Photo Essay by Hanna Pallot
Thierry, you're back at the helm of the creative direction of Zadig&Voltaire, a brand you founded in 1997. How would you describe this new phase for the house, which was born from your own dream?
Zadig&Voltaire has continued to grow over the last 27 years, as illustrated by the book published for the house's anniversary. We are still driven by the same passion and want to return to the brand's roots, with a more family-oriented direction. A new phase is beginning, marked by a very clear vision which is to “return to the essentials” of the house. We want to refocus on our savoir-faire, which led to the creation of our iconic pieces in a 'rebel rock' spirit.
Your 25th-anniversary book includes your iconic campaigns and muses. Which campaign or muse has left the biggest mark on you?
They're all memorable encounters. I created this company from scratch, and today, after more than 27 years, I'm still the founder and owner, which is very rare in this business. We are still a family-run business that has evolved over time, but today, yes, I needed to come back to tune the house back onto the frequency of rock’n’roll. We’re also trying to remain family-oriented and to make sure that we have a really solid team.
And why do you want to preserve this family aspect, which can be an extra emotional burden at work?
Because we feel free. It's not the same atmosphere, it's not the same reasoning, we follow an organic course of ideas that come and go. It's not a straight path. We’re not just a business plan. It's a totally different kind of management.
Bouncing off of that, have you kept in touch with the muses from the early days of the brand?
Yes. My idea has always been to really get them involved. I never just want them to pose. It's important to get them to understand, integrate and come up with ideas, and then we can
create what we call a capsule. The one with Kate Moss, for example, was a bit like that because we came up with a product with her. We work on product development as we meet people and I really want to emphasise that fundamental creative process for the upcoming collections.
After more than 27 years in business, what are your thoughts on the future? Are there any regrets?
Looking back, I have no regrets. The Zadig&Voltaire adventure has enabled us to create a real identity and to anchor this brand in people's lives. For many, it was their introduction to fashion in school. For many French teenage girls, Zadig was THE fashion brand. Zadig took them on a magical journey. We have customers who grew up [with the house], and now it's our job to find them and reconnect with the nostalgia. As a brand, you always have to be there, be present, and do things to renew yourself. I've got all the planets lined up. My main wish for the future is to continue to create our iconic chic and nonchalant silhouettes. Today is really about looking back to the past and [simultaneously] looking forward to the future. So, in fact, it's the vision of today, not the vision of what I was doing 20 years ago. Everything has changed but nothing has changed. We're in this new world and Zadig has to adapt to that. In this new chapter, I intend to continue creating around the Zadig&Voltaire lifestyle, inspired by all my passions for art, music and the Château Voltaire, which we opened in 2022.
Zadig&Voltaire is more than just a brand – it's a whole creative universe that combines family and savoir-faire.
That's what Zadig is all about, there are lots of different creative elements and ventures but we have to merge them all together. We're trying to put the lifestyle back at the centre. Because Zadig is a lifestyle. For example, when you see these young girls, they get into the Zadig lifestyle and they integrate the fact that there was a magical side to it that made a 12-14-year-old girl dream. When I went to the US, we opened a boutique on Madison Avenue. And the reach was the same. There was a high school next door, and the girls all had Zadig bags.
What do American women think of Zadig?
We dress them for everyday life. We dress celebrities, Hollywood actresses, but when they’re off-duty and want to keep a rock’n’roll edge.
You were 25 when you first launched the brand. Now, 27 years later, how do you see the fashion industry? And where do you situate Zadig&Voltaire?
The fashion industry has changed since I started, in terms of where the materials come from, how they're made and where they go. But also in the way we communicate. Society has become
aware of many issues, particularly ecological ones, and we can no longer move forward without holding ourselves accountable for what we are creating. This is the approach I'm taking
at Zadig&Voltaire. And to situate Zadig in the current fashion sphere, I see us as an independent brand. I'm not sure whether I need to play the game of fashion and the pyre of truths. Zadig has always lived on the outskirts, and in the end, things come to us. We remain true to ourselves. If people come to us, it's because we've proven that we're doing something interesting and authentic.
What would be the ideal playlist for this new era of Zadig&Voltaire?
La Ritournelle, by Sébastien Tellier!
