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April 19 2014

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10 posts tagged "Jamie Bochert"

Beautiful Apparition: Jamie Bochert Croons for NewbarK

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“It’s a kind of journey to self-discovery,” explained Floria Sigismondi, the artist who famously directed Tilda Swinton and David Bowie in the rock star’s smash music video “The Stars (Are Out Tonight).” Sigismondi was talking about her Fall ’14 film for the sisters Maryam and Marjan Malakpour’s bare luxury accessories line, NewbarK. The short stars a writhing, slithering Jamie Bochert in the designers’ simple red flats. Making its online premiere exclusively here, the film also serves as the debut of Bochert’s latest musical effort, and features a haunting track from the model-cum-singer-songwriter. “The film was shot in Los Angeles in a house stripped down to its most simplistic form—it seems to emit a lot of ambient vibe,” said Sigismondi of her darkly surrealist offering. “I think this was especially a great opportunity to expand on the idea of non-cohesive images being strung together to create a kind of new reality,” she continued. “Jamie encompassed that character really naturally.”

That Bochert organically embodied Sigismondi’s gothy, abstract vision is no surprise. Bochert’s own artistic output is undeniably in sync with the longtime director’s dreamily sinister aesthetic. “It was inspiring,” commented Bochert. “I felt free and safe because I love Floria’s work, art, and authenticity.”

Chanel Is a Fashion Machine. Literally.

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In addition to Lindsey Wixson, Jamie Bochert, Ming Xi, Soo Joo Park, and Nadja Bender, the star of Chanel’s Lagerfeld-lensed Pre-Spring ’14 video is a literal Chanel fashion machine, which gobbles up said models, and then releases them dripping in tweed and pearls. Could this magical mechanical contraption be a metaphor for the house’s designer-cum-filmmaker? Lagerfeld’s ability to churn out one lust-worthy collection after another is superhuman, at the very least. What would Freud have to say about this? Have a gander at Chanel’s new short, above.

A Room of One’s Own: Barbara Casasola Presents at Pitti

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Barbara Casasola

Nearly a hundred years ago, a famous lady of London dreamt of a room of her own. But times change and dreams get bigger. “I’ve always wanted a big house,” said the Brazilian-born, London-based designer Barbara Casasola, “with a red room, a blue room…” With an invitation to present a collection at Pitti Uomo and a little sponsorship funding from the fair, suddenly, like a wish on a bottle, it was so. She divided a crumbling but impressive structure on the Via Dello Studio—just off the city’s historic center and steps from the Duomo—into an apartment the likes of which have rarely been seen outside of fever dreams. One room was all brilliant fuchsia. Another, connected to the first by a long runway, was a teal-tinted blue. And everywhere, in lieu of windows, were screens projecting a Nouvelle Vague-inspired short film Casasola created with SHOWStudio’s Marie Schuller and Jamie Bochert (below). Bochert is a muse for Casasola, and this, the designer said, gesturing around, “is her house.” The sense was very much of peeking behind the blinds, not least because Bochert spends much of the film nearly nude. (Admittedly, that’s a magnanimous and somewhat curious decision for a designer to make for a film devoted to showcasing her own collection.)

The collection Casasola showed in her new digs was technically her first Pre-Fall, but she disliked the idea of a whole collection dedicated to commercializing her runway looks. Instead, she conceived of it as a capsule collection of, as she called it, menswear for women. It was a striking change, given that she’s known primarily for dresses. But for a first attempt—especially one boldly undertaken at a menswear fair—it was a strong showing. She custom-developed fabrics, including wools, wool-silks, and cady, to create monochrome suits with boxy jackets and deep-pleated palazzo pants, structured enough to retain the strict lines she prefers but pliant enough to swing like skirts when her models strode the catwalk from the pink room to the blue. Each was worn against bare skin, which lent an androgynous sex appeal not usually associated with tailoring. There were a few dresses and looser interpretations of her men’s-for-women’s theme—like jumpsuits whose backs had cutouts resembling lapels—but Casasola herself was in a suit of her own design (the prototype, she admitted), which suggested where her own sympathies lie, at least at the moment.

