Tim Walker’s The Muse

As a huge lover of film and motion picture, you can imagine my joy when I found out that Tim Walker, one of the most world-renowned fashion photographers, has directed a short film. Naturally, I had to watch it!

This mesmerizing and haunting 12-minute short was born out of a photoshoot that the very same Tim Walker took for W Magazine, starring model and long-time collaborator Kristen McMenamy as a mermaid (a role that, as they revealed in an interview, she had always wanted to take on and he had always wanted to capture). The basis of the shoot was Hans Christian Andersen’s short story “The Little Mermaid”, which was elaborated into a darker romantic idea of a mermaid kept in a tank in her lover’s garden.


“A fairy tale without darkness won’t resonate emotionally,” said the British photographer. And his fascination with the fantastic and the borderline-disturbing is plastered all over his work. It comes as no surprise that some of his biggest sources of inspiration are the sinister illustrations of Arthur Rackham and the eerie fairytales of H. C. Andersen.

Ben Whishaw (whom I already loved in Perfume: The Story of a Murderer and Cloud Atlas, and who you probably recognise from the latest James Bond movies) is Edward Dunstan, the photographer obsessed with his muse. The concept of the lost muse or inspiration and the effects that this loss has on the artist isn’t new to arts and film, and it perhaps became iconic with Fellini’s Otto e Mezzo (8½), whose veiled autobiographical tones depict an alter-ego of the filmmaker going through a “director’s block”. Just like in Walker’s short, memories and flashbacks merge with reality, and fantasies and dreams become a mean to an escape.

The artist’s consuming obsession and blinding perfectionism take over to become the central element of the short: Edward wanders aimlessly in open fields of grass lost in an empty sky; he watches footage of his muse on a loop and obsessively organises the pictures he took of her. He is trapped in his own mind, just like the mermaid was trapped in his tank. “I was as much your prisoner as you were mine,” he echoes. But there is a warning:

Legend has it that if a human man falls in love with a mermaid she will grow legs; legs that will, if she so desires, carry her far, far away from the very man she cast her watery spell upon… But what becomes of the human man, when her spell remains but she is gone?

The idea of separation is also a constant: first between his mind and the outside world, then between the present and the past, shown through bright and hopeful flashbacks; and finally between him and her, through the physical barriers of the tank at the beginning, and of the footage projected on the wall towards the end.

“His shoots, they don’t start with the clothes,” said Stefano Tonchi, the editor of W, who commissioned the original shoot. “They start with an urgency for him to tell a story”.

The short was shot on film (not digitally), with no use of CGI, and mostly silent. Part of it comes from the feeling of emptiness and alienation that the director wanted to convey; part of it must necessarily come from Walker’s solid background in photography, which, as Ben Whishaw puts it, is a much more sculptural process, it has much more to do with the body and its physicality than it does with dialogue. In fact, the only real dialogue that takes place in the film is that of the artist with the footage of his long-lost muse, caught in a perfect moment of vulnerability and grief, and exquisitely expressed through the actor’s body language.


The film is available on We Are Colony, a website that aims to provide exclusive independent films and behind-the-scenes footage with a pay-per-title policy. The special bundle for The Muse includes lots of extra interviews, hidden scripts and cut scenes and is only £2,49.


When historic codes meet modernity: Raf Simons for Dior

The fashion world was recently shaken by the unexpected news that Raf Simons, who has been Dior’s artistic director for the last three and a half years, has decided to step down and part ways with the historic French fashion house. To me personally this news came as slightly eerie and with uncanny timing, as only three days prior to Simons’s announcement I got the chance to see the movie ‘Dior & I’, which documents the designer’s arrival to Dior’s atelier in Paris and the putting together of his very first haute couture collection.

In the movie, director Frédéric Tcheng draws some compelling parallels between archival footage of Christian Dior in the late 1940s (accompanied by a voice-over reading excerpts taken from Dior’s own autobiography) and present scenes of Raf Simons, which I thought brilliantly mirrored Simons’s own focus as newly-appointed creative director to juxtapose Dior’s historic codes and classic “New Look” tailoring with his own twists of modernity and dynamism.

I want [the collection] to be dynamic, because I find women very dynamic.
–Raf Simons

When historic codes meet modernity: Raf Simons for Dior @THORNS HAVE ROSES by Benedetta Barucco

Whether you personally like his designs or not (I know I do), Raf Simons’s time in Dior has certainly made an impact. He cast away the dark shadow of John Galliano’s scandalous layoff from the house (which had the potential to seriously damage the brand’s international image) and brought in a breath of fresh air thanks to his eye for modernity, bold colour combinations and clean lines, whilst at the same time keeping true to Dior’s confident and timelessly feminine aesthetic. “I think it is rather challenging to face a legacy which is so gigantic and is so sublime”, he comments in the film. It was also disclosed by Sydney Toledano, Dior’s current CEO, that the brand’s sales rose by a whopping 60% since 2011.

