Журнал Andy Warhol's Interview Россия Interview № 5 | Página 175

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film. I became acquainted Almod ó var and bunch of
interesting people. We just understood that we have
similar views on life and began working together.
They taught me a lot. However, I always did only
what I liked and enjoyed.
LEAR: Listen, I was recently discussing with
Riccardo Tisci his declining the offer to head the
House of Dior, and he told me something: “There is
so much corporate pressure there, I could not put up
with it. Despite all the amenities of that position, if
I agree to it, then I would lose all my freedom”. Do
you feel free in your profession?
GAULTIER: Of course, as soon as I stop feeling
free, I will immediately quit this work. I’m a spoiled
child and always will be. I’ve never compromised in
my life.
LEAR: Working at Herm è s didn’t make you more
obedient? I was always surprised by your association
with such a traditional house.
GAULTIER: Indeed, I was a cheeky punk, far
from that house’s elegance, but that is why it was
interesting to work with them. Especially with
Mr. Dumas (Jean-Louis Dumas headed Herm è s for
30 years.—Interview). He is no longer with us, and
the time had come to think of myself. I spent some
time with Herm è s, but you know that every love sto-
ry ends. There are some important phases: three
years, seven years...
LEAR: Good sex lasts three years.
GAULTIER: For me two years—maximum.
LEAR: If we’re really being honest, for me it’s all
of three weeks. Armani always insisted to me that
one should only search for a partner in old age. You
have to have fun while you can. I agree with him and
so I’m against long-term relationships. I will still have
fun for a long time, and then find myself an old man
to remind myself when I need to take my medicine.
GAULTIER: Perhaps it will be simply some kind
of old friend?
LEAR: No. There are too many temptations
in our world. When you work in fashion, you’re
surrounded by the most beautiful men and women.
I’m not ready to limit myself.
GAULTIER: I think it’s even worse in movies,
right?
LEAR: Yes. Everyone dreams of actors, but screw
firemen. Actors don’t excite me at all.
GAULTIER: They’re horrible narcissists.
LEAR: And yet, I think that a whole generation
of “gerontophiles” has appeared. They’re hung up on
older women. They love people with great experi-
ence. The young boys like it when an already lived,
studied world is brought to them on a platter. It’s re-
ally very nice. The problem is that it can’t last long.
It doesn’t work when one takes everything and gives
nothing in return. But why are we going on and on
about sex! Better to tell me about your relations with
Russia, as our chatter will be published there.
GAULTIER: About 20 years ago I read a book
about Russian constructivism. It left such an impres-
sion on me that I dedicated an entire collection to it.
Then I became acquainted with the great Ert é (Rus-
sian artist Roman Tirtoff, who worked under the
pseudonym Ert é .—Interview).
LEAR: I had dinner with him once. He seemed
like he was already 100 years old then. At midnight
he categorically stated that it was time to go to bed.
I thought: “OK then, tired grandpa”. But it turned
out that early the next morning he was flying to Ibiza
to build a house. I then realized: as long as you are
busy, you’ll keep young. So, what’s going on there
with the Russians?
GAULTIER: I earlier did a collection about Rus-
sian emigres. I was fascinated by the history of Rus-
sian princes that immigrated to Paris and became
taxi drivers. I left only the settings of the necklaces
and rings, as if they had to sell the gems. When I first
presented my collection in Moscow, I was over-
whelmed with emotion: excitement, an incredible
desire to please, excess.
LEAR: When is your next show?
GAULTIER: At Men’s Fashion Week, at the end
of June.
LEAR: Do you remember how you tried to
change the image of men with skirts, kilts, dresses
and make-up?
GAULTIER: The most interesting thing is that
the first to begin wearing these things were not gays,
but heterosexuals. Then this style receded, and now
metrosexuals are bringing it back.
LEAR: Yes, men have really started to look after
themselves.
GAULTIER: I’m even considering launching
a line of men’s underwear. I want to show men as
a sex object. It’s unfair that it’s only acceptable to
present women this way.
LEAR: I saw an ad for your new scents—it was
very sexy! Where the man gets dressed, gets out of
bed, dresses as a sailor.
GAULTIER: Yeah, and smells the pillow.
LEAR: Exactly! I recently filmed a clip and
I asked the director to create the same atmosphere.
