Team Credits:

Photography by Carolina Ahrenkiel
Styling by Pernille Marie Vium Andersen
Makeup and hair by Martine Mackenhauer
Model: Ingelov
Photography assistant: Silas Kappel Staal
Styling assistant: Caroline Nørmølle

Fashion Credits:

1) Coat by COS.
2) Jacket by Sessùn.
3) Turtleneck, gloves, skirt and jacket by Hermès.
4 & 6) Necklace by Monies.
5) Dress by Arket. Boots by COS.
7) Dress by COS.

Beauty Credits:

Using: Rudolph Care, Idun Minerals, Sisley, and RMS Beauty.

Team Credits:

Photography by Motohiko Hasui
Styling by Keiichiro Hara
Makeup by Moka Wada
Hair by Yuko Aoi
Model: Natsu Naruse

Fashion Credits:

1) Harness by Noir Kei Ninomiya. Coat by Jil Sander. Shirt by Genre. Vintage skirt.
2 & 3) Sweater vest by FEDERICO CINA. Blouse by Hart Man Sport. Dress by Yoichi Nagasawa. Cap by Vlieger & Vandam. Shoes by Jill Stuart.
4) Knit by Helmut Lang. Vintage top. Skirt by Antonio Marras. Tights by Poco a Poco. Shoes: Zuma Collection.
5) Pearl denim jacket by Junya Watanabe. Shirt by Hermès. Pants by Max Mara. Shoes by Oriental Traffic.
6 & 7) Jacket by Junya Watanabe. Shirt and jumper skirt by Comme des Garçons. Shoes by Aravon.
8) Jacket by Burberry. Corset by PERLA. Balloon skirt by Jean Paul Gaultier. Shoes by Jeffrey Campbell.

Credits:
Photography by Kaj Lehner
Styling by Olivia Dahleiden
Grooming by Tanja Schuster
Assistance by Lorenz Litzinger

Fashion Credits:
1 & 6# Bag by Jacquemus
2# Dress by Jacquemus
3# Coat by Hermés, Top by Vetements
4# Shoes by Bottega Veneta
5# Dress by Simone Rocha
7# Trousers by Philosophy Di Lorenzo Serafini, Top by Lee Matthews
8# Shirt by Jacquemus
9# Shoes by Tod‘s
10# Coat by Tod‘s
11# Earrings by Dries Van Noten

Team Credits:

Photography by Oliver Beckmann
Styling by Elke Dostal
Hair & Make Up by Sabine Oberhuber
Model: Char Leeuwin (at Paparrazi Models)
Location: West Studio Munich

Fashion Credits:

#1 Coat by Acne
#2 Jacket by Michael Kors Collection, Earrings stylist`s own
#3 Turtleneck by Versace Jeans, Trousers by Y/Project, Shoes by Calvin Klein
#4 Jacket by Hermès
#5 Shirt and Shorts by Burberry, Trousers by Odeeh, Trainers by Acne, Hat photographer`s own
#7 T-shirt by Versus Versace, Skirt by N° 21
#8 Suit by Acne, Earrings stylist`s own
#9 Sweater by Balenciaga, Scarf by Hermès, Earrings stylist`s own
#10 Sweater and Trousers by Michael Kors Collection
#11 Hat by Gucci
#12 Jacket by Isabel Marant Étoile , Boots by Calvin Klein, Earrings stylist`s own
#13 Coat by Odeeh, Shorts by OFF-WHITE, Shoes by Acne, Earrings stylist`s own, Bra model`s own
#14 Coat by Odeeh, Shorts by OFF-WHITE, Earrings stylist`s own, Bra model`s own

Hair & Make up by MAC cosmetics and Oribegermany

Yony Leyser grew up in Chicago, where he studied writing, filmmaking and the dramatic arts, going on to start his career as a director at an early age. At 26 he finished his first feature-length film, William S Burroughs: A Man Within, which included appearances from icons such as Iggy Pop and Thurston Moore of Sonic Youth.

