[Dior Joaillerie] Eric Troncy, critique d’art et commissaire d’exposition, interroge Victoire de Castellane sur son processus créatif
Retrouvez la directrice artistique des collections de joaillerie et de haute joaillerie de la maison Dior, dans cette nouvelle série des Dior Talks. Pour ce sixième épisode, retrouve Eric Troncy, critique d’art et commissaire d’exposition, avec qui elle avait collaboré en 2007, pour la présentation des bijoux de la collection Belladone Island, au musée de l’Orangerie. Il l’interroge ici sur son processus créatif et ses grands imaginaires.
[Dior Joaillerie] Donatien Grau, philosophe & critique d’art, échange sur les représentations & le pouvoir du bijou dans l’histoire de l'art
Retrouvez la directrice artistique des collections de joaillerie et de haute joaillerie de la maison Dior, dans cette nouvelle série des Dior Talks. Pour ce cinquième épisode, Victoire de Castellane retrouve Donatien Grau, philosophe, critique d’art et conseiller de la présidence du musée d’Orsay pour les programmes contemporains. Lui-même passionné par le travail de la créatrice des bijoux Dior, il l’interroge longuement sur ses collections. Ils échangent aussi sur le pouvoir évocateur du bijou et ses représentations dans l’histoire de l’art.
[Dior Joaillerie] Patrizia Ciambelli, ethnologue et fille de joaillier, nous transporte dans ses souvenirs et partage sa notion d’héritage
Retrouvez la directrice artistique des collections de joaillerie et de haute joaillerie de la maison Dior, dans cette nouvelle série des Dior Talks. Pour ce quatrième épisode, Victoire de Castellane rencontre Patrizia Ciambelli, ethnologue, ancienne conservatrice au musée des arts et traditions populaires de Rome, chercheur au centre d’anthropologie de Toulouse. Fille de joaillier, elle raconte ses souvenirs et échange avec Victoire de Castellane sur la notion d’héritage et de mémoire de l’objet.
[Dior Joaillerie] Georges Vigarello, agrégé de philosophie, nous conte l’évolution des bijoux et de leur symbolique au fil des siècles
Retrouvez la directrice artistique des collections de joaillerie et de haute joaillerie de la maison Dior, dans cette nouvelle série des Dior Talks. Pour ce troisième épisode, Victoire de Castellane rencontre Georges Vigarello, agrégé de philosophie et diplômé de l’institut national du sport. Les questions d’hygiène, de santé, de représentation et de rapport au corps sont au cœur de ses travaux et de ses livres. Dans son échange avec Victoire de Castellane, il revient sur les croyances liées aux bijoux, leur symbolique et raconte leur évolution au fil des siècles. Retrouvez le dernier essai de George Vigarello Histoire de la fatigue. Du Moyen Âge à nos jours, publié aux éditions du Seuil.
[Dior Joaillerie] Vannina Micheli-Rechtman, psychanalyste et médecin psychiatre, nous transmet sa vision du rapport du bijou au corps
Retrouvez la directrice artistique des collections de joaillerie et de haute joaillerie de la maison Dior, dans cette nouvelle série des Dior Talks. Pour ce second épisode, Victoire de Castellane échange avec Vannina Micheli-Rechtman, psychanalyste et médecin psychiatre, docteur en philosophie, spécialiste des images contemporaines. Ensemble, elles parlent du rapport du bijou au corps et de la notion de transmission.
[Dior Joaillerie] Olivier Saillard, historien de la mode, nous partage son riche savoir sur la joaillerie
Retrouvez la directrice artistique des collections de joaillerie et de haute joaillerie de la maison Dior, dans cette nouvelle série des Dior Talks. Pour ce premier épisode, Victoire de Castellane retrouve Olivier Saillard, historien de l’art, grand spécialiste de la mode et du costume. Ensemble, ils parlent du rapport du bijou au vêtement et abordent les questions du genre et de l’ornement corporel.
[Joaillerie Teaser] Victoire de Castellane, créatrice de la haute joaillerie de la Maison Dior, nous emporte dans son univers fantastique
Victoire de Castellane est arrivée chez Dior en 1999 pour créer la première collection de haute joaillerie de l’histoire de la Maison. Ses bijoux sont narratifs, abstraits, colorés et féminins. Ils nous emportent dans un univers ludique et fantastique où les histoires se racontent en pierres précieuses. Des fleurs figées dans l'éternité des gemmes. Elle revisite les codes de la Maison et l’histoire de Monsieur Dior qu’elle réinterprète dans le langage de la joaillerie. Pour cette série de podcasts, Victoire de Castellane a souhaité dialoguer avec cinq personnalités aux expertises différentes et complémentaires. Ensemble, ils abordent l’histoire du bijou, sa symbolique, ses représentations dans l’art…
[Female gaze] The feminist art historian and critic discusses self-portraiture and photography as tools for female self-expression
Welcome to the 17th episode of the Dior Talks series ‘The Female Gaze’. With the term developed in response to the writings of feminist film theorist Laura Mulvey, this podcast series will explore how the work of the female photographers, directors and creatives collaborating with Dior offers a radically new and progressive image of women. In this new episode, series host Charlotte Jansen, a British journalist and author, talks to Raffaella Perna, the highly-esteemed Italian art historian and theorist of feminist visual cultures. A prolific writer, Perna has been based in Rome for much of her career, maintaining her theoretical practice and teaching widely, including at the prestigious Sapienza University. She is also a curator, and last year co-curated with Marco Scotini the exhibition The Unexpected Subject: 1978 Art and Feminism in Italy at the FM Centro per l'Arte Contemporanea in Milan, sponsored by Dior. Perna has a long and distinguished biography as a specialist in Italian feminist art, and the country’s feminist movements in general, most particular during the vital and energized years of the 1970s. She has a particular focus on self-portraiture and its ramifications for female creative agency. She first met Maria Grazia Chiuri in 2008, through feminist icon and artist Tomaso Binga, to whom Charlotte has also spoken as part of this series. The two immediately identified with each other through their mutual passions and concerns, and Perna was instantly struck at how unusual it was for Chiuri as a fashion designer to be so influenced, and so creatively driven, by the politics and conceptual concerns of the movement. She also recognized how influential fashion is, and how interesting it is to consider the potential for its impact as a vehicle for conversation and action. Here, Charlotte Jansen chats with Raffaella Perna about her dedication to the individuals and trailblazers who have formed the very specific and challenging feminist movements in Italy. The ’70s marked an extraordinary time for women in the country, as a previously conservative and religious society in which women had always occupied a constricted role was exploding and expanding. Women were writing, teaching, making art and campaigning as never before, and Perna is in the unique position to both remember and contextualize it all. She describes the rich landscape of relationships and collaborations which constituted the world of Italian feminism at that time, and her role as a primary theorist and recorder enables her to offer meaningful, prescient comment on the contemporary situation in 2020. Raffaella Perna is one of the only The Female Gaze guests who has not been either a photographer, director or artist herself, and Charlotte Jansen takes the opportunity to delve deeply into the founding principles and dreams of feminism, which has inspired and continues to inspire the work of the Creative Director of Dior women’s collections so profoundly.
