Jason Last Interview

An abundance of meaning may be concentrated into one picture. A whale of thoughts can be expressed by an image. The same as with a movement. By putting motion into static pictures, new perspectives open up for the viewer and for the artist as well.

With the current interlocking of fashion and movie, one of the most exciting new trends was born recently. It has evolved in front of our eyes into an entirely new media, a new form of visiual art, by creating an autonomous genre, fashion video.

I was asking one of the major and most exciting talents of the genre, about his works, his vision and the characteristics of fashion video. One of Jason Last's videos was mentioned on "The top 10 fashion videos of the season" list by The Business of Fashion lately. His works for Emanuel Ungaro and Complexgeometries are "classics" already, and his signature shaded aesthetic makes his videos easily recognizable.

Lights, camera, action...

Regards, Miska

Scenes from "119" film by Jason Last, styling and photography by Fabien Montique petrified and mirrored by Miska.

JASON LAST INTERVIEW

Miska
- Tell me your story, how did you become a "fashion video artist"? Do you only create fashion-related short films, or are you interested in experimenting on other fields of motion picture as well?

Jason Last
- I’ve always had a very strong connection to sound and moving image, and the emotion it can carry, or the story it can tell.

Fashion film is something that has come out of my passion for video and filmmaking, as well as my love of fashion imagery. It is a combination of both things and is derived from my mind and sensibility as an artist, a director, and an image-maker. Fashion film combines the mediums with which I want to work and create: art, fashion, & cinema.
It was a natural progression.

For me, it is broader than just something being directly liked to the fashion industry. It is the use of fashion imagery, clothing, models, lifestyle, that can take on a cinematic form, whether it be narrative, experimental, music video, video art, or feature film. I am very open to the blurring of lines between the labels and genres that exist in film and art. I am always interested in experimenting and trying new techniques and expressions related to film and video.

"Skyburial", film by Jason Last, art direction by Jaime Rubiano

- What do you think about the growing spread of fashion videos? Do you think, that video is the future form of fashion editorials?

It’s really exciting. What an effective and beautiful way to present clothing and create fashion images. Moving images allow an audience to somehow interact with the pieces and to understand a brand or an editorial as not only image, but also sound, and dialogue, and narrative. It extends the emotional connection one can have with images. I think fashion videos have, and will continue to have, a strong presence in editorials online, etc for sure.
But yes, it is the future.

- Do you imagine static images or movements while working?

I’m always thinking of how I can push the images I am working with and the potential that exists within video.
When I am planning a shoot or coming up with an idea, it moves. That relates to the choices I make of models, clothing, etc… I’m always thinking in moving image.

"When You're a Star", film by Jason Last, art direction by Jaime Rubiano

- What are the unwritten rules of making fashion video? (Supposing there are...) What are the dedicated special ingredients of the genre?

What’s so exciting about fashion images, is that there aren’t many rules or limitations. I suppose there are trends to think about, but what I believe makes fashion interesting as an art & an industry, is that it is always changing and quite open to being pushed in different directions. Fashion welcomes a fresh and ever-changing perspective and art plays a big role in influencing that. The possibilities are kind of endless.

- As we know, fashion editorials are usually retouched before coming out in print. How much post-production is usually required to complete a video?

A lot. It varies between films, and what kind of campaign it may be, but a lot. The same rules apply to video as to photo, depending on what the desired aesthetic is. The thing about video post-production is that there are endless options, so that can mean a lot of work…





- What are your characteristics, the unique features of your works? How is the signature "Jason Last vision"?

What’s unique about my work and my vision is my perspective. I come from a fine arts, video and film background, but I am very excited and moved by fashion imagery and the depth of it’s particular history, so my work has been informed by many sources and they all meet in the video work I make.

- How is the work with models? Are they difficult to instruct for motion picture? Or there’s no difference?

It depends. But there is definitely a difference…
I’ve been lucky to work with some amazing models who understand their movements and bodies, and who follow direction very well. There is an element of acting involved in modeling, even if they never speak, and any good model understands this. I’m careful with who I work… but for the most part I’ve worked with great subjects who understand and take direction well.

- Which was your favourite, or most exciting project so far? What kind of projects do you work on currently?