Interview by Gabrielle Valda Colas
Portrait by Fred Meylan
Intro by Martin Onufrowicz
Where do the figures that appear on many pieces come from?
I have always drawn a lot and I wanted to reintegrate this aspect into my work. More specifically, the faces of the figures in the collection are references to the work of the Belgian painter James Ensor that I like a lot.
How did you design these pieces and what do they symbolise?
I see this collection as a group of aliens coming to repopulate the Earth after the end of this chaotic world. It’s a pretty instinctive collection made in an artisanal way. Many of the pieces are handmade and hand-painted - for me, that's what couture is all about.
How do you see your work evolving?
I don't ask myself this question much, I just do it as sincerely as I can and so much the better if it continues to evolve.
Interview and photography by Hanna Pallot
How did the idea for the ‘AllTogether’ exhibition come about?
Diesel has been talking about sustainability and hot social topics since the 90s, all with a signature ironic tone of voice. When I joined Diesel, I also wanted to be part of the values of the brand: on the product side, we started working towards stronger sustainability, and when it comes to social sustainability, I thought that collaborating with the foundation could have accelerated the topic of sexual acceptance. The Tom of Finland Foundation and The Community have curated all the aspects of the exhibition, and our role has been to give a platform to these important institutions, as they have been an example for the community for such a long time. We are extremely honoured and proud to give our support to Durk and ToF and celebrate this together.
Why is the foundation created in Tom’s name important to you?
It’s a symbol of community, acceptance and the feeling of togetherness: on top of collecting amazing art, the foundation has worked extremely hard in the past to support queer artists during difficult times - when marginalized young gay people were dying by themselves. Thanks to this work, many artists found a way of talking through art, and also a safe shelter: even in more recent times, the foundation hosted persecuted artists which could not be themselves in their own countries or in their own society, providing them with a safe place through the art, but also physically with residencies and fighting alongside them for gay rights.
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“The Tom of Finland Foundation is a symbol of community, acceptance and the feeling of togetherness: on top of collecting amazing art, it has worked extremely hard in the past to support queer artists during difficult times - when marginalized young gay people were dying by themselves.”
In what ways does the work of the foundation reflect the vision that you have for Diesel?
The foundation is an incredible example of remembrance: it’s actually the work of many generations of activists and artists who have helped creating in a certain part of the society a place of acceptance to remind people that the emancipation of the LGBTQ+ community has not been an easy job. Diesel can bring this very same message of inclusion, it’s part of its founding values from the very beginning. The first time I ever saw a gay couple making out, for example, was in a Diesel advertising campaign. In the 90s, the brand advocated for causes like gay rights or anti-racism, back when they were subjects that few were talking about. Today, being at the helm of a global brand like Diesel means being aware of the responsibilities the role brings: it’s not just about making beautiful clothes anymore, but also about being engaged in society, making sure you can accelerate the change you want to see.
‘AllTogether’ by Tom of Finland Foundation and The Community, supported by Diesel, is open from 8.05 to 26.06 in Paris.
Interview by Martin Onufrowicz
PASSIONATE AND DEDICATED, INGE GROGNARD IS ONE OF BEAUTY’S MOST CREATIVE MINDS AND A CONSTANT SOURCE OF INSPIRATION WITHIN THE FIELDS OF MAKE-UP AND FASHION. HER CLOSE ASSOCIATION WITH INDUSTRY LEGEND MARTIN MARGIELA BROUGHT HER TALENT TO THE FORE IN THE LATE 80S, WHEN HIS COLLECTIONS SHOOK UP THE ESTABLISHMENT BY QUESTIONING TRADITIONAL NOTIONS OF BEAUTY AND TASTE.
SHE HAS BEEN IN DEMAND EVER SINCE AND WORKED WITH INDEPENDENT BRANDS, AS WELL AS MORE CORPORATE ONES, WHILE FINDING NEW DIRECTIONS AND WAYS TO ADAPT TO A DESIGNER’S VISION.
WE SAT DOWN WITH ANTWERP-BASED GROGNARD TO DISCUSS HER RELATIONSHIP WITH MARTIN MARGIELA, WHY SHE LOVES DEMNA GVASALIA, AND WHAT STILL MOTIVATES HER TO DO HER JOB TODAY.
Despite the pandemic, you’ve been in demand and worked constantly. Are there things that you couldn’t do?
