean physiques. Does this bother you? Not at all. That's the whole point. I am commenting on an evolution of morphology. Each decade has its body type, and specific body language, and attitude. I can be wrong, but l am only eager to go along and define that particular standard. There is no intention to dress everyone, or please everyone for that matter.
I now hear you are increasingly drawn to LA. What is it about the place that you enjoy? Well, besides London, which I really love, I go a lot to Los Angeles - I have been going there regularly for about four years. I have friends there, mostly around Venice, and I find it a really intriguing city. I usually start my collections there because it has the right amount of isolation. I can only talk to my studio in the morning, which helps me to focus. It is so remote - a weird fantasy territory.
It's generally accepted that a car is crucial when in LA. Does this explain why filmmaker Gus Van Sant has been giving you driving lessons recently? Yes, Gus tried to teach me how to drive in a parking lot for hours. I don't think he really enjoyed the experience, but he insisted on teaching me. I feel a bit like an idiot not knowing how to drive. I still haven't found time for it, but I will try.
Is there a set routine to your working day? There is no routine. I dropped it a few years ago. I don't make appointments any more - I work on a random schedule. Things are going twice as fast now - I do 10 times more things.
You're a keen photographer, and - more recently - a sculptor, too. What kinds of responses do your sculptures get from people? Well, the best thing would be to ask them. When I was in Berlin, I was asked to join this residency art museum, the Kunstwerke. This is how, out of obligation almost, I was asked to come up with photographic and video projects. It all developed from that moment, around 2002, when a few galleries showed interest and I had some exhibitions.
Are you planning any more photographic books in the near future? No, I don't really want to. There is no schedule on that, either. Just when I feel there is something I want to share.
Do you get time to go and see many exhibitions? Yes I do. Banks Violette's exhibition at the Maureen Pailey gallery in London was a strong one. I've know Banks for a few years, back when I published my book Stage. We met in New York, and we talked a lot about this mutual interest. We both developed projects together, and I am really happy he developed so brilliantly.
I was flabbergasted to hear that you're partial to chomping on fish fingers and pies. I'd imagined you would be very health-conscious about food... Not health conscious to that extent, I am assuming I have to deal with a misunderstanding here. In an American article I was quoted as saying I eat baby food, but I meant comfort food. So, right, I like fish fingers, but quite specifically in one context.
You once said your main ambition is simply "to make the next day interesting". Is this still the case? What else do you want to achieve? This is still the case. I don't know what achievement means. It is a presumptuous idea. I try to make the best of the day, not much else.
The theme of this issue is the dark side. What scares you? War scares me and my phobia of flying is beyond belief. I don't know about the dark... I prefer the idea of shadow. I do not fancy horror movies at all as they annoy me. I prefer cheap, cheesy movies. I do not know what my darkest experience is. I suppose I don't see the dark side in things.
Over the past five years, appreciative fashion insiders have become accustomed to Slimane's runway shows being unique spectacles encapsulating the designer's vision on all levels. The music, the stage set, the lighting, the models - or Hedi's boys as the whippet-thin, hand-picked urchins have become known - are all part of a discerning Dior Homme package that has further set the rather aloof Slimane apart from his designer contemporaries. This clear sense of purpose has subsequently translated not only into retail success for the brand itself, of course, but has also helped to boost the coffers of eager-to-imitate high street stores.
For autumn/winter 06, Slimane proposed a collection that would be, as expected, elegant and precise. It shifted the emphasis from his customary narrow-legged trousers to those fashioned from loose swathes of fabric, while maximising his meticulous attention to detail via a selection of tweed topcoats, pin-striped suits, black leather blousons, satin trenches and dramatic capes. Significantly, however, the presentation of this was noticeably darker and more eerie than in previous shows. Models were thinner and paler than before - some being of the awkwardly big-eared ilk, adding an almost alien-like ambience to the proceedings - while their hair was starkly slicked-back in a strictly no-frills manner. From out of the shadows they sauntered: gaunt, haunted and partially illuminated by a column of fire at the end of the runway. Laughter was definitely not on the agenda unless it was a spine-chilling cackle, perhaps.