In 2010, Leyser moved to Berlin and dedicated his next movie, Desire Will Set You Free (2015), to the ever-changing, vibrant German metropolis. Leyser believes Berlin has changed since he first got there – and that it has also changed him. The Forumist met up with him to find out what he thinks about transition and change, and why he believes hedonism is important to finding yourself.

How did Berlin change you?
“I first visited Berlin in 2007 during a university programme. I went out to explore squats, queer parties, housing collectives, demonstrations, vegan restaurants, bike shops, parks and cruising zones. I was in heaven and somehow managed to complete my course at the same time. I fell in love with the queer scene here, with the public space, with the ability to meet diverse groups of people, often with non-conformist views and a desire to defy. I moved here permanently in 2010. The city has changed a lot since I first arrived, and so have I. I became a much more comfortable person here, which was due in part to being able to be around people like me, in a queer community with support from my friends, with basic human rights that the United States deny, like health insurance, public transportation, bike lanes and the ability to survive and thrive. My last two films were heavily influenced by the city of Berlin. Now that I am in my thirties, my priorities have changed and I have entered a new dimension professionally, which is more difficult here, but I’m getting there.

Desire Will Set You Free feels like an homage to Berlin. What fascinates you about this city?
“The city of Berlin is the main character in the film. Berlin is a city of death and disparity, of rediscovery and rebirth, a city for the queer and demimonde, for the outsider and foreigner. I hope that identity remains. In Desire Will Set You Free we were trying to preserve this identity. Together with my producer Paula Alamillo, we set out to document all our friends and various nightlife icons, and the venues where we used to hang out before they disappeared. We wanted to pay back the city for all it did for us. The film was largely improvised and everyone played themselves. It features the who’s who of Berlin and I hope it will serve as a time capsule or yearbook of the 2010s.”

Your movies deal with topics such as hedonism, punk and queerness. What and who inspires your work?
“Some people who inspire me are John Waters, James Baldwin, J Halberstam, Gregg Araki, Ulrike Ottinger, JT LeRoy and David Wojnarowicz.”

How would you personally describe hedonism?
“I guess it’s the pursuit of pleasure and the here and now.”

Do you think it’s important to find yourself, to satisfy your desires?
“Learning and self-learning are important lifelong endeavours. We all adapt, grow, develop and change. Our goals, friend circles, lifestyles, political views, partners, sexual desires, self-views change as we gather experiences and grow older. I think it’s very important to explore our desires and the desires of others, to move forward and to avoid suppressing feelings and emotions that could become very detrimental.”

During your twenties, you went to punk shows on a regular basis. Was this a support system for you?’
“Yeah, I used to love punk. It was a very fun community to be a part of. It’s a deviant way of being subversive and I think that’s important in today’s political climate. Although I don’t really consider myself punk any more, I still appreciate punk.”

What fascinates you about punk in general?
“I guess it’s about rejecting the status quo, capitalism, forming communities of people with similar views by going to punk and rock shows. Growing up in America in the 1990s, I just saw consumerism as the main religion and talking point, so punk became a very attractive alternative.”

You chose to play Ezra, the main part in Desire Will Set You Free, yourself. How much of Yony was in this character?
“Ezra was a mix of me and some friends of mine at that time. I chose to play the character because everyone else was playing themselves and there was so much improvisation that playing that role became a way of controlling the scenes from the inside.”

And what was it like acting and directing at the same time?
“It was super-difficult. I am really happy that I did it and I think it made sense for Desire, but I don’t think I would do it again.”

Desire Will Set You Free deals a lot with hedonism, sexuality and self-discovery, topics you won’t find in many mainstream movies. Why do you think they’re still taboo/niche topics? And how would you like to change that?
“With films, funding usually goes to ideas that are safer, those that are considered safe investments. The really wild people with hot ideas rarely jive with the funding and production elements of making movies, but people are interested in seeing those things. I am so lucky to have my films supported by German film funds and I hope they will continue to take more risks with films covering these topics and include more minority voices.”