Some clients had to cancel their shows, which means I couldn’t work for them, but overall I’m glad I could continue the work without too much hassle. Of course travel is still limited, but brands have had to find ways. I had great jobs this year with lovely teams, which for me is the most important.
I was surprised to see you donated some of your Margiela pieces to MoMu recently. Why now?
Actually, they were not donated, but on loan for the museum to use in their exhibitions and store properly, too, which means they will take care of the clothes much better than me. All of those pieces were in my basement, and while I do wear the coats and jackets, I knew that others would be great for the museum.
In a way, you are part of fashion history, especially when considering the role of Martin Margiela and his long-lasting influence over designers.
It’s funny, because we never thought of that. The relationship I had with Martin was an organic one, and after studying make-up and collaborating with several designers, I naturally began to work on his shows. We were friends and that level of closeness was quite special. I’m very proud to have been part of his vision as a designer, because that’s what my job is. When you hear fashion historians discuss Martin’s work today, you realize how significant it is, but we were never aware of this while we were in it. We were too busy exploring, making and creating. People like him, Dries, Ann and Walter put Belgian fashion on the map, which changed everything.
How do you explain that young designers, and a whole new generation of fashion students, are really fascinated by him?
He brought things to fashion that didn’t exist before, such as upcycling for instance. Martin was obsessed with the notion of time, and how it marks our clothing. It was this idea of vintage, but specifically how signs of wear make a garment more beautiful.
The approach Margiela had towards fashion was an intelligent and almost cerebral one. Who would you say tackles it the same way now?
I would say Demna at Balenciaga. He’s extremely intelligent and completely understands the world we’re living in. Love it or hate it, his vision stays relevant and gives you food for thought. On the human side, he is also touching and a sensitive person. When you know about his past and what he’s had to overcome, you understand how strong and driven he is.
I thought the Haute Couture collection was incredible.
It was such an emotional moment for him, and people were actually crying backstage. The way he fused the heritage of the House with his own aesthetics was just perfect.
I’d say that the key difference between Martin and Demna is that Martin was a romantic at heart, whereas Demna’s vision tends to be more dystopian.
Sure. Demna is not naïve, not at all. His vision is completely about today, and I agree that Martin’s approach was a romantic one.
Martin never did ‘sexy’. His clothes could be sensual or erotic, but never obvious. Would you say that this sense of restraint defines Belgian fashion?
It does, because we’re quite close to Northern Europe. You can think of Belgium as the opposite of Italy: we have to cover ourselves up and don’t spend that much time outdoors. Belgium has darkness, romanticism and surrealism blended together, which makes it unique. That mixture is what makes our creativity different from our neighbors.
Does make-up conceal us or expose us?
That’s a difficult one. When you work together with a designer, make-up is part of the image you want to bring out, the way you see the woman in those clothes. It’s like adding the finishing touch in the end. Of course we look at faces all the time, so make-up reveals a lot about ourselves.
At the same time, the make-up you did with Martin did not limit itself to the face, but appeared on the arms or other body parts. It was a creative statement.
Definitely. What I love about my job is creating a strong image and working closely with a designer. That’s what keeps me going, making that image as powerful and creative as possible.
Interview by Philippe Pourhashemi
All Pictures by Ronald Stoop
Image credits (B)eople Magazine, Jurgi Persoons, Purple Magazine, Beauty Papers, Sputnik Magazine
I’m surprised to see you without a hat or cap on.
I usually don’t wear them when I’m staying at home.
What is it that attracts you about millinery?
From a practical point of view, wearing a hat or a cap means you don’t need to worry about styling your hair. I’m 45 now, and it’s a bit of a hassle pretending you’ve got tons of hair when it’s not the case.
What’s your first memory of hats?
As a teenager, I spent most of my summer holidays in Biarritz and I used to wear cowboy hats and matching garments. I guess one was allowed to be extravagant during those months. I never hesitated adding caps or hats to an outfit, because it really finishes off your look. I like expressing myself -and my moods- through my clothes.
It does feel like you have a very playful relationship towards fashion. Is it important for you to experiment?
I do like fashion, because I see a lot of beauty in the ephemeral. It’s like a flower coming to life: a year passes by and it’s no longer there. Music is the same, you can be obsessed with certain sounds for a period of time, before moving on to new forms.
