the FASHIONABLE reads of 2016

A good book should leave you... slightly exhausted at the end. You live several lives while reading it....Find a book and read it soon !!! 
 www.nyjournalofbooks.com/reviewer/jeffrey-felner

meet Filep Motwary the tsunami of fashion

The man is as fluent in his words as he prodigious with his photography; Filep Motwary is a tsunami within the fashion world. Although the name may not be on the tip of  everyone’s tongue he is a man on the move and ubiquitous on the fashion scene.  The saying goes “a jack of all trades, master of none” but what happens when he is the master of all trades? He is at once photographer, curator, critic, writer, historian, diarist, judge and always dealing with fashion in its broadest sense. He might be a wunderkind of fashion who envelops and absorbs all that he encounters. It is safe to assume that Motwary has never met a task he couldn’t handle or master and in this business that’s the perfecta!

 

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This interview precedes the U.S. release of his first book based on his first curated museum exhibit, both of the same name, Haute-à-Porter. In this young man’s life he has accomplished and been credited with so much more than most in this realm where knowledge  and intelligence are the rarity rather than rule. It was my pleasure to pin him down and have him tell us who he is and what he does and what’s on his mind so with that, here is Filep Motwary in his own words:

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Jeffrey Felner: First tell us a little about how you “arrived” at the present. What brought you to this point?

 Filep Motwary:  my resume as follows …

He started off his career assisting as a stylist for the Greek editions of L’Officiel and Vogue.

For four years he worked as head designer at the Athenian atelier Loukia for the haute couture and prêt-a-porter collections before moving to Paris to work for designers like John Galliano, Christian Dior and Chloe in mid-2000.
Motwary continues to create costumes for bespoke projects alone or in collaboration with jewelry designer Maria Mastori with whom they worked together on six pret-a-porter collections, from 2006 to 2010. His costumes have been presented in several of museums, including Modemuseum Hasselt in Belgium,Atopos, La Gaite Lyrique in Paris, Centraal Museum Utrecht in The Netherlands, Musée d’Art et d’Histoire de Saint-Brieuc in Brittany France.

As a visual journalist, he collaborates with the digital Joyce.com in Hong Kong since 2011; He photographed projects for Giambattista Valli, Christian Louboutin, Vogue.fr, Vogue.it, New Yorker’s THE CUT, Boycott, Harper’s Bazaar, Wmagazine, Totem, Kenzo, Chloe, Sacai, Mercedes Benz, and TheStimuleye among others.
Between 2011to 2015 he collaborated closely with the founder and director of the Villa Noailles and Hyères Festival, Jean Pierre Blanc.

From 2005 to 2015, Motwary was the founder of Un nouVeau iDEAL which was included in “The World’s Top Fashion Blogs” book, edited by Susie Bubble and William Oliver, published by PRESTEL (2011).

In February 2014, Motwary was invited by Premiere Vision and Zoom by Fatex to exhibit a series of large-scale photographs as a solo show, titled “STREET IT BOYZ”.
Motwary is the curator of educational event FASHION ON SCREEN, a short films festival presented in Athens organized by Fashion Workshop, counting its second edition in spring 2015.

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JF: What was your most favorite assignment? Collaboration? Project?

FM: I take assignments that I like. It’s rare I do something under pressure, very rare, but I enjoy working with teams as much as I enjoy working by myself. I love my photo projects with Christian Louboutin for example or when I interview a personality that I have great respect for.

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JF: If you could invite any 5 people to dinner who would they be and why?

FM: Irene Silvani would be the first; I enjoy our conversations so much. Then it would be Henry Miller, my favorite author to bring his immaculate eroticism and stories, model Guinevere Van Seenus because she always keeps my interest stimulated and I know nothing about her except that every time I see her on a photo I get the goosebumps, Helmut Newton because he was Helmut Newton, the photographer. Lastly, I would invite Liz Taylor and she would arrive dressed as Cleopatra.

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JF: Now, the book! Let’s talk about how the book came about and why the book came about?

FM: In 2012, I decided to start working on a project that aimed to put down a possible justification of where prêt a porter and haute couture cross paths.

For two years I was collecting visuals and placing them in thematic folders and categories while filling up my notebooks with ideas, photos I had taken while being backstage at the major shows, opinions I would hear here and there, and articles I would read online… Let’s say it was a sort of investigation for which I hired myself to do. It soon became a full concept and then Modemuseum Hasselt came in and allowed me to turn it to an exhibition.

Exhibitions are usually accompanied by a catalogue but instead I wanted a book, first to acknowledge the work of the designers that could not fit in the spaces of the museum and also to use it as a testimony of the current fashion’s state, the past and analyze the specific themes as presented in my project. Through 27 interviews and numerous examples of great photography and art, Haute-à-Porter became not only an exhibition but also a book that reflects sociology, history, psychology, theories and certain fashion terms and opinions on subjects never discussed before in such a context. I collaborated with Lannoo, known for great fashion publications such as Dries Van Noten, Ann Demeulemeuster Monograph, Stephen Jones and many others…

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JF: What do you think of the present state of fashion and why? What would you like to see happen?