GAULTIER: No way! Can I see it?
LEAR: Of course, on YouTube. I’m in a corset.
GAULTIER: Where did you get it? Why didn’t
you ask me for one? Corsets are my forte!
LEAR: I just didn’t think of it. I just stopped by
a neighboring sex shop.
GAULTIER: Women are always smarter, cle-
verer and stronger than men. They have constantly
been inculcated into the idea of male machismo, but
I think they also love sensitive men. For example,
when I sent a man out on the podium in a dress with
a huge slit in the back, I did it for women. Gays don’t
like this; they prefer manliness. But I love breaking
taboos. Now everyone insists: “Don’t work with old
models”. And I, quite the reverse, dream of making
a show with old ladies.
LEAR: Oh, definitely call me!
GAULTIER: Amanda, stop, you’re too young for
that. Just become my model.
LEAR: The last time I went to one of your shows,
I was pounced on by women from PETA. They
shouted: “Amanda, you’re hideous! Look at what
you’re wearing”. I had on a red Dolce & Gabbana
trench coat with a leopard print.
GAULTIER: They’re so aggressive. I’ll never
stop loving fur. It would be better if these activists
looked after the fate of their loved ones, rather than
tormenting us about animals. Once their leader
Bridget Bardot organized a demonstration against fur
in Saint Germain des Pr é s. I found a photograph in
which she is lying on a panther, made it into a poster
and took it out on the street. The demonstration was
cancelled. Another time, their activists stormed into
my studio, but I was warned beforehand: I prepared
my people, who started to put fur jackets on those
crazy people by force. This was a joke, of course. But
I hope they realized how it feels to be the target of
aggression. In revenge, they broke into my store and
poured red paint on all the clothes. There wasn’t
even any fur there—it was a summer collection.
LEAR: Do you notice how the people buying your
clothes have been changing? Earlier it was only Hol-
lywood stars and very rich people. And today anyone
can allow themselves to buy a little something.
GAULTIER: Of course, there are clients that
have grown old with me, but young people also
sometimes find me. Fashion is becoming more and
more of a spectacle rather than product for consump-
tion. Recently I saw a huge Zara shop window, where
there was everything: models, lighting, furniture,
there were clothes, like in the Yves Saint Laurent ad-
vertising during the time of Tom Ford. It’s amazing
how they manage to convey this atmosphere and at
the same time sell low-price clothes. If it keeps going
like this, we will be earning less and less. My only
trump card is a strong brand.
LEAR: Therefore eminent designers are doing
collaborations with big companies representing the
mass market.
GAULTIER: I’m also not opposed to such a state
of affairs. I’d gladly make something very simple:
jeans, t-shirts. And then completely devote myself to
the industry spectacle.
LEAR: I think making movie costumes is incred-
ibly interesting.
GAULTIER: Cinema is wonderful! It’s a great
chance to get into an absolutely foreign story.
LEAR: You know, Almod ó var and I have already
been discussing a project about Dali for some time.
Everything was even ready for shooting. We re-read
the script and became terrified. There is an orgy in
every other scene! And Dali was really not like that.
Shooting was cancelled. Incidentally, Antonio Ban-
deras should play him.
GAULTIER: Have you already decided who will
play you?
LEAR: When I wrote the book about my life with
Dali, I thought it would be great if I was played by
Claudia Schiffer. But then I met her somewhere, and
she was like: “I really liked your book. Who wrote it
for you?” I replied: “Thank you very much! And who
read it to you?”
GAULTIER: Perfect! (Laughs.)
LEAR: She was astonished. To sum up, tell me,
what do you see as the next phase of your life? Are
you saving for the future? Have you decided to enjoy
yourself? I’ve been working like a horse my whole life
and always think, well, when will I really begin to
enjoy myself?
GAULTIER: Real happiness is when you follow
your heart. The main thing is not to plan anything.
(Gaultier drops a pen under the table and bends down to
pick it up.)
LEAR (looking at Jean Paul): Did you tuck your
shirt into your shorts?
GAULTIER: Oops. When I go to the toilet,
I’m always thinking of something else.
ANSELM
REYLE
p. 166
by ARNO BRANDLHUBER
Art objects from household waste are the signa-
ture of Anselm Reyle, a star in great demand in
the art world. Even the prim company Dior fell
under the spell of the German