Did you already have this interest as a child?
My mother used to take me to Marché Saint-Pierre in Paris to buy fabrics, and I remember the rustling sounds of materials. I used to hide under the display units. There was this softness and muffled sound, which I really liked. It felt quite reassuring. Obviously, when you perform, your style matters and it requires effort and imagination.
Do you see a correlation between sound and clothes?
Totally. In that way, the clothes and accessories I choose echo my own music at a precise moment. Even though it is part of my work, it also gives me a lot of pleasure to put all these elements together. My albums used to be more conceptual, and I created a specific character with every new story. This was my past though, and what I want now is still to be stylish, but classy and chic.
Can you tell us more about the collection and describe your connection to Maison Michel?
I like what Maison Michel stands for, and after a conversation I had with my friend Yasmine Eslami about hats, she actually called Virgine Viard who then turned to Maison Michel with the idea of a capsule line. I met the whole team, visited their atelier and came with inspiration images from my favorite artists, such as Pink Floyd, Elton John and The Beatles.
Karl Lagerfeld was the one who noticed your music a few years ago and asked you to perform live at a Chanel show.
I first met Karl 15 years ago during a photo shoot he was doing for a magazine. It was his Cola Light period, so there was always a handsome young man ready to provide him with another glass. Of course he fascinated me already, but seeing him work impressed me the most. He was free with his creativity and fulfilled his wildest dreams, but he also thought of others and was incredibly generous. I rarely met someone who took such good care of people around him, he was very sensitive to the way they felt. He had this icy image, but in fact he was a tender man.
You wear Chanel jackets and women’s pieces often. How do you feel about gender and clothes?
I used to have pieces made to measure, because I couldn’t find what I was looking for. I don’t have my Chanel jackets made for me though, I just pick them in the store in my size and pair them with jeans or slim pants. Gender is irrelevant for me when it comes to clothing, just pick what you love and enjoy wearing it.
I saw you at the Festival d’Hyères a few years ago and it seemed you were rather shy and reserved. Do the hats and the beard -and the shades- operate as armor?
Yes. I am shy and fragile sometimes, so clothes and accessories help me protect myself, while expressing my values and aesthetics. You can be visible -and perhaps recognizable- but still conceal who you are.
What makes good photography for you?
I don’t think I have the perfect answer to this question, as it is a constant process. In relationship to the work I am making today, I would say: photography with a message, that aims at universal reflection. Before, I probably would have said photography that makes you drift, that provokes a feeling.
What makes your work such a good match with the fashion industry?
I think this connection lies in the fact that I am able to switch my photographic language and creative universes quite easily. I’m always interested in the now, in what it is that makes an image ‘today’. I guess it is important in fashion to be able to translate our world and to always look for the new.
You make music videos and films as well. What is it that attracts you in film?
When I was in art school, I started with video works before even getting into photography. I have always been especially interested in the link that film and music have: a moving image combined with music is a great way to convey emotions and allow you to drift. Music has always been my main inspiration. I have always linked it to moving images, to film and music videos.
Lately, music has even become a language on its own for me. It gives me the chance to translate my feelings about certain things in a more verbal and direct way. I’m thinking I might create something musical in the near future.
What are your favourite subjects to photograph?
This again is a constant evolution and a matter of reflection to me. I think one of the most important things is to always think and rethink everything, to see all things as in constant movement. Right now, the question of identity is very important to me: the body and its features are at the centre of my research.
Where did the idea for the work you show in the SPECTRUM exhibition come from? I can imagine your work as a fashion photographer made you think further on themes like body and identity.
I started this body of work two years ago, right after my previous exhibition. I believe that the research I am showing here is more universal, even though it started from personal questions. What you can see in the exhibition is a very small part of the research I have been doing, but it makes a good entry into it. The Room, the project space of 254Forest, is a good first location for this work as well: it is my work space and I have access to it all the time, which made it possible to develop the space around my work. I see it as a sort of laboratory where I can further develop my language.
I think indeed that fashion has drawn my attention to the body on itself, allowing me to understand its sculptural lines and shapes through the camera. Yet, SPECTRUM goes further than archetypal fashion norms and bodies. Instead, the work focuses on all bodies and genders, shapes, skin tones and elements that can define it.
What makes the (abstract) body such an interesting subject for you?
