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Men's fashion has a certain heaviness in the fabrics and construction. But also there is a heaviness in the mentality.

Hedi Slimane

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Hedi Slimane
Age: 56
Born: 1968
Born: July 5
Designer
Fashion Designer
Grand Couturier
Photographer
Also
Certain
Men
Fabrics
Heaviness
Mentality
Fabric
Construction
Fashion

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The iPad needs to catch up with Flash before I put a hand on it.
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The perfect integrity of The NewYork Times, and its writers, is not precisely 'just silly nonsense,'
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[It's] not one thing this year, one thing another year.
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Sex is not a subject in my photographs, or would only be if it had to do with romance, sometimes vulnerability. The photographs are quite clearly about happiness, or search for happiness.
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Hedi was and is still misspelled 'Heidi' and my perception of genders ended up slightly out of focus from an early age.
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I discovered Los Angeles in the late 90s. The city was not at its best at the time, but I fell for it right away. There is something almost haunted about it, a vibrant mythology I find rather inspiring.
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People always want an explanation about everything and I cannot give it to them. Because I don't know myself. 'Why did you do a pair of pants like that?' I have no idea. I'm not going to have a 20-minute political discussion about the necessity for slashed, painted leather jeans. Basically, I don't know more than you.
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I presume my work has also always been about reduction without any distraction or after effects, outside emotions, or intimacy or complicity with the subject.
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David Bowie, for me, was the butchest guy in town. Jagger was like a truck driver.
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I started as a black-and-white teenage photographer, and I'm still there decades after. In some ways, the genre is almost gone. I am thinking of true, stubborn, lifetime black-and-white photographers, as opposed to black-and-white as a photographic commodity.
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I'd like men to think about evolving into something more sophisticated, more seductive. To explore the possibility of an entirely new masculinity.
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My parents offered me my first camera for my birthday and I developed an exclusive passion for it over the years. Since I was not the most social kid on the block, the camera helped me to express myself, invent my own language - something like a secret garden. I decided early on I would not write in a diary but take silent photographs instead.
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I'm most interested in that moment when my entire perspective changes, and I have to reconsider everything.
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I only like luxury fashion. You have to decide where you stand. I like well-made, authentic clothes, well-crafted tailoring. I also like the dream and fantasy of luxury, the exception and rarity of it. I have no interest at all in fast retail. It is ambiguous.
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I shared this idea that fashion starts with a movement, an allure: elusive, defined through perfect proportions.
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I'm going to design again, but I come back when it's the right project, so I keep my passion for it intact.
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I love California. It has such a strong contribution to the history of culture, and popular culture. For better and worse, of course. Even the worst can be interesting to some degree sometimes for somebody creative.
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The framework of men's wear is so narrow, that when you play at the edges you get labeled.
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I like it to stay very organic, and to remember a personal story behind all my subjects.
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Photography has always been about documentary, the depiction of the instant, a moment, sometimes a place. Each project is somehow an experimentation of a specific context or a character.
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