[Female gaze] Artist and photographer Viviane Sassen discusses the connections between fine art & fashion elements of her creative practice
Welcome to this 16th episode of the new Dior Talks series ‘The Female Gaze’. With the term developed in response to the writings of feminist film theorist Laura Mulvey, this podcast series will explore how the work of the female photographers and creatives collaborating with Dior offers a radically new and progressive image of women. In this episode, series host Charlotte Jansen, a British journalist and author, speaks with the Dutch artist and photographer Viviane Sassen, whose highly prolific, category-defying career blurs the boundaries between fine art and fashion photography, and whose unique aesthetic led to a collaboration with Maria Grazia Chiuri to photograph the campaign for the cruise 2019 collection with Jennifer Lawrence. Her uniquely dream-like aesthetic originates partly from her early childhood experiences in Africa and also with her determinedly expansive approach to photography and insistence on viewing the image through varied metaphorical lenses. Viviane Sassen was born in Amsterdam but spent some of her formative childhood years in Kenya, before her family moved back to the Netherlands in 1978. She studied design and photography and gained a Master’s in Fine Art from the prestigious Ateliers Arnhem. She has returned repeatedly to Kenya and other parts of Africa throughout her career and credits her early experiences in the region for her fascination with ideas of place, identity and anonymity and her use of ideas of memory, abstraction and surreality in her work. She has shown widely around the world, including exhibitions at MoMA, Les Rencontres d’Arles, Nederlands Fotomuseum and the Photographer’s Gallery in London. She was awarded the Dutch Prix de Rome in 2007 and many other awards internationally in recognition of her work. In this week’s episode, Sassen discusses her life and the concept of time in the studio during lockdown and her relationship to the travel and movement which is inherent in her practice. She also speaks about her own viewpoint and her various subjects; how aspects of this gaze are constant and deeply personal, but also how her eye shifts and adapts according to the project she is working on, whether fine art photographs or her prolific output as a fashion photographer.
[Female gaze] The photography rule-breaking fashion photographer discusses her career, aesthetic, and portraying women
Welcome to the 15th episode of the Dior Talks series ‘The Female Gaze’. With the term developed in response to the writings of feminist film theorist Laura Mulvey, this podcast series will explore how the work of the female photographers and creatives collaborating with Dior offers a radically new and progressive image of women. In this episode, series host Charlotte Jansen, a British journalist and author, talks to Julia Hetta, the acclaimed Swedish fashion photographer who has carved out a distinct position in the industry for her highly choreographed, minutely constructed images for editorial, advertising and portraiture. She takes much inspiration from Old Master paintings, particularly the Dutch still life tradition, and brings a beguiling process of finely balanced composition to a world so often preoccupied with fast appeal. Julia Hetta was born in Uppsala in 1972 and studied at the Gerrit Rietveld Academie in Amsterdam in the early 2000s. As a child she was fascinated by photography and the darkroom which her father had constructed in the basement. She painted and drew, but realised that photography enabled her to realise her ideas of light and shadow with more immediacy and she embraced the development of black and white images. Later she worked for a photographer’s agency but was not concerned with assisting photographers directly, preferring to define her craft through the inspirations of photojournalism. Since starting to work in the fashion world, she has shot for Vogue Italia, British Vogue, AnOther Magazine, W Magazine, L’Uomo Vogue and Dazed & Confused, among many others, and has done campaigns for major labels. She has photographed myriad celebrities, most particularly prominent women, and was also commissioned to take birthday portraits of Queen Silvia of Sweden in 2013. In 2014, her work was included in the exhibition Stop Now: Fashion Photography Next, at Foam Museum in Amsterdam. Here, Charlotte Jansen and Julia Hetta discuss her route to fashion photography and the inspirations she has drawn on in her dedicated study of chiaroscuro and the interplay of darkness and luminosity. She describes working around her innate shyness to form her craft, from her early pictures of her brother to her current work for industry majors. Their conversation veers from the simplicity of Swedish visuals to the writings of Toni Morrison, as they deconstruct Hetta’s complex yet crystalline approach to the representation of women in photography. Finally, Hetta describes her experience shooting the Spring-Summer 2018 haute couture collection for Dior Magazine, and the brave decision of Maria Grazia Chiuri, the Creative Director of Women’s collections, to only collaborate with women.