The AW09 Emanuel Ungaro films were a lot of fun and a great project to be a part of. I’m working on several projects and fashion films at the moment (and always…). Also collaborations with brilliant art directors & stylists like Jaime Rubiano and Fabien Montique. Experimenting with ways to take the darkness and dramatic nature of my films to the next level.

- If you suddenly supposed to tell a memorable movie scene, what would you say?

Derek Jarman’s The Last of England… simply brilliant... from narrative to imagery.

Maya Deren comes to mind: “Meshes of the Afternoon”.

Or Godard’s Le Mépris, Bardot in the garden in blue. Stunning with that hair, those eyes and that attitude…

Or the scene from Clueless where she goes for her driving test…

- Who are your professional role models in terms of fashion, visual arts and cinema?

Too many to name…. I live for this. And I am continuously moved and influenced everyday by the lives, the stories, and the work of so much brilliance I can only aspire to.

- What are your plans for the future?

Work. And continue to grow and be present within the fashion film genre. It’s the future.

Please, do not copy or quote parts of the interview without permission!

Je Suis Belle Interview

I think, I can boldly declare, I'm loyal. This virtue of mine can be enjoyed mostly by those around me who are able to maintain my interest, and to acquire my appreciation.

While I circulate in the turnings and twistings of fashion, it always feels well returning to familiar, beloved places. Je Suis Belle is getting to be something like that for me.

I asked one half of the designer-duo about their adventure at the Berlin Fashion Week. Hope to see their brand growing bigger and bigger, fingers crossed.

Regards, Miska

JE SUIS BELLE INTERVIEW

About the premiére in Berlin:

MWM:

How did you gain admittance into the official program of Berlin Fashion Week? Were you looking for the opportunity or it found you?

Tibi Kiss:
- It was a common idea of Collegium Hungaricum Berlin and Kriszitna Csikós (the Room), to feature Hungarian designers at the Mercedes Benz Fashion Week Berlin. Their support and persistence helped us to get into the official program. So, I would say that the opportunity found us, which we can only be really rejoiced by.

How did you prepare for the show? Did you participate in all phases of the organization?

- We were involved in all phases, but good people have hepled in the organization, work and coordination. Since the Berlin Fashion Week is quite an early one, and we got informed only 3 weeks before the date of the presentation, we knew that the program will be heavy. We prepared here, at home, but had a great help in Berlin, the Institute’s associate, Thea Sóti. We organized the invitations, the lighting, the models, the runway, the styling, the media and the audiance in parallel with the preparation of the collection. It was an enormous gig, but everyone took his part in it.

How were the feedbacks on the part of the profession and the public?

- Great! Susie Bubble and the Kingdom of Style wrote about us, the German Vogue also required our material, so did the Italian Glamour… The press is more interested in us now, but there’s much to be done in order to maintain this attention, there’s no time to sit back.

How did you feel in Berlin? How was the atmosphere of the Fashion Week?

- Berlin is a very good place, although we were only in the Mitte. It’s free, young and it’s fizzing. There was no time to explore the city, but the Collegium Hungaricum, and the place where we lived were in a nice neighborhood, and we were able to sneak out for half hours to sightsee a bit. We couldn’t really feel the atmosphere of the fashion week, because we were working constantly, and had not much time to go back an forth. As we’ve seen, it was very dynamic and fresh, like Berlin itself.

Was this a one-off time, or are you planning to return to Berlin for the following season?

- We plan to go back in January, and to make everything more clear, we’ve already started the negotiations.

About the collection:

Compared to the fall/winter season, you built this collection around a more fluid and less statuesque silhouette. The use of different painted materials gives a montage-like edge to the pieces. What inspired you while designing the collection?

- We were inspired mainly by picturesqueness, nature and personal nostalgia. We wanted to work anyhow with paintings, patch-like, large-scale materials. We wanted to reach nostalgic effects, not for a certain era, rather for something that everyone can find some personal relations with.

How did you work out the idea to collaborate with Attila Szűcs? How did you choose the paintings, that you used on the fabrics?

- We wanted to work together with contemporary painters, and we both already knew Attila’s artworks from the past. I met them in the course of my arthistory studies, and really liked them: like you can easily sink into their specific floating world. The combination of the colors is beautiful, but in the same time there’s something grotesque and a pinch of wry humor in them. Similar to our pieces… isn’t it?

What was the technique of producing the painted materials?