Do you think our society is too prudish sometimes?
“Definitely. I guess it’s because people are scared, but I think Berlin is one of the least-prudish cities that I have ever been to.”

What are you hoping to change in people’s minds with your work?
“I don’t know if I want to change people’s minds. Rather, I strive to portray under-represented communities and to creatively document interesting moments in recent history.”

How would you define the meaning of transition?
“Many people strive to achieve constants throughout their lives and aim for stability and sameness, but life is always in transition and I think that embracing change and our journey is key to attaining happiness and unlocking creativity. For me, being an artist and being queer imply embracing a life in transition, and our work can reflect on those transitions and shed light on elements of society that many people ignore.”

Team credits:

Words by Ole Siebrecht
Photography by Tom Kleinschmidt
Styling by Veronika Dorosheva
Makeup by Hyenaz
Talent: Yony Leyser and Hyenaz
Production: Veronika Dorosheva
Special thanks to: Karin Kruse, Ringo Kaufold, Antonia at Hermés, Soma and Phoebe at Fake PR and Aisha at Agency V

Fashion credits: 

#1 Jacket and Shoes: Talent’s own, Top and Trousers by Pringle of Scotland, Glasses by Ace & Tate  
#2 Shirt by Joseph, Sunglasses på Ace & Tate, Hyenaz wears Harness by Mad Kate and Exit
Waistcoat: Talent’s own, Trousers by Pringle of Scotland
#3 Filmstills from “Desire Set Free”
#4 Top, Trousers, Shirt and Shoes by Hermès, Glasses by Ace & Tate 
#5 Harness by Mad Kate and Exit 
#6 Filmstills from “Desire Set Free”

Margiela Archive Pop Up Sale was held during Paris Fashion Week earlier this year in March 2017 and now again, just a week ago during the Mercedes-Benz Fashion Week in Berlin. In the pop up shop people could acquire samples from Margiela’s archives for (ridiculously) high prices of 500 euro for a silk dress and 850 euro for a pair of Tabi boots. Considering the prices for new luxury goods, the price tag of a 500 euro didn’t seem to be so outrageous – but remember, we are talking here about samples and some private second-hand pieces, many of which were not in their best shape and showed stains and visible traces of use.

Just when we believe we know everything about Margiela, new facts come out, casting light on Margiela’s broad creative input and influence over the fashion industry. Did you know that in October 1997, Margiela was appointed as the artistic director for Women’s ready-to-wear (RTW) collections at Hermès, the Parisian high fashion luxury house? I didn’t know until I visited ‘Margiela, The Hermès Years’ exhibition at the ModeMuseum Antwerp, an exhibition that aims to explore Margiela’s oeuvre from his years of work at Hermès, juxtaposing the Hermès collections to Margiela’s creations for his own label, Maison Martin Margiela. This exhibition is on display at MoMu Antwerp until the 27th of August 2017 and is showing this collection for the very first time.

Margiela remained at the position of creative director for Hermès RTW Womenswear for 6 years, from 1997 to 2003, and created 12 collections altogether. He had three important criteria in mind while designing the collections for Hermès: the highest levels of quality, comfort and timelessness. He then introduced a different logo, and he chose not to work with printed scarves or carrés in his collections, nor even with prints – a very daring idea considering the long tradition and history of Hermès printed scarves. He presented his collections on women of different ages and body types, another rather daring idea in fashion industry of that time.

Margiela designed numerous garments as transformable pieces, which could be worn in various ways. Collections were consequently interchangeable, marking the birth of ‘slow fashion’ before ‘slow fashion’ was introduced as a concept.

Although I may have sounded skeptical towards the beginning of this article regarding the hype for Margiela’s creations, I am not skeptical – rather, I am impressed. Impressed to acknowledge and to recognize how even many recent trends actually exist due to Margiela’s genius.