When you tell someone you’re going to work for Dior, that’s a lot of weight on your shoulders, because this house has so much DNA that it’ll be hard to find creative freedom. It scared us a little. I was scared a little.
–Pieter Mulier, Raf’s “right-hand man”, on joining Dior

Since taking up his role in April 2012, Simons has worked on an astounding 20 collections, and with each and every one he helped modernise and revitalise the house’s haute couture and ready-to-wear looks. I especially love the way he manages to incorporate some of his inspirations from outside of fashion directly into his designs – which really comes as no surprise once you learn that he started off as an industrial and furniture designer, has been an architecture scholar since his very early days in the industry, and owns his own private art collection which includes several pieces by Sterling Ruby, one of said inspirations right from his first Dior collection.

Raf Simons for Christian Dior, AW12 Haute Couture (Simons's debut). Paintings by Sterling Ruby were incorporated through warp printing, a difficult fabric technique, to add movement.

Raf Simons for Christian Dior, AW12 Haute Couture (Simons’s debut). Paintings by Sterling Ruby were incorporated through warp printing, a difficult fabric technique, to add movement.

Raf Simons for Jil Sanders, SS12. Designs inspired by Picasso's paintings.

Raf Simons for Jil Sanders, SS12. Designs inspired by Picasso’s paintings.

Raf Simons for Dior, AW13. Designs based on Andy Warhol’s works.

Raf Simons for Christian Dior, AW13. Designs based on Andy Warhol’s works.

Raf Simons SS13 Menswear. Designs inspired by Brian Calvin.

Raf Simons SS13 Menswear. Designs inspired by Brian Calvin’s paintings.

Raf’s announcement has placed a big question mark on Christian Dior’s future, as candidates for their next creative director are yet to be declared. In the meantime, the Belgian designer is planning to dedicate more time to other ongoing projects in his life, namely his own brand – which is understandable considering the insane amount of time and work a fashion house the likes of Dior requires: with no less than six shows per year, there is a lot of pressure on fast ideas and fast delivery. And, by his own admission, Raf is not one to work at his best in this kind of fast-paced environment: “I’m not the kind of person who likes to do things so fast. I think if I had more time, I would reject more things, and bring other ideas or concepts in”. Taking the time to reframe his artistic process rhythms and to add a new sense of proportion to his work may just be the chance for him to explore new ideas as deeply as he feels fit in order to achieve a more grounded sense of professional gratification.

When you do six shows a year, there’s not enough time for the whole process. Technically, yes — the people who make the samples, do the stitching, they can do it. But you have no incubation time for ideas, and incubation time is very important. When you try an idea, you look at it and think, “Hmm, let’s put it away for a week and think about it later”. But that’s never possible when you have only one team working on all the collections.
–Raf Simons

I am definitely curious to see who will take over Raf Simons’s legacy and how they will give their own interpretation to Monsieur Dior’s original philosophy. At the same time, I look forward to seeing more of Raf Simons’s work, especially within his own brand where he is allowed complete creative freedom and has no one to measure himself against but himself.

bill cunningham: a chronicle of NY fashion trends

To ease into induction week and to get into the visually-oriented mindset that we will need during our course, we started off with a screening of the movie/documentary ‘Bill Cunningham New York’ by Richard Press. The movie was a fresh and insightful view into the life of 80+ New York-based legendary photographer Bill Cunningham, a man who almost entirely dedicated his whole life to his work and passion: street style. As I watched him go about his daily routine, carefully inspect the hems of the skirts of the women passing by on the pavement, and sometimes even chase an eye-catching outfit through heavily-trafficked streets, I couldn’t help but feel utter admiration towards this man. His dedication to clothes and his talent in spotting trends as they are born among the widely-varied New Yorker crowds were beyond inspiring, especially when topped by his humility and sense of humour.

“We all get dressed for Bill.”

– Anna Wintour

His philosophy? “If you don’t take money, they can’t tell you what to do”. And he most certainly lives by it. For the sake of preserving his artistic freedom, Cunningham has rejected most of the material goods that the majority of people in our society would consider mandatory: a private bathroom, a kitchen and a closet full of clothes. His tiny flat being essentially a storage for his negatives and photographs, he spends his days by cycling through the streets of New York to spot new and recurring trends, selecting which photos to keep (very few are actually published) and putting them together to write an article on whatever trend has caught his eye. His work is his life and his life is his work.

It was also interesting to hear his opinions circa the fashion industry as a whole and the glamour and glitter that this environment is drenched in. He is clearly fascinated by it, but at the same time he prefers to keep his distance from it. Cunningham successfully made a name of himself in the fashion world even though his persona doesn’t exactly match the dazzling, gleaming socialite image: an aged man, very reserved, living the humble life, who has been wearing the same cheap blue coat for several decades, and who simply doesn’t participate in the glittering fashion events and parties that he attends as a mere photographer, never a guest. As if he were staring through a looking glass, he observes but doesn’t touch, documents but doesn’t get involved. He wants to be invisible; which is what differentiates him from the aggressive paparazzi.

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👋 Bill! #hyperlapse #nyfw

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I have definitely enjoyed watching this movie and found it to be quite the perfect start to this course. As a movie junkie myself I can hardly hide my excitement for the Film Club sessions we are going to be having on each Monday afternoon, and I look forward to finding inspiration as to how to integrate my love for movies and TV into my own visual communication concept.

“Bill on Bill” – NYTimes.com
“Why Bill Cunningham is actually the most interesting person at Fashion Week” – Huffington Post

“Bill Cunningham New York” (2010) – IMDb

photo credits:
the sartorialist