- The materials were prudced in Portugal. We found a great company, who could manufacture digitally printed fabrics at a reasonable price. We blowed up the paintings, slightly redesigned, and then posted them to the manufactory. After they returned the samples, we felt they’re going to be fine, and they can result in an exciting collection

In your opinion, which are the most powerful details of this collection? Which are those key-elements, that characterize Je Suis Belle in the sping/summer ’10 season?

- It was important to ease the cuts. We built the garments almost exclusively of squares, supplemented by delicate, feminine details: ruffles, small strings, draws. We particularly focused on the jewels; corals and turquoise were used. The shoes are our designs as well.

How do you see yourselves through your works? Where are you at the moment, and where are you going? What can we expect from you in the future?

- Since about the past two seasons we feel that our collections have settled down a bit, and they are targeting a little bit older age-group. I think it’s normal, and reflects the changes we are going through. We finished school, moved to the donwtown of Budapest into our showroom. These episodes all act upon our collections. And now that time has already came to give priority to the nature and the relaxation given by nature during designing. What to expect? Hard work, giving rise to thoughts and great clothes.

photos from Je Suis Belle, retouched by MWM

Interview with Florian Pessenteiner

Before I throw my heart and soul into the 2010 spring/summer menswear shows, here is an interview with an insider, one of the most unique male models, Florian Pessenteiner.

Thanks to Florian for answering my questions, and thanks to Larapixie for the collaboration!

Regards, Miska

FLORIAN PESSENTEINER INTERVIEW

Miska
- Every model has a story about the beginning. How did you start modelling?

Florian:
- Everything started on a trip to Switzerland when I was waiting there with my mum to catch a bus. I got asked if i would be interested into modelling and thats how everything started.


- Your look is your trademark. It’s very special, easy to recognize, but can’t be categorized. Was it conceptual to develope such a strong image, or is this your natural look?

Yes that’s very true but it was never conceptual to develope this kinda look. When I was younger I was a proper Goth Kid and used to be in this scene. My hair was jet black , I used to wear make up, and was wearing crazy clothes , and loads of piercings. I changed a lot, just my look is still the same in a way.

- What do you think about the new look of male models today? There’s a complete army of skinny, tatto-covered British cool kids everywhere at the moment. Do you think that it’s going to be a long-term trend or just a fling?

I really like the look of the new top models at the moment . It gives edgy models a chance to be successful and get attention. Pretty faces are everywhere . But I think (and I probably have to say that now because I am one of those faces) edgy people are much more interesting , in person and of course in front of the camera. It’s hard to say if that’s a long-term trend or not. But me in person , I hope it will be a long-term one.

- How do you see the position of male models in the world of fashion? Are you still second violins, compared to the girls, or has it changed?

When I started modelling, male models were definately the second "violins" in the industry compared to the girls. But I think it changed a lot, and it’s still changing . Male models definately get more attention nowadays, which is definately good. As far as it comes to money though, there are still a lot of differences, but that’s another chapter of this "book".


- Which work of yours are you most proud of?

In the last year I did so many editorials, that it is really hard to say. But of course I’m really really proud of Vogue, Wonderland, Vision, Zink, Indie. As far as it comes to runway shows it’s definately Rick Owens, because I just love his clothes.


- What do you prefer, shooting or runway jobs?

It always depends on the team I’m working with, and what I am shooting for. Eventhough I have to say the seconds when you enter the runway and when you stand in front of the photographers can’t be compared to any shoots.

- What do you like most about the „model lifestyle”? Travelling? Parties? Nice clothes? Meeting interesting people?

There are loads of things I like about the model lifestyle. I meet a lot of new people , I get to see loads of different places and of course the parties are great . I have the possiblitly to earn my living with what I love and btw I sometimes get really nice clothes for free.


- If you could mention anyone from the fashion-business, who do you like to work with? (photographer, stylist, model…)

I adore Floria Sigismundi ...

- What are your plans for the future?

There is so much stuff planned, that I dont really know where to start now. But as long as everything is just in planning level I don’t really talk about it. I just wanna be healthy, wanna love what I do and I want to be able to see my family and my dog at least every 3 months.

photos from Push It Magazine #3, by Stefan Milev, featuring Florian Pessenteiner

Interview with Julia Kim

JULIA KIM INTERVIEW

Miska:
- Your ’08 collection was full of interesting, eye-catching details! What was your main inspiration while designing the clothes?