Womenswear designers at Pitti Uomo can sometimes seem adrift in the unfamiliar crowd of men’s buyers and editors, but Casasola is no stranger to Florence. Before launching her label, she worked here for Roberto Cavalli, and she produces her own collection here. “I invited the whole office,” she said with a smile. “All my seamstresses are here, and my patternmakers.” So the presentation was full of friends. She’d bargained for a house and wound up with a home.

Photo: Courtesy of Barbara Casasola

NewbarK in Wonderland

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Maryam and Marjan Malakpour are artists in multiple mediums. The sister design duo behind accessories label NewbarK created a film in collaboration with director Laurence Dunmore titled In Wonderland, which they’ll screen tonight during their presentation at Paul Kasmin Gallery. The film is a compilation of sounds, music, and poetry, and it stars model Jamie Bochert, who wanders through an old hotel in a dreamlike state and finds a package that reads “In Wonderland.” “It’s really about a dream and a seduction that a girl has,” said Maryam, noting that the package provides a little mystery. “It’s about dreams in Wonderland.”

The film was shot over the course of a week, at New York’s Lafayette House. “I always wanted to merge the worlds of art, fashion, and music,” said Maryam. For Bochert, the process brought back childhood memories of watching her favorite vintage movie, Un Chien Andalou (1929). “I don’t really consider this acting, maybe more like silent film,” she said. “I used to love going to the silent-movie theater. This film was more like that for me.” Watch Bochert in NewbarK’s eerie short, which debuts above.

A Night At The (Fashion) Pictures

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As creative director of her family’s business, Selfridges’ Alannah Weston has turned the massive department store on London’s Oxford Street into her private fiefdom of fun with a series of large-scale events that have brought together artists, filmmakers, musicians, and designers in the name of underscoring the store’s retail vision. Wednesday night saw one of the smartest, artiest events yet, to mark the opening of the Women’s Designer Galleries. Curator Emma Reeves commissioned a set of short films to interpret seven of the collections carried in the new space. The single criterion? A strong female character at the heart of each film. For Ann Demeulemeester, for instance, Michael Pitt filmed his fiancée, Jamie Bochert, as a wraithlike figure moving through the desert (top), like a contemporary version of Isabelle Eberhardt, the 19th-century French traveler who inspired the designer’s collection. For Comme des Garçons, Katerina Jebb filmed concert pianist Madeleine Malraux, the widow of cultural nabob André Malraux, still playing at the age of 90.

Ruth Hogben made a typically brilliant piece of film for Gareth Pugh (above), a hectic slice of Cabaret-style decadence. She also created a sepulchral German-expressionist short for Rick Owens: harsh angles, shadowy reveals, eldritch textures, and an opera soundtrack. Her grasp of atmospheric moviemaking is so acute it came as a surprise to hear Hogben admit that all she wants to do is take still pictures. I swear everybody’s going to be reading real books again in a few years.

Speaking of atmosphere, set designer Simon Costin has made Mars out of molehills, and here he turned the derelict Selfridges’ hotel into an outlying branch of the Overlook, with curtained-off spaces intended to obliquely echo the building’s former use. There were “rooms” with oversize sofas, long dining tables, cracked vanity tables, and huge beds, with the movies projected on the ceiling above them. That was how we got to see an edit of the film Christopher Doyle had made, but not used, as the backdrop for Dries Van Noten’s show for Fall 2005. (Technical issues pulled it at the last minute.) Doyle was the man whose camerawork made In the Mood for Love into the swoonsville date movie of the millennium. A perfect match for Dries’s own romantic leanings. It was kinda nice watching it lying down, too.

Funny, only one of the films—the McQueen one—really featured recognizable clothes. The others were all projections, figurative and literal, like Delfine Balfort’s erotic equine dance for A.F. Vandevorst. You can see them all on Selfridges’ Web site, but you’ve got till March 26 to experience them in person. More fun that way.