“I haven’t felt this much anticipation about an event in a long time,” says Carine Roitfeld, the former editor-in-chief of Vogue France who has been described as the “queen of French fashion.” And there’s good reason for her excitement. This Sunday, June 23, the Place Vendôme will be hosting a unique event—Vogue World: Paris. It is a celebration of fashion, sport, French savoir-faire and excellence, and the historic houses of French fashion. The stars of the day will be some of the world’s most talented designers and athletes.
For the occasion, Vogue caught up with super-stylists Carine Roitfeld and Ib Kamara, creative director at Off-White and editor-in-chief of Dazed. The pair have been responsible for the creative vision of the show, working in close collaboration with Alexandre Samson, curator of the Palais Galliera, Paris’s fashion museum.
Vogue: How is this Vogue World project different from your other styling and consulting projects?
Carine Roitfeld: It s been almost 15 years since I left Vogue France and the Vogue world. It was fun to come back, not least because I have very fond memories of Vogue. And Vogue World in Paris, as a Parisian, it means a lot. I’m very happy that Anna Wintour thought of me. I know she respects me, she understands my French fashion culture, and especially my Parisian culture. The only person I could have shared this moment with—two of us collaborated on this—is Ib Kamara. We have so many differences in terms of age, sex, and background, and I respect him a lot. We’ve worked together before and I think he’s one of the few people with whom I’d be happy to collaborate on this event. Generally, I don’t like to share, but with him it all goes well. We both give in at times, we both want to create the best event possible, it’s all about collaborating. It’s essential to work with someone you like, and that’s the case with Ib Kamara. We have two different visions of fashion, and that brings more life and energy to the catwalk.
Ib Kamara: I feel fortunate to have worked with so many talented designers and teams from different brands to cover such a long period of fashion history, 100 years! We’ve been able to build stories and tell dreams as we work to introduce new ideas to each decade over the last century. It’s an exciting way to approach styling and take visual communication to a new level.
Vogue: How did the collaboration go, particularly with Alexandre Samson? How did you decide when to use existing pieces for the shows and when to commission new creations?
Roitfeld: We’re lucky that Alexandre Samson, whom I didn’t know before and only met through this show, was part of the project. I love working with him. He’s incredibly cultured and at the same time very funny and hard-working. He spent a lot of time with us. When we talk about the ‘20s, ‘30s, or ‘40s, he can explain the references, what exactly was happening in fashion in those years, which couturiers were important at the time. He brings in all the history and knowledge, which neither I nor, I imagine, Ib Kamara had. Each decade is a tribute to a house, often a Parisian one. We started with Chanel, which was already present in the 1920s, and continued like that, the ‘30s with Balenciaga, etc. Some of my favorites were the ’20s, ’30s, and ’70s, which I particularly adore.
Kamara: I have a lot of respect and love for Carine, for everything she does and represents. It’s always a pleasure to collaborate and work with someone as talented as she is. And Alexandre is incredibly intelligent and brought a lot of depth and research to the project. He has a sharp mind and was an excellent partner for this Vogue World. I think we all brought our own unique perspectives.
Vogue: Which Vogue World look do you think has the greatest impact?
Roitfeld: The ten opening outfits, for each decade, are important, because they showcase looks, some of them forgotten today, from different Parisian houses and capture what made them unique. For example, there are Balenciaga’s 1930s dresses, which few people today know, and Chanel’s 1920s gowns. I like knowing that people are going to learn something—it introduces a bit of culture to Vogue World. And then we’ll see some cameos—celebrities in certain outfits—all with dancers in the middle of Place Vendôme. It’s not just one show, it’s an event with lots of things going on. The surprises never end! There are 150 models, plus athletes, celebrities, and others wearing different looks. We’ve had a huge number of people to dress, and each designer is in charge of his or her own decade. All of them include athletes. We wanted to represent everyone, and for fashion and sport to move forward hand in hand.
Vogue: Is there a decade that you found the most inspiring?