Julia Kim:
The Ligneous collection was inspired by three different sources: The Adventures of Tin Tin by Hergé, Olafur Eliasson and Take G-Toys by Takeji Nakagawa (robots made out of wood).

- Where did the idea of the wood-motif/pattern come from?

The wood pattern was coming from the inspiration of the wooden robots. The idea of something rather futuristic made in a natural material, was very intriguing to me. Also Olafur Eliasson´s idea to trap "faked" nature within a room, was a part of this wooden pattern concept.


- How would you describe your style as a designer? Where do you find impulse? Who does/did influence you?

I would describe my style as a symbiosis of wearable and experimental. I get my influences mostly by my closest friends, from different kind of medias, like books, movies and the internet platforms.


- Designers often say, creating menswear is much more restricted, because men don’t have much courage to express themselves in an unusual way with their outfits. What do you think about it? Why have you chosen to design for men?

Indeed menswear design is more restricted or better to say, has more codes than women´s wear. But exactly this is interesting to me: to find a way within the codes of men´s wear design by looking more into details. I would not say though, that there is not enough courage of men to express themselves.
In the end everything is possible within menswear, it depends on the designers style and taste.


- The outfits of your collection are very well-styled from head-to-toe. Do you think it is important for a designer to be a stylist as well?

I do not think it is important for a designer to be a stylist. When you work on a collection it automatically falls into hand, that you want to complete the style with the right accessories.
For myself, I do not see me as a stylist. I am choosing my things according to what fits best to my collection like the glasses and the shoes. If I have the objectivity or involvement in doing this for another person is another question.

- Which one is your favourite part of the designing-process?

That´s difficult to say, because each part has something to it. But I guess I would say the researching and the head-spinning of puzzling the collection´s idea together.


- With the eyes of a young designer, how you see fashion these days?

It is beautiful and interesting to see that there is a new focus on men´s wear design.


- How do you see yourself in a few years? What are your plans for the future?

I am working currently on my master year collection in the Royal Academy of Fine Arts in Antwerp. In a few years I probably do the same as now: working on a collection. Whether it will be my own or somebody else´s, is not decided yet.

- Where can people explore and buy your clothes?

In the Summer my "Ligneous" collection will be hanging in the showroom of the "Becks Fashion Experience" in Berlin.


- And last but not least, what will you have in store for us in 2009?

Not to give away too much. It will has something to do with airplanes.

photos: Julia Kim

Thank you Julia, for answeing my questions! Wish you my best!

Regards, Miska

Please, respect my work, and do not copy this interview without my permission!

Interview with Dejan Despotovic

I'm ending this week, with something really special, and exciting.

Promising Serbian designer, Dejan Despotovic, was very kind, and answered my questions. And now I proudly present an informative and interesting interview with him.

He is a very positive person, who is really enthusiastic about fashion and designing!

I wish you good luck to your upcoming collections!

Thank you Dejan, and thanks to your Agent as well!

Regards, Miska

DEJAN DESPOTOVIC INTERVIEW

Miska:

- Your clothes have a dark, monochromatic, very simple edge completed with interesting and complex cuts and tailoring. How would you describe your style as a designer?

Dejan Despotovic:

I always wanted to go to the dark, but still romantic side of fashion and style. Maybe it comes from my little bit alternative way of looking on living, and other stuff… Music, movies, everything around me is art But music is my main influence and it makes me going further with inspiration… it’s always something experimental, something strange in that music. I like to search people, who do very good, strange experimental music.


- Why have you chosen to be a designer? Have you been always inspired by fashion? How is Dejan Despotovic’ personal style and taste?

I always wanted to be a designer, like from my childhood, really! There were always some pencil and piece of paper with me, and I always draw dresses for some divas from my mind! Funny, but true!

Fashion is everything, that inspires me, and will always be the first one in my life.

My personal style is very British, because I love London, and I have plans to go there, to live and to start work there. My fashion is also very London-style, with all the strange shapes and details.
So, old shoes, hat, slim pants… but almost everything black!

Im preparing my woman collection for Fall ’09/’10, which will be showed in April at Belgrade Fashion Week. There are many things in that collection. The look is inspired by horses, monkies and old, rusted silver details… very very old, antique and very animal!

