I'm lucky to work in an environment where on the off-occasion I am sometimes able to try things that I have never before. Due to the fact that I am the office sore thumb who dresses almost exclusively in all things Parisian (think Isabel Marant, Sonia Rykiel, Ba&sh, Sandro, Maje... the list goes on) I was recently give a rare and marvellous opportunity to direct and style a mini-film using the wares of one of my favourite brands, Claudie Pierlot.
My relationship with the brand goes back to my days in university when my mother and I would take little trips to Paris during holidays where I would fly across the pond from the American East Coast to England to meet her. I still wear the pieces I bought from the brand (on sale!) on my very first visit at the ripe age of 18, which makes this relationship a long-running one now that we're on year eight of devoted custom. Just last month I bought a pair of navy trumpet flares with golden buttons - to see it, click here.
This is not without reason, the brand embodies a the kind of romantic classicism and aristocratic grace one gets from knowledge, curiosity and a depth of personality that seems to be ever dwindling with the rise of the likes of reality television and selfie culture. Perhaps my love from it stems from the hope that the air of the clothes can armour me with the kind of perspective, dignity or courage that I want to face the assault of the everyday. Perhaps I place too much import in my wardrobe.
Nonetheless, it was a privilege to be able to create this little movie. The brand gave me a great deal of space once we realised that our visions aligned and so I was able to couch it in the slightly off-beat, voyeur, and auteur tradition that great French films like Amelie inhabit. It's my first attempt so it's by no means perfect but all creative pursuits are akin to birth and like most mothers, no matter how ugly the baby, it will still be loved.
I hope you all like watching my baby as much as I enjoyed making it!