23 posts tagged "Anthony Vaccarello"
Back in September, a rumor broke out that Anthony Vaccarello, the hot emerging Belgian talent known for his daring, slit-up-to-here wares, might be the next Versus Versace collaborator. And lo and behold, it’s turned out to be true. Versace announced today that the collection, which will no doubt be a slick, saucy offering, is set to debut in 2014. Vaccarello succeeds Christopher Kane, J.W. Anderson , and M.I.A., all of whom have collaborated with the brand.
From the time she launched her new, self-titled album at 12:01 a.m.—without any warning, press, leaks, or buildup buzz—today has been the Day of Beyoncé. The new Beyoncé features fourteen tracks and a full seventeen videos. One in particular has caught the attention of the Bey Hive: “‘Yonce,” which stars not only Bey, but also three of the fashion world’s top models—Jourdan Dunn, Joan Smalls, and Chanel Iman—in an homage of sorts to George Michael’s famous supermodel-filled “Freedom ’90″ video. Director, video artist, and co-head of creative at Supreme, Ricky Saiz, shot the video over two days in Brooklyn. “When I started to propose ideas and put together a visual narrative, Beyoncé responded really well,” he said. “She was open to me pushing a bit, and to trying new things, and I didn’t want it to be overproduced. I didn’t want a performance video, which is like jazz hands. This was more like an upskirt.”
“Upskirt” does set the racy tone. Saiz was inspired by Daido Moriyama’s erotic photographs as well as the iconic George Michael Video—and styled by Karen Langley, the cast dons an array of revealing outfits, including a black Anthony Vaccarello dress (for Dunn) and a bondage-inspired molded bodysuit from Tom Ford’s tenure at YSL (for Beyoncé).
Here, Saiz talks to Style.com about the singer’s most smoldering video to date, what it was like working with the one of the world’s biggest stars and a trio of supermodels, and that time on set when Smalls decided to lick Beyoncé’s breast.
How did you come to work with Beyoncé on this in the first place?
It was very all of a sudden, actually. I have a working relationship with Todd Tourso, her creative director. We worked together on the 2011 Lady Gaga for Supreme campaign that we put together. He called me out of the blue and said they wanted me to do a video for them. Four days later, we did it. It was very fast, all of a sudden, and fun. I think Beyoncé is an incredible artist—she has ability, reach, and doesn’t compromise. She’s always kind of done her own thing. But the project that they approached me with was very much in my lane, and my aesthetic. If they had me do a big, drawn-out, cinematic production kind of video, I probably wouldn’t have done as good of a job.
What was the brief that Beyoncé and her team gave you? What were they asking for?
They came with a pretty broad concept. They had the models in line, and wanted something pretty simple. The brief was in the direction of George Michael’s “Freedom” video. And I kind of took it from there. I felt like doing something really simple, handheld, lo-fi. It felt like an interesting way of doing it. It could come off so bland if filmed the other way. And again, I wanted to explore her transgressive imagery. Things that were sexual and erotic, but not cliché. I didn’t want to see Beyoncé with her tongue out, you know?
How is this display of sexuality different from what Miley Cyrus does in “Wrecking Ball”?
Beyoncé is so sexy without having to do anything. I felt like she didn’t need to be wet, or need to twerk. It was more about a mature sense of eroticism, like what Madonna expressed in “Human Nature” in the nineties. A lot of the inspiration came from still photography. Like Daido Moriyama’s really tight close-ups of fishnets—things that felt abstract but still resonate.
What was Beyoncé’s reaction to your creative process? Was she very hands-on?
She’s incredible. She was very hands-on, and everything was a collaborative effort. I think once she saw my aesthetic and references in the styling and art direction, she had full trust in my ideas for the video. I’ve never worked with anyone that gave so much, and was so willing to try new things. For example, the styling; Karen Langley brought this Tom Ford [for YSL] molded-breast bodysuit with the pierced nipple, fishnets, and things like that. It was exactly the references that I was looking for, but in my head I was like, Yeah, right. We’re never getting Bey to put that on. And Beyoncé’s so incredible, she was like, “Let’s do it.” I don’t think anyone’s seen her like that. She was into it.
Do you have a sense of why Beyoncé tapped Jourdan, Joan, and Chanel for this project?