Silhouettes in the collection suggested a departure from the customary super-slim look, to wider shapes. What prompted this? It was possibly more structured, but the proportions didn't change fundamentally. The Oxford bags were putting in perspective the couture jackets... and fitted like gloves.
You acknowledged a new feeling of melancholy after the show. Was this a personal sense of melancholy or a wider, cultural gloom? I suppose it was a general comment, "le retour du sentiment", a sort of spleen, in the romantic tradition. This is pretty clear in current indie music.
Who inspires you? People I meet really inspire me, mainly musicians. I guess the first image of menswear I saw was an album cover of David Bowie at the age of six. Stage wear is more appealing to me than men's fashion. I have a problem with fashion that doesn't build from the inside. There is never a difference between my life, what I go through personally, and what I design.
Considering your high profile as a designer, you give relatively few interviews. Are you shy? I suppose the point is to keep the right distance in order to go on with your projects and protect your freedom. People always end up developing expectations that do not have much to do with you. Politics is at the comer, and you enter the rat race without knowing it. The bottom line is that I like to design and hold on to my beliefs and faith. The rest is speculation, and l assume it comes as a package.
Does criticism of your work bother you much? I deal with it as it is part of the game. I have had so much written about me so far, in every possible direction. I see it from a respectful distance not that it has anything to do with my later choices. I ended up designing by accident and I don't deal with any agenda.
Some people get shirty about the fit of your clothing, moaning that it is cut only for men with extremely lean physiques. Does this bother you? Not at all. That's the whole point. I am commenting on an evolution of morphology. Each decade has its body type, and specific body language, and attitude. I can be wrong, but l am only eager to go along and define that particular standard. There is no intention to dress everyone, or please everyone for that matter.
I now hear you are increasingly drawn to LA. What is it about the place that you enjoy? Well, besides London, which I really love, I go a lot to Los Angeles - I have been going there regularly for about four years. I have friends there, mostly around Venice, and I find it a really intriguing city. I usually start my collections there because it has the right amount of isolation. I can only talk to my studio in the morning, which helps me to focus. It is so remote - a weird fantasy territory.
It's generally accepted that a car is crucial when in LA. Does this explain why filmmaker Gus Van Sant has been giving you driving lessons recently? Yes, Gus tried to teach me how to drive in a parking lot for hours. I don't think he really enjoyed the experience, but he insisted on teaching me. I feel a bit like an idiot not knowing how to drive. I still haven't found time for it, but I will try.
Is there a set routine to your working day? There is no routine. I dropped it a few years ago. I don't make appointments any more - I work on a random schedule. Things are going twice as fast now - I do 10 times more things.
You're a keen photographer, and - more recently - a sculptor, too. What kinds of responses do your sculptures get from people? Well, the best thing would be to ask them. When I was in Berlin, I was asked to join this residency art museum, the Kunstwerke. This is how, out of obligation almost, I was asked to come up with photographic and video projects. It all developed from that moment, around 2002, when a few galleries showed interest and I had some exhibitions.
Are you planning any more photographic books in the near future? No, I don't really want to. There is no schedule on that, either. Just when I feel there is something I want to share.
Do you get time to go and see many exhibitions? Yes I do. Banks Violette's exhibition at the Maureen Pailey gallery in London was a strong one. I've know Banks for a few years, back when I published my book Stage. We met in New York, and we talked a lot about this mutual interest. We both developed projects together, and I am really happy he developed so brilliantly.
I was flabbergasted to hear that you're partial to chomping on fish fingers and pies. I'd imagined you would be very health-conscious about food... Not health conscious to that extent, I am assuming I have to deal with a misunderstanding here. In an American article I was quoted as saying I eat baby food, but I meant comfort food. So, right, I like fish fingers, but quite specifically in one context.
You once said your main ambition is simply "to make the next day interesting". Is this still the case? What else do you want to achieve? This is still the case. I don't know what achievement means. It is a presumptuous idea. I try to make the best of the day, not much else.
The theme of this issue is the dark side. What scares you? War scares me and my phobia of flying is beyond belief. I don't know about the dark... I prefer the idea of shadow. I do not fancy horror movies at all as they annoy me. I prefer cheap, cheesy movies. I do not know what my darkest experience is. I suppose I don't see the dark side in things.