And here is the reason why everyone who is interested in fashion and in the current state of fashion affairs, so to speak, should make their way to Antwerp to see the exhibition for themselves: while strolling through the exhibition I recognized every single trend from the beginning of nineties to our present days in at least one of Margiela’s pieces. Be it exaggerated shoulders, the way the clothes were presented to the public, down to the choice of models and unusual locations for shows, his influence was there. I also learned that Margiela interned with Jean Paul Gaultier from 1984 to 1987 and upon closer look, I could indeed see Margiela’s subtle references to the French maestro.

Another interesting fact that was only recently introduced to the public is that Margiela set up his label not alone as many believe, but with Jenny Meirens, another mysterious figure in fashion industry. Jenny Meirens is someone we still don’t know much about and who sadly passed away on the 1st of July this year. The Margiela exhibition in Antwerp doesn’t reveal much about Margiela’s female companion; unfortunately the exhibition included no additional information about Meirens. However, this NY Times article by Susannah Frankel does talk about Meirens as the woman behind Margiela.  There is also the documentary We Margiela on its way that claims to tell “the untold story of the enigmatic fashion house” of Maison Martin Margiela.  It is supposed to feature Jenny Meirens and the members of the creative team talking about “creative processes and unique philosophies of the Maison.” The documentary is scheduled to premiere in 2017.

Another highlight of the Margiela exhibition at MoMu is a series of videos that show Margiela’s Hermès collections, which were co-directed by Margiela himself, according to the official press release. Check out the exhibition to see it for yourself this summer at MoMu in Antwerp.

Credits:

Words by Veronika Dorosheva

Image Credits:

Header Image. Hermès A/W 1998-1999 Vareuse in double-faced cashmere, sleeveless high-neck pullover in cashmere, mid-length skirt in Shetland wool and boots in calfskin, ‘Le vêtement comme manière de vivre’ Le Monde d’Hermès, Photo: John Midgley

1. Maison Martin Margiela A/W 1996-1997, Photo: Anders Erdström
Hermès A/W 1998-1999, Photo: Studio des Fleurs

2. Maison Martin Margiela S/S 2009, Photo: Giovanni Giannoni
Hermès S/S 1999, Photo: Studio des Fleurs

3. By Stany Dederen

4. By Stany Dederen

5. By Stany Dederen

6. By Stany Dederen

7. Maison Martin Margiela A/W 1996-1997, Photo: Marina Faust

8. Hermès S/S 1999 Cardigan in doube-faced crêpe, collarless shirt in Oxford, pants in crêpe and belt ‘Étrivière’ in bridle leather, Le Monde d’Hermès, Photo: Serge Guerand

9. Hermès A/W 2002-2003 Tuxedo over-skirt in silk ottoman from ‘Les Gestuelles’, Photo: Marina Faust

10. Hermès A/W 2001-2002 ‘Jupe enroulée’ from ‘Les Gestuelles’, Photo: Marina Faust

11. Hermès A/W 2001-2002 Double-breasted jacket and pants in wool, sleeveless high-neck pullover in cashmere and silk and muff in kidskin and lambskin, Le Monde d’Hermès, Photo: Ralph Mecke

12. Hermès A/W 2001-2002 Collarless jacket and pants in cashmere and silk, high-neck pullover in cashmere and silk, scarf ‘Losange’ in silk crêpe, Le Monde d’Hermès, Photo: Ralph Mecke

13. Maison Martin Margiela A/W 2000-2001, Photo: Marina Faust

14. Maison Martin Margiela S/S 2009, Photo: Marina Faust

15. Maison Martin Margiela S/S 1996, Photo: Marina Faust

16. Hermès A/W 1998 image of the advertising campaign over-painted by Martin Margiela (Cape Cod watch designed by Henri d’Origny and double-tour strap bracelet created by Martin Margiela), Photo: Thierry Le Goues