Pierre Debusschere’s new project premiering at Hyères Fashion & Photography Festival, an installation featuring original photo and video, “I know simply that the sky will last longer than I.”
Pierre Debusschere, Portrait by Filep Motwary.
Is this your first solo show?
I did small solo shows before but i like to think of this one as my
first one because it is the first time the work has been thought of for
an exhibition medium.
How does it feel exhibiting alongside someone like Guy Bourdin? It is already an honour to be present at the Villa but even more to be next to Bourdin.
Your subjects-models are worked in a way to look like paintings, what is your aim exactly?
The painting, the Flemish painters are a big influence for me, there is
no specific aim linked to the painting besides the connection to my
The technique that looks like paint that you are referring to is there
more in the idea layers, different layers that gives the image different
steps of reading.
Photo by Pierre Debusschere.
Your show’s theme is beauty versus ugliness. What are your true influences? Is it connected to the work of Umberto Eco ?
Beauty versus ugliness is one of the themes worked in this show, the idea of what is beautiful or ugly today. Yes it is linked to Eco’s work, reading his book
on ugliness helped me a lot in this show.
Your work is tied to the digital medium.Can you imagine yourself working in a previous era ?
For sure I can see myself working in a previous era, it is not about digital, it is more about the medium that fits the time, the idea of NOW.
Photo by Pierre Debusschere.
You have created yourself a whole structure with 254 Forest, which allows you to do an original photo series, a book, an installation and a film… How important is organization to be an artist today ?
Yes I would not have been able without my team to create the photo-series, the book, the installation, the film, the soundtrack and the website !It is always about Team work for me and I’m really grateful to have them besides me.
Organisation is a big part of the work, even more for project like this when we created all this body of work in 2 months. Today you need to be able to react really fast because of the technology era we live in, so that’s why a team is important too !
You need to be present on every aspect of production at the same time ! But then we can not forget sometimes that we need to disconnect ourselves ;)
AntoineAsseraf: Along with Industrie Magazine and the rise of the fashion blogger as a class, your blog has drawn attention to a lot of work, which was heretofore considered a bit peripheral to a designer's raw talent. What do you make of a place like Hyères that still somehow naively stresses the belief that talent will find its own way?If you were to create a Business of Fashion competition/festival, how different would it be?
Imran: At BoF, we firmly believe in the power that lies at the intersection of creativity and business. Both are essential to a successful fashion enterprise, and one can't work without the other. It's a true symbiotic relationship. If we were to do a BoF festival therefore, it would be a combination of creative fashion presentation and business plan pitches, and the judges would come from both sides of the industry.
FilepMotwary: It seems to me that many of the young designers who dream of a future in fashion are unaware about “the business” of fashion in general. Should they worry of how things have evolved, and turned the industry into this huge marathon of task, values that need to be constantly re-valued, trends that suffers from the lack of longevity etc…?
Imran: I tell my students that once they start their own business, they will spend 90% of their time managing the business, and only 10% of the time designing. This balance is not something that has necessarily changed in recent years, but it's true that there is more and more for a young designer to do in the global, digital fashion world in which we live today.
Sean Santiago: The internet and its popular content-sharing platforms, i.e. Tumblr and Pinterest, are destabilizing traditional revenue streams faster than new ones are being created. How will original creative output find funding in the future and do you see crowdsourcing methods such as, for instance, a Kickstarter campaign, possibly becoming necessary to the creation of original artistic output? Or will a big brand always foot the bill when it comes to fashion-related content?
Imran: Brands and designers could certainly fund portions of their businesses -- say specific collections or products -- via crowdsourcing platforms. But ultimately, I suspect that they will need to turn to traditional forms of fundraising (selling equity or taking loans) in order to fund the business over the long term. A young fashion business is highly cash flow intensive, and therefore will likely require stable and planned funding in order to fuel growth and expansion.
MalibongweTyilo: BOF is recognized as one of the boldest voices in fashion writing, often publishing pieces that might not be appreciated by some PR people. Considering how important PR has become to design companies, how does that affect how the design businesses deal with you?
Imran: We are bold, but I believe we are also fair and balanced. Part of the role we see for ourselves at BoF is to surface and shed light on important industry issues that merit wider discussion and debate.
If we can do so in a way that is balanced and fact-based, then most PR professionals seem to respect us for that.
Certainly, there are some who would prefer to control all the communication about their clients, but this is misguided and unrealistic.