They came to me with these three women in mind. It just felt very of-the-moment, very iconic. You know, they’re all supermodels, they stand on their own, they’re such powerful women. And when brought together, it created a whole dynamic. We definitely weren’t trying to put together a “girl group.” But the chemistry on set was amazing. People just came in really excited about the project, and I tried to keep things loose and fun. I wanted you to see something you maybe weren’t supposed to see.
The “Freedom” video worked because the girls were supermodelséthe first generation of so-called supers, in fact. Do you see these women as the new generation?
Absolutely. I think that in addition to being extremely beautiful, they have their own characters, and their own personalities that they brought to the table. They were anything but casted models.
Did you have any favorite moments on set?
When Joan Smalls licked Beyoncé’s boob. I’m probably not going to forget that anytime soon. To be honest, I didn’t even see it happen. I was in between monitors. I saw it in playback. My director of photography came up to me and was like, “Oh, my God, did you see that?” It was totally spontaneous. [Smalls] just went in. It was fun. We had a good time.
It was a whirlwind month for this season’s freshman class of models, who ended things on a high note in Paris by making their final first impressions at the shows that really count. We were ecstatic to see many of the fresh faces we’ve had our eye on since early September go on to solidify their spots on our top newcomer list. After making the grade in New York, London, and Milan, Malaika Firth demonstrated the poise of a veteran in the City of Light, where she bookended Valentino and walked sixteen other runways including Anthony Vaccarello, Céline, Giambattista Valli, Miu Miu, and Stella McCartney. Altogether, Firth totaled an impressive fifty-five shows for Spring ’14, and we can’t wait to see her in upcoming ad campaigns and editorial spreads. Several of the other front-runners who’ve been in the spotlight from the start picked up the pace for the final segment. Alexander Wang opener Anna Ewers finished with thirty-seven catwalk appearances and did turns at Balenciaga, Céline, Chanel, and Isabel Marant in Paris, among others. Our personal favorite, Binx Walton (bottom right), took the city by storm—Acne Studios, Alexander McQueen, Céline, Chanel, Louis Vuitton, and Saint Laurent were just a few of her credits.
Moving along, we simply cannot get enough of Kate Goodling (top left). She’s the total package, with a combination of all-American good looks, editorial appeal, and a killer runway body. Well managed by Ford NY across the Atlantic, Goodling also racked up thirty-seven shows, hitting top-tier catwalks in Paris like Balenciaga, Chanel, Chloé, Dior, Givenchy, Lanvin, and Nina Ricci. We were also dazzled by Lexi Boling, another Ford NY girl, who turned up at Balenciaga, Louis Vuitton, Chanel, Céline, and Chloé. French belle Elodia Prieto (top right), who opened and closed Calvin Klein in New York, took advantage of her hometown advantage and finished up at Alexander McQueen, Balmain, Céline, Dior, Givenchy, Haider Ackermann, and Nina Ricci. Finally, check out Svetlana Zakharova’s (bottom left) mesmerizing gaze and bone structure. She was an Alexander Wang exclusive in New York, and blew us away in Paris at Chlo#233;, Balmain, Giambattista Valli, and Isabel Marant. We could go on and on raving about this season’s successful rookies—and there were plenty other notables, including Irina Liss, Ine Neefs, Ophelie Guillermand, Devon Windsor, and Sabrina Loffreda, who made the Spring ’14 runways all the more vibrant.
While the Anthony Vaccarello for Versus rumors were just starting to sink in, the latest buzz about town is that M.I.A. is the next collaborator in line for Versace’s diffusion line, Versus. “I have a collaboration with Versace coming out in two weeks,” the English-Sri Lankan recording artist told WWD. Although the announcement feels a bit late, the timing might work in her favor—with her new album, Matangi, slated to drop on Nov. 5.
Though strictly musical, M.I.A.’s past collaborations have involved notable names such as Madonna (remember that Super Bowl half-time show?) and American deejay Diplo (who you can thank for the beat behind Beyoncé’s “Run the World”), so we’re not surprised that the singer would work with the Italian powerhouse. Nor does this seem an unlikely match for Donatella, who tapped rapper Angel Haze and singer Grimes to perform at her Versus relaunch earlier this year. Just a bona fide hustler making her name, M.I.A. seems fit to bring her street spirit to the Versus line—should the rumors be true, of course.