18/10 le matin
is that intense moment when the tension is at its height, this short moment just before wavering in an extreme emotional state like anger, sadness, fear. It is in this atmosphere of permanent tension that my silhouettes take place, embodying cinematographic characters.
The clothes are internally thought of as a reflection of this tension. They serve to break the hard and violent codes linked to these stereotypical male characters, to highlight their emotions and torments.
The use of tights reflects a subtle promiscuity between intimacy, emotion and femininity. Sometimes it is shown as an unveiling of its being in broad daylight. Sometimes it is concealed allowing a deformation of the garment.
©Angèle Marignac-Serra
assistant Basil Perot
set design Fanny Bichet
MUA Salomé Engel
models
Oscar Fougeirol
Masen Alsagir
Julien Chardon
Nabil Ftiss
Emilien Afana Point
sponsored by Fogal
s/o Belle Epoque for lending me some jewelry
The title «18/10 le matin» is a tribute to Jean Jacques Beineix’s movie «37°2 le matin » (Betty Blue in english), the tension that is so oppressive and rising throughout the movie, was the starting point of my collection.
Indeed, I became interested in tormented characters.
Then I looked in cinema for the characters who fascinated and constructed me from my adolescence until now. They were just negative female figures, doing evil around them. They belonged to classic archetypes of this Western cinema.
The gold digger, the femme fatale, the hysteric, the castrating mother and the amazon were then only male gaze constructions without great depth concerning the feelings and torments at the origin of all these evils.
To take height on this notion, and treat it in a way that brings back humor and lightness, I decided to reinterpret these female figures as male characters, while recovering stereotypes of virility related to their genders.
The femme fatale becomes the sexy villain, the hysteric - the disturbed teenager, the castrating mother - the mafia godfather, the amazon - the social outcast, and the gold digger remains the gold digger.
I wanted to bring to this hybridization of negative gender stereotypes, the sensitive and emotional side of these characters through their clothes, to give them more depth.
The tights then becomes a metaphor for feelings. It reflects both intimacy and this promiscuity between emotion and femininity.
Sometimes it is visible, as an unveiling of one’s being in broad daylight as in the mad adolescent whose anger and madness explode, in the gold digger, whose goal is to sell his body to women, and in the badboy whose dangerousness is visible.
Sometimes it is hidden in order to allow this tension / deformation to the garment. The torments represented by the tights are then the origin, the essence of the stature. The mafioso and the outcast must try to maintain a certain status even if they can get overhelmed by their emotions at any time.
In terms of materials, everything is upcycled.
This collection would not have been possible without all the unsold items, defective tights, scraps of material from pantyhose manufacturers I’ve generously been given. Among the fifteen companies solicited, it was the Swiss brand Fogal, based in Geneva, which sponsored me.
Depending on the history of the characters, I used second-hand clothes to illustrate the gold digger and the mafioso.
The rest of the materials were purchased from a Parisian warehouse that collects deadstocks from fashion houses.
The shoes and accessories are also secondhand.
is that intense moment when the tension is at its height, this short moment just before wavering in an extreme emotional state like anger, sadness, fear. It is in this atmosphere of permanent tension that my silhouettes take place, embodying cinematographic characters.
The clothes are internally thought of as a reflection of this tension. They serve to break the hard and violent codes linked to these stereotypical male characters, to highlight their emotions and torments.
The use of tights reflects a subtle promiscuity between intimacy, emotion and femininity. Sometimes it is shown as an unveiling of its being in broad daylight. Sometimes it is concealed allowing a deformation of the garment.
©Angèle Marignac-Serra
assistant Basil Perot
set design Fanny Bichet
MUA Salomé Engel
models
Oscar Fougeirol
Masen Alsagir
Julien Chardon
Nabil Ftiss
Emilien Afana Point
sponsored by Fogal
s/o Belle Epoque for lending me some jewelry
The title «18/10 le matin» is a tribute to Jean Jacques Beineix’s movie «37°2 le matin » (Betty Blue in english), the tension that is so oppressive and rising throughout the movie, was the starting point of my collection.
Indeed, I became interested in tormented characters.
Then I looked in cinema for the characters who fascinated and constructed me from my adolescence until now. They were just negative female figures, doing evil around them. They belonged to classic archetypes of this Western cinema.
The gold digger, the femme fatale, the hysteric, the castrating mother and the amazon were then only male gaze constructions without great depth concerning the feelings and torments at the origin of all these evils.
To take height on this notion, and treat it in a way that brings back humor and lightness, I decided to reinterpret these female figures as male characters, while recovering stereotypes of virility related to their genders.
The femme fatale becomes the sexy villain, the hysteric - the disturbed teenager, the castrating mother - the mafia godfather, the amazon - the social outcast, and the gold digger remains the gold digger.
I wanted to bring to this hybridization of negative gender stereotypes, the sensitive and emotional side of these characters through their clothes, to give them more depth.
The tights then becomes a metaphor for feelings. It reflects both intimacy and this promiscuity between emotion and femininity.
Sometimes it is visible, as an unveiling of one’s being in broad daylight as in the mad adolescent whose anger and madness explode, in the gold digger, whose goal is to sell his body to women, and in the badboy whose dangerousness is visible.
Sometimes it is hidden in order to allow this tension / deformation to the garment. The torments represented by the tights are then the origin, the essence of the stature. The mafioso and the outcast must try to maintain a certain status even if they can get overhelmed by their emotions at any time.
In terms of materials, everything is upcycled.
This collection would not have been possible without all the unsold items, defective tights, scraps of material from pantyhose manufacturers I’ve generously been given. Among the fifteen companies solicited, it was the Swiss brand Fogal, based in Geneva, which sponsored me.
Depending on the history of the characters, I used second-hand clothes to illustrate the gold digger and the mafioso.
The rest of the materials were purchased from a Parisian warehouse that collects deadstocks from fashion houses.
The shoes and accessories are also secondhand.