The man collection was inspired by the music of Wim Mertens, because he is my favourite composer, and is genious in music. Very aristocratic, but also dark and romantic at the same time.

-Which fits you better designing for women or for men?

Well, it’s not hard to design for men or for women. It’s harder to make something, which will be not seen yet, something new in womens fashion. But in mens fashion it’s a little bit easier to experiment with shapes and fabrics. I love both styles, very very much.


- What is your vision about the women and men, who you designing for? What are they look like outside and inside?

Hm… strong, clear-minded, happy in life. People with strong attitude, and with the wish to be seen, and to be different from others.


- In these hard times, during crisis how you see, is it more difficult to make your way in the market?

Well, I have to say that I’m new in fashion, I’m only 22 years old. And I only have 3 years of professional experience behind me, so I’m still in that period, when I have to show what I really can do in design. I can say, that I’m already well-known in my country, and I am still there for one year more, or for two seasons, then I’ll think about to open a shop, and everything about it... and also about crisis!


- You come from Serbia, as an Eastern European designer how do you feel, is it harder to get into the circulation of global fashion?

Well, I think that it’s not that hard. It’s a little bit strange, because, when people see my work, they don’t think, that I’m from Serbia, but I don’t know why. Other designers from Serbia are now in Paris, and London, and everywhere!

My quality is known in other countries also, and I’m glad, because of that. For me it’s a pleasure to go everywhere I’ve been invited by other fashion-week organisations. I had invitations from Prague Fashion Week, I was there at London Fashion Week to see everything, and people there really liked my stuff, and I’m so happy and pleased about that. Also Berlin… my dream is Paris FW, NYC FW, and to show at London Fashion Week.

- Are you influenced by Serbian culture, art or traditions?

Not really, because there are so many designers influenced by our culture. I have some shapes, but in our traditional clothes there are so many details. Maybe I’ll do something with that, who knows! Maybe, when I will show in Paris, London, or NYC!


- I read, you also work as a stylist for the Serbian Elle, how do you see the style of Serbian people? Are you influenced by street-style as well? Which country's style do you like most?

I’m not working for the Elle Magazine anymore, but maybe I’ll start it again, who knows… I was inspired by street-looks from many countries for those editorials, I’ve done for that magazine. Also, it was a real pleasure to work for them with these numbers of years. But I personally like and prefer London-look!


- Is it important for you to do the styling part of your own collections and products as well?

Yes, of course. I do everything with the style and look for the collections, and it makes me happy.


- Are you influenced by the "big names"? Who are your beau ideal in fashion?

No… well, not really, but I like to see the work of some designers, like Raf Simons, Karl Lagerfeld, Martin Maison Margiela, Dior Homme… a lot of them!


- Which fashion-capital (New York, London, Milan, Paris) would you like to show your collections most? Why?

Like I said, every city is a dream to go to, and show there. I’m dreaming about to go to show in New York, London, Milan and Paris, but I think that London, Paris and NY are closer to my style than Milan…


- Tell me someone from the fashion-world, who you really would like to work with! (designer, model, photographer...)

Well, I always wanted to work with Agyness Deyn. Also want to work with Judy Blame (I met him at Gareth Pugh’s show in February ’08), great man and great artist! And I also worked with Florian Passenteiner (model from London) and it was such a great cooperation, because he’s a great model and a very nice person.

photos from Larapixie Talent Agency

- Do you already have your own brand under your name, or you produce your collections in limited editions? Where can costumer explore and buy your clothes?

I don’t have a brand yet, so I have only limited editions of clothes, but soon, after the fashion week in April, I have plans to open a store in Belgrade.

Now, at the moment you can buy my stuff at Supermarket Concept Store and in Kokliko Boutique in Belgrade. I have plans to find contacts with shops from fashion capitals, to see if there’s any possibility for me to exhibit my clothes there!


- Do you still study?

Yes, haha, I have one more exam left and I will finish my college! I’m so happy about that, because I finished my college on time, while working in fashion, and you know, what fashion is like…


- How you see yourself in a few years? Or how would you like to see…?

Like a designer for some great house, have my own label and my collections shown at fashion weeks of the capitals of fashion!


- Thank you for the interview, Dejan!

Thank you very much!

Please, respect my work, and do not copy this interview without my permission!