“I don’t feel like giving any sense of hierarchy to the pictures in my movies, and so, consequently, that brings a certain kind of flatness. If, as a director, you give a sense of hierarchy to things, people can no longer choose. When you display things without hierarchy, it’s up to each and every one to realise and relate to what’s going on. It gives enough room to the human being, to the individual before the movie.” – Chantal Ackerman, in Les ministères de l’art by Philippe Garel (1986) about her movie Golden Eighties
A fall-winter 2015 2016 wardrobe in which everything shares the same value. Clothes belonging to today, ready to be put on and stripped off any conception of daytime or nighttime wear, with neither references to the past nor projections for the future.
The Véronique Leroy woman associates pieces with an extra touch of soul. She mixes dissonant colours and confronts touchings that fundamentally opposed. From such hasardous overlappings spawn her powerful silhouette.
The bodysuit doesn’t prevail over the skirt. Thin leather, plastic and crystal-pleated milano do not undermine dry wool, gabardine or jersey. Lime, milk tea, ginger or old-rose shades never fade under the power of acid blue or tomato red ones.
Coats in crushed combed wool embrace shoulders and slip to mid-calf length. Shirtdresses buttoned with metal eyelets lengthen the silhouette, additionally extended by platform boots in fat leather. The maxi-pocket trousers telescope waists and sweep the ground. Other ones, shortenened, flare above ankles. Funnel neck sweaters attempt to lick chins.
When everything seems to oppose fabrics and colours, everything evaluates to be mixed up.
Photos by SHOJI FUJII, courtesy of Veronique Leroy
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