{"id":120677,"date":"2020-04-15T19:16:09","date_gmt":"2020-04-15T17:16:09","guid":{"rendered":"https:\/\/highxtar.com\/?p=120677"},"modified":"2021-08-06T10:18:10","modified_gmt":"2021-08-06T08:18:10","slug":"how-art-and-cinema-have-elevated-jacquemus-work","status":"publish","type":"post","link":"https:\/\/highxtar.com\/en\/how-art-and-cinema-have-elevated-jacquemus-work\/","title":{"rendered":"How art and cinema have elevated Jacquemus’ work"},"content":{"rendered":"

That Jacquemus is a mood, is something that is already written in contemporary fashion books. His perfect balance between pret-\u00e0-porter and creativity, as well as the balance between the avant-garde and the past have positioned the French designer as a clear reference in the industry. We focus on the eternal love story between Jacquemus, art and cinema; on how his obsessions have defined the brand’s heritage from beginning to end.<\/p>\n

\"JACQUEMUS<\/p>\n

Jacquemus<\/a>‘ work is a reflection of his autobiographical evolution. From making skirts for his mother at the age of 8, to the creation of a universe in itself that alters garments to give them a new meaning. His desire to tell stories through fashion<\/strong>, and to include his artistic prism in the scene, led him to create his own signature at the age of 19, and thus redefine contemporary women’s clothing<\/strong>.<\/p>\n

The collections of Simon Porte Jacquemus<\/strong> are marked by storytellings that take us to the beach, as we breathe on the Mediterranean coast, to the energy provided by the sun and the textures of the paint. In them, film characters<\/strong> and pictorial prints<\/strong> become reality. Let’s see the transformation of the screen or the painting into real life<\/strong>.<\/p>\n

THE JACQUEMUS VIDEOCLUB<\/strong><\/h5>\n

Simon Jacquemus (@jacquemus<\/a>) has showcased its collections of films ranging from the works of Isabelle Adajani, Varda and \u00c9ric Rohmer to the Talking Heads concert film “Stop Making Sense”. That ode to cinema through fashion<\/strong> is reflected in the designer’s archive behind the bag that has shaken the last decade.<\/p>\n

\"\"<\/p>\n

Simon’s eponymous label has been made of gold by directing stories or films<\/strong> from his collections<\/strong>, with a whole cinematic structure behind it: a title, a script, a setting and a cast of characters that reveal the pieces of the capsule.<\/p>\n

Let’s take a chronological journey<\/strong> through some of the collections that have woven these filmic universes, bathed in Provenzal humour and the nostalgic mood that characterises the Parisian house.<\/p>\n

“LA GRANDE MOTTE” ss14 & LE GENOU DE CLAIRE<\/em> (1970)<\/h6>\n

\""LA<\/p>\n

Jacquemus took us on a trip to ‘La Grande Motte’<\/strong>, a small town on the French Riviera, to present his spring-summer 2014 collection<\/strong>. That fashion film became a parallel to \u00c9ric Rohmer<\/strong>‘s moral tale from 1970, ‘La Genou de Claire’<\/strong>: a film in which a young man goes on holiday to a coastal town to experience a line of romances on tourist beaches.<\/p>\n

\"JACQUEMUS<\/p>\n

Based on one of the film’s most iconic sequences, Claire<\/strong> sitting on the court with her tennis set, the French designer generated his interpretation of the look through an all-white fit<\/strong> consisting of a sculptural version of the tennis dress, endless socks and retro sneakers.<\/p>\n

“LA RECONSTRUCTION” aw16 &\u00a0STOP MAKING SENSE<\/em> (1984)<\/h6>\n