Roitfeld: I always like exploring something I don’t know. And that was the case with the 1920s, which I know only from a few films and a few songs. It’s not just the clothes, it’s also the hairstyles, the make-up, the shoes. There’s a sensibility, a particular vision for each decade. I also loved the 1970s, because that was my youth. The long chiffon dresses blowing in the wind…
Kamara: The 1960s. It gives me a sense of innovation. I often think about the future, travel, space, and the universe. My curiosity is perfectly in tune with the ’60s. In my personal life and the content I consume, I feel a strong link with that decade and the forward-looking sensibility of the time.
Vogue: What impact do you think Vogue World has had on young designers?
Roitfeld: Having Ib Kamara as my co-creator on this project already introduces a much younger vision than mine. On the other hand, there are a lot of young designers who don’t necessarily have a deep knowledge of fashion. When they discover vintage pieces from 1920s Chanel, 1930s Balenciaga, or 1970s Givenchy, I hope they learn something about French fashion. One hundred years of fashion is a lot! It’s very interesting to be able to work with these original dresses, which is usually impossible because they’re kept locked away, maintained at certain temperatures under certain conditions. They’re very protected. When we don’t use original dresses, we use exact replicas. Generally, people don’t like to lend vintage pieces because they are excessively fragile and delicate. They can’t be handled like other dresses, so there s a lot of respect and a whole process to follow with them. Personally, I like tradition, and in the fashion show, we’ll have some amusing moments like the course de garçons de café [waiters’ race], which was revived this year. It stopped a while ago, but it’s something so Parisian! I think Anna Wintour was counting on me, as a true Parisian, not to forget the important things that have been happening in Paris for a very long time. We are showing people aspects of French culture and how we live.
Vogue: What other typically French elements of the fashion show will reflect the influence of Paris?
Roitfeld: French fashion culture is very important and will be very well represented. But, above all, Vogue World: Paris is about surprises, because at fashion shows you can get bored after a while. I’m the first to admit that happens. But fashion is all about having fun. Sport and fashion speak to a lot of people, especially young people. Fashion, sport, athletes, singers, and the most beautiful models. Everything is ready for a fantastic party. Now I just hope it doesn’t rain!
Kamara: You only have to look at the number of acclaimed houses that exist in France to realize that fashion excellence and France are intimately linked. The national and local governments have always given massive support to fashion, culture, and the arts. Whether it’s investing in creativity at schools and universities, or championing the creative industries at events like this, the French seem to know instinctively how important government support for the arts is—and they’re happy to show the rest of the world how it’s done.
Vogue: Do you think it’s necessary to bring something new and different to the runway?
Roitfeld: I like tradition, but it’s good to evolve too. There was a beginning, a middle, and… it’s still going on. I think it’s been a long time since there s been a celebration like this of French creativity and all those who have come to Paris and contributed to its fashion culture. It’s something that’s never been seen before. And I’d like to thank Alexandre Samson again for safeguarding this culture and for his relationships with all the houses, which helped us enormously in getting the clothes. Each look is really chosen for different reasons, everything is very deliberate. There will be many cinematic moments. There will be a lot of images that will stay with us and inspire future generations. In the end, we’re doing it for them. Even if we have the respect of couturiers, of people who have been working for a long time, we’re really doing this for the next generation.
Vogue: Can you think of any iconic moments or images that were especially important or that inspired you in the context of this Vogue World project?
Roitfeld: Unfortunately, I didn’t experience it in person, but I saw so many photos of the Bicentenaire de la Revolutión parade in 1989, produced by Jean-Paul Goude. There were some extraordinary moments, and I’m thinking in particular of one where models were in starting blocks wearing couture dresses. They were magnificent, iconic photos, and they re the ones I remember the most! But we’re not going to copy what s already been done. That event had another inspiration, but it was so well done and I hope our show will live up to that bicentennial event.
Kamara: Jean-Paul Goude’s photo of Naomi Campbell, where she’s running with a leopard. I grew up looking at that image often—it’s surreal and beautifully executed, with lighting, style, direction. Everything is perfect. It s a good example of where sport meets fashion iconography. Similarly, my first cover for Dazed was about sport, and more specifically running—a girl running in a wedding dress, such an iconic image taken by Carlijn Jacobs and styled by Imruh [Asha]. For me, sport and fashion have always been intrinsically linked.
Translated by John Newton.
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