What I like about the body – and the colours an abstractions I show in the exhibition – is that it can be a vessel for reflection on a personal as well as on a universal level.
…
SPECTRUM
254FOREST
Chaussée de Forest 254 1060 Saint Gilles Brussels
Opening night on Wednesday 2 Septembre.
End of the exhibition on Saturday 26 Septembre.
Open to the public on Thursday, Friday and Saturday from 2p.m to 6p.m and on
private visit.
Interview by Laura Bonne
A significant portion of this collection was created in collaboration with Sergio Tacchini. Are collaborations a rite of passage of sorts for emerging brands?
These days, we believe it’s necessary for young designers to work in this way. It’s a tangible style exercise that allows an emerging brand to showcase its potential alongside an established brand. Our collaboration with Sergio Tacchini was all the more interesting that it was directly set in continuation of our main collection. To truly fuse our DNAs, we had the opportunity to work with the teams of the brand’s heyday.
L'Appel, New Order, The Myth of Renewal: your names sound like slogans or artistic manifestos. What is EgonLab?
EGONlab is above all else an emerging brand that draws its inspiration of societal culture and all forms of revolution that impact our society. We therefore think that it’s indispensable for the new generation of designers to question themselves and position themselves in the face of the modern world’s urgent questions — cultural, societal or ecological.
In the digital era, we have the will to enlarge the spectrum of our collections by offering a universe that blends fashion, motion design/3D and music to amplify our message. The video for ‘The Myth of Renewal’ has been created in collaboration with the artists of the EGONlabFamily: Kisol (motion designer), Michelle Coppola (motion designer), FX093 (soundtrack) and Blue BK (soundtrack). Built like a three-part fable, it acts as a temporal marker sketching out the past, the present and the future.
We don’t have the pretentiousness of positioning ourselves as an artistic movement or as opinion leaders but we want to be actors of this collective awakening we have been seeing in the world these days.
We are above all a brand that does not judge, we dress all cultures, all colors, all genders and without ever misrepresenting the identity of the wearer.
EGONLab.
You swing between toile de Jouy and razor-sharp tailoring, studded leather and quilted jackets. Is it a reflection of our era of zapping or a call to be free to be yourself?
We have an iconoclastic spirit. Taking up codes and traditional craftsmanship, transcribing them into modern silhouettes is the foundation of our work. Each EGONlab collection must be visually unique. It’s a genuine creative challenge, which we love. Nonetheless, we have created over our three seasons a recognizable silhouette with a pronounced shoulder and fitted cuts.
But you’ve underscored an important concept of our work: the freedom to be. We are above all a brand that does not judge, we dress all cultures, all colors, all genders and without ever misrepresenting the identity of the wearer. This ideology also informs the design of our collection. We give our customers the possibility to appropriate all our looks, thanks to elements like removable chest plates, deconstructed tank tops...
What is the myth of renewal that inspired the fall?
For this collection, we were inspired by Koyaanisqatsi, Godfrey Reggio’s 1982 prophetic and contemplative documentary. The film plays with time and space, multiplying angles of vision and of reading, leaving interpretation open to the viewer, like an artistic meta language. Apologia to some, pamphlet to others, it questions our relationship to the world. Versatile, without a subtitle, free of judgment, it’s also the spirit of this genderless collection. “No matter who we are, we can wear what we want,” that’s the message our brand upholds.
The video itself is a representation of the myth of renewal, which we imagined, echoing many sociocultural references. We imagined, shot and edited this video in collaboration with visual artist KISOL and Michelle Coppola. We invite Behind the Blinds readers to check the behind-the-scenes videos on our official Youtube channel.
The myth of RENEWAL : On Earth, while the darkness ruled the world, a pandemic decimated the human race. At the same time, in the multiverse, the birth of a group of new thinkers took place.
A group which bears no prejudice and no judgment, but instead boundless freedom.
One day, they decided in perfect harmony and democracy to renounce all their privileges and descended on to Earth to heal Mother Nature, to spread love and kindness, to have acceptance for all and to build a new society where everybody treats each other the same.
This utopia became reality and a magnificent miracle occurred and the light came to give back everything that the darkness stole.
This is the moment when they understood that the biggest enemy of the human race was the human race itself.
Interview by Lily Templeton
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