FM: Personally, I am involved in fashion and have deep respect for it. For 20 years I serve it from several angles. Hopefully all the people working in this industry, no matter their position or status, do it for the right reasons. Ideally, it would really be nice if some of the designers gave a chance to emotion again, like they used to. Some do still but it’s not enough. 

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www.filepmotwary.com 

www.modemuseumhasselt.be 

ROBERT PRESUTTI photographer extraordinaire

At a time when mediocrity and “me too” seems to be the rule rather than the exception, those who possess great talent seem to shine even brighter. This does not mean that their name is on the tip of everyone’s tongue nor does it mean that their oeuvre is readily visible in the appropriate settings.  What it does mean is that in today’s world, of fashion especially, we reward the less talented and applaud those with minimal talents rather than laud those who brim with it. The opportunities once available  and the visionaries that were once in control have long since left this world and left us with the ill-advised,  ill equipped and uneducated in their place who only see the most banal.

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Robert Presutti is a brilliant portraitist, storyteller and visual diarist of our age. His work smarts of Avedon, Arrowsmith, Penn, Leibowitz, McCurry, Karsh, Curtis and many more.   In other words he is part disciple and partly influenced by some of the greatest of the 20^th century and yet he is his own man with his own distinct vision.  He is armed with an almost painterly skillset as well as technical knowledge that far exceeds many of his colleagues.

Having been the subject of one of his sittings, it occurred to me that with the most minimal of set ups, the end result can be dazzling and exceptional rather just another snap shot photograph that’s been photo shopped beyond the subject’s recognition.  In other words it is the person who clicks the shutter and what he extracts from his subjects that is the tipping point. It can be said that being chosen by an artist as subject is not only gratifying but flattering beyond words, even for this hard ass fashion veteran.

As you will learn from his interview, Robert’s story is one that reads like a fictional adventure and yet it is quite real. What will be gleaned is that this is a man with passion. His passion is offered to you via his visual artistry and acuity which deserve your attention as well as many others. He surely has captured mine!

www.robertpresutti.com

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Jeffrey Felner: Can you give us a capsule biography of how you go to where you are today?

Robert Presutti: In Italy at age 21 and fresh out of the army with just 2 years of high school and no job, a friend started showing me some photo publications and it was immediate love. I had never owned a camera nor taken a photo in my life but next thing I know I am on an airplane flying to a foreign country, not knowing the language and with no money. I went to Rochester because I had read that RIT was one of the best photo schools in the world but what I didn't know is that it was very expensive to go to school in this country. I spent 7 months learning enough English in order to enroll at Monroe Community College, and then 2 years later I transferred to RIT where I graduated with a BFA in Commercial Photography. After a year back in Italy I came to NY and worked as an assistant/lighting director with some of the best photographers/creatives; Deborah Turbeville, Mary Ellen Mark, Brigitte Lacombe, Fabian Baron, Neil Slavin and many more. For the past 8 years I have been working as a freelance photographer in NYC traveling to some of the most remote corners of the world and working for clients like the New York Times, L’Uomo Vogue, T Magazine, Alinari, White House Black Market etc.….

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JF: What or who would be your dream collaboration and why?

RP: That’s a tough one as there are/were so many I would have liked. I never did a film although my mind works much like a cinematographer, a film with Ingmar Bergman would have been dream collaboration since I’ve always loved Bergman.  His films are powerful, fearless, haunting and technically perfect, especially his black and white which is my preferred medium. He also collaborated with two of the greatest cinematographers: Gunnar Fischer and Sven Nykvist 

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JF: If you could invite any 5 people to dinner who would they be and why?

RP: Leonardo da Vinci, Saint Francis, Proust, Bach and my elementary school teacher; Da Vinci for the genius mind and his diverse talents. Saint Francis, even though I am not religious, for the way he loved all creation, for the way he was able to forgive and his ability to give up everything for what he believed in.  Then, Proust because he is my favorite writer. Bach because I love music and because I think he is the master of them all. Lastly my elementary school teacher because she is the only one that saw behind my trouble maker behavior 

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JF: How would you describe your “vision” and from whom or what do you draw the most inspiration and why?

RP: My vision is the sum of all that I love; film, art, literature and music but most of all it’s my interest in certain people and the way I can portray their inner being and persona. Irving Penn was my favorite photographer and inspiration and it was in his work the subjects is always strong and dignified, there is always a sense of intelligence and pride in his portraits

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JF: Let’s speak to the digital age vs. the “film” age of photography; which is your preference and why and do you think that 21^st century technology has sullied/tarnished the art of photography and why?

RP: I prefer film but shoot mostly digital now. Digital if used intelligently and without abusing it can open the door to new horizons. There has been lots of talk about how technology has tarnished the art of photography and I agree with that but the technology is not to be blamed but how it’s used. When shooting film a photographer, even a mediocre one, has to have a certain understanding of lighting and technique which doesn't just happen overnight, there is a lot of thought put in each and every frame before pushing the trigger. With the event of digital and the ability to shoot thousands of frames we got sloppier, we think less, pay less attention to details, shooting a lot more than needed in the hope of the chance to get at least one great shot out of many or that post production might enhance. All of a sudden, anyone can be a photographer or filmmaker without going through years of training. Technology has become the main focus leaving behind talent in its wake. Photo editors now have triple the amount of photographers to choose from and too often the choice has little to do with talent.

www.robertpresutti.com

www.instagram.com/rpfotony

The System is Broken .. an editorial

With many of the heritage brands being reignited as supposedly au courant fashion, it has occurred to me that the system is indeed quite broken. The question is if it is irreparably broken or can it be resuscitated back to its proper purpose and that is to sell clothes.

First LVMH appointed Raf as a creative director. Whether or not this was a wise choice, it really isn’t for me to say even though I abhor what he stands for and what his output has been. Yearly sales at Dior, as a brand, have risen but take note that apparel, including haute couture is not broken out in terms of what has grown under his reign. My gripe has been if you have a heritage that has a rich history and a huge archive, why must it be totally reimagined rather than its history massaged and evolved as a brand for the 21^st century. I fear the next disaster waiting to happen to is the once esteemed brand of Bill Blass.

So, now after the supposed success of Saint Laurent, we have all sorts of assistants, fledgling and self-inflated designers being appointed as creative directors for breathing heritage brands or just these old school fusty names that must have been purchased for no other reason than attention or in hope that anyone might recognize the name they just paid for. Cases in point are Carven, Courreges, Vionnet and even Paco Rabanne; lest us forget Ungaro which has suffered numerous disastrous designers. Yes, there have been reimaginings that seem to work such as Balmain, Mugler and a few more but even those bear no resemblance to what made the names great or famous… so why use these names other than for attention? Keep in mind that just because a designer says they have been inspired by the founder, the end results are usually that you just shake your head from this convoluted and self-inflicted delusion.

Next up is a fawning media with the sheep mentality that seems to only be interested in garnering ad dollars and certainly not offering any insight or real opinions about a collection.  What happened to critics who actually understand what they look at and honestly have an authoritative voice rather than just the regurgitation of a ludicrous press release whose words usually belie what has been presented or even worse described in a single word like … FABULOUS!. Fashion is not a cerebral profession, you don’t have to be a Rhodes Scholar to design clothes but you must have talent.

Talent is the next logical topic. While the skill set is highly individual to each designer, it is safe to say that these mega brands should require designers to be able to sketch and drape and not just espouse enigmatic inspirations and point. It is said that Raf would never meet with a private client even though the house does haute couture and it is my assumption  that he is either a misogynist, afraid of the female body or has never been in a fitting a room with a female. Designers need to be designers and not in charge of store design or advertising. There are such HUGE disconnects within brands such as Saint Laurent and Dior. We have Hedi’s moody trashy Helmut Newtonish photos for apparel then we have glossy Maybelline type ads for cosmetics not to mention the disconnects within the brand extensions such as printed lipsticks on shoes and handbags as if they were made for H&M. Take for instance Jennifer Lawrence in a Dior handbag ad who seems to not want to touch let alone hold or own the bag. Instead of hiring legions of design staff, let those equipped with the proper skills direct things such as store design and advertising and brand extensions. If fashion has become just another arm of big business then it should be treated as such. After all, you wouldn’t allow a bookkeeper to prepare the quarterly earnings report for LVMH, now would you? You can’t hand over the reins of a major brand to a creative director who has the skill set of an assistant or a vendeuse!

Having spent decades in this business, it is my opinion that yes, fashion and retailing have changed or evolved or whatever but the facts remain that women want to feel sexy and attractive when they spend thousands of dollars on clothes. They do not want to look like they are dressed for Halloween in May and even though today’s client is more body conscious, their essential concerns remain the same as they did 40 years ago. Case in point; women of every age, let alone women of a certain age, do not ALL want to wear sleeveless dresses! Furthermore they are forced to in great majority as when you tour any store, a dress with sleeves is as rare as hen’s teeth! So we can now speak to the reality of who is your brand's demographic?  Age?  Body type?  Disposable  income?  Or in other words the who, what and where of your supposed client. Carry on all you want but Gucci girls who want to look like nerdy schoolgirls can’t afford to spend $6000 on a dress and so they get their version from the thrift shops and various fast fashion chains and the same goes for Hedi’s clients. BTW, the thrift store, well that’s where so many of these designers get their new groundbreaking ideas.

IMHO. It is what happens at Dior that will determine the long term fashion climate. I firmly believe that if Arnault or whomever actually takes the bold step of hiring a seasoned designer to restore Dior to  its proper place in the fashion pantheon, then well… all the kids of fashion better be worried ... really worried.

PS ... yes …  I use Hedi and Raf as whipping posts but there are legions more who fit the bill