38 posts tagged "James Franco"
James Franco’s mission for his latest Seven For All Mankind campaign was to meld old Hollywood and new. “The whole aesthetic approach of the campaign is based on the eternal hipness of the clothes,” Franco says. “We can do a meditation on old and new Hollywood at the same time because of the way the clothes fit into all eras.”
Old Hollywood is well represented by classic landmarks, including Hollywood Cemetary, Sunset Boulevard, and Mark Mahoney’s famous Shamrock tattoo parlor. New is represented by the diverse cast, including Lily Donaldson, Lou Doillon, Cody Horn, and Henry Hopper (a very direct connector of old Hollywood and new: he’s the son of the late Dennis Hopper). The roster is international (Doillon is French, Donaldson English) but Europeans have always found a happy home in Hollywood—just as the campaign’s inspiration, Rudolph Valentino, did. “He was the great sex symbol of the silent film era, so much so that some journalists wrote pieces about the general decline of masculinity and blamed Valentino’s suave effeminacy as the main cause,” Franco tells Style.com. “But now, almost a hundred years later, we can champion the ambiguity of Valentino.” The campaign debuts exclusively on Style.com, as do a few behind-the-scenes shots. Look out for the accompanying Web video series shot by Franco on the brand’s YouTube channel July 26.
The annual Whitney Art Party always lures a strong contingent of the fashion crowd, and this year should be no exception. If there’s a bit more buzz than usual, chalk it up to the evening’s entertainer, performance artist Kalup Linzy (pictured). A friend and collaborator of James Franco—who’s helped to publicize him and his work—Linzy has also been embraced by the fashion world, creating a video for Proenza Schouler’s show at Pitti and getting fitted personally by DVF. For the Whitney, Linzy will be bidding adieu to one of his longtime characters/alter egos, Taiwan, with an elaborate funeral. (Original plans called for a casket procession through the city.) In honor of the occasion, Style.com checked in with Linzy to talk about the end of Taiwan (live, at least; he’ll live on in video), the beginnings of his new character Kaye, and why design is best left to the designers.
I’ve heard that Wednesday’s performance will include a funeral procession and Whitney Houston songs. Care to fill in a few blanks?
It’s not going to be a funeral procession, per se, but I am paying a tribute to my character Taiwan and I am performing most of the songs I composed. But because Whitney is one of my favorite artists, there will be Whitney songs played too. There will be a video playing the whole time and in the background there’s a casket. That will be closed until the ritual happens, but something does happen during the performance. When I started my proposals like a year ago, they wanted to have the casket literally driving through the city.
For those not keyed in, tell us a little bit about the origins and evolution of Taiwan.
Taiwan is a soul singer. He was part of my thesis video in 2003 and then I started performing him live. The first live performance that got a lot of attention was at PS1 in 2006. Other big highlights were the performance in New Orleans with the Art Production Fund and then the videos for Proenza, then T, then working with James Franco.
He’s been a big part of your body of work. Why are you putting him to rest?
Taiwan was just an avenue that I would tap into but I don’t feel like going on stage and being like that anymore. For now, I have done all I can to stay true to the character. I could force it but I don’t think it would be the same, emotionally, as what people were getting before. Now I want to do something lighter. I feel like the stuff that drove Taiwan is not there or in the same place anymore.
Clothes and fashion play a very big role in your work. How do you see fashion in relation to your art?
The clothes help define each character—it’s an essential part. Even thrift store shopping, I find I am imaging them. It’s an emotional, visual response to what each should have on. Personally, I am really a T-shirt and jeans guy, but I think fashion is a type of performance art. Designers come up with clothes with a particular character. These days, they [don't want the models] to have personality, but back in the day the supermodels had personalities that went into selling the clothes, too.
And what will you be wearing for the performance?
He has a curly wig and a black suit from Theory they sent me yesterday. And I don’t know about the shoes yet.
Kaye, your newest character, features into the new film you’re working on. Will you be collaborating with someone on a collection for him?
Kaye is a fashionista but I don’t know if I want to have someone pull clothes or work with a designer formally because that can take forever. I have been talking to Cynthia Rowley about doing a full-on collab, but really I am focused on the film right now. It has crossed my mind to do my own clothing collection but it would probably be a hot mess. I studied art, not fashion, so I wouldn’t have that point of reference that real designers have. I can’t really transcend if I don’t know the history and I don’t want to imitate, you know? I trust designers with that.
James Franco is busy. So busy that the only time he can speak is by phone at 7:30 a.m., before business hours for most of us, and an appointment not necessarily made more palatable by a night at the Met gala the evening before. No matter. “I don’t like to waste anything,” Franco says, minutes as well as creative outlets and even press calls. It helps to explain how the relentless multitasker finds time to do it all: shoot major Hollywood movies (next up: the title role in Sam Raimi’s Oz: The Great and Powerful, cameos in the latest from Harmony Korine and Seth Rogen’s directorial debut, etc.), direct his own student films and get them distributed (The Broken Tower, a life of poet Hart Crane), model for Gucci, create ads for Seven for All Mankind, occasionally host the Oscars, curate The Dangerous Book Four Boys (now also available in book form, from Rizzoli), and so on and so on.
Franco’s latest project, Rebel (sponsored by Gucci and Seven), arrives thanks to L.A.’s Museum of Contemporary Art, at JF Chen’s exhibition space in Los Angeles next week. For this meditation on James Dean—whom he won a Golden Globe for playing in 2002—and Rebel Without a Cause, Franco commissioned artists Paul McCarthy, Ed Ruscha, Aaron Young, Korine, Terry Richardson, and more to reinterpret bits of the film and its attendant legends. (His own take on it, Brad Renfro Forever, screens as well.) Not long after sunrise, Franco spoke with Style.com about an evening at the Met, fashion versus film, and the enduring rawness of Rebel.
Rebel runs May 15 through June 23 at JF Chen, 941 North Highland Avenue, L.A., for more information, visit moca.org.
Thanks for speaking so early. I can imagine it was a late one last night.
It was pretty late. But my date was Marina Abramovic, and she is going to Cuba today, so she wanted to leave early. So I didn’t stay out that late.
How was the Met gala?
It was fine. It was my first time. It’s just a nice dinner, with every celebrity you can think of.
Did you get a chance to see the exhibition?
Yeah, they kind of walk you through it when you get there. It was great. It was all women’s fashion, which I guess I can appreciate.
Fashion definitely seems to appreciate you. How do you see it fitting into what you do?
I see it as one more aspect of the world that I’m involved in. I think a lot of what I do, in whatever medium it might be, is grounded in my experiences as an actor on film. That’s how I enter the professional world, through film. I’m used to certain working methods and collaboration with a lot of people. I’m used to making projects with people that are skilled in different areas. I’m used to coming up with ideas and then having them augmented through collaboration, or hearing other people’s ideas. So fashion is basically, like, the wardrobe department on a film, but for life—for our characters in life.
The companies I work with are very supportive of the art projects that we do, and in the other direction, we’ve been able to incorporate the clothes from Gucci or Seven into the art projects in a way that I’m really happy with. It’s not as if one side takes precedence. There’s something really important about that. It’s not like the art world, or the stuff I do art-wise, related to Gucci doesn’t critique fashion or make fun of it or anything—it just sort of uses the clothes as a wardrobe designer would on a movie. With fashion…they don’t force me to create a false image of myself to sell the clothes. Basically, who I am is what they want. Continue Reading “James Franco: Rebel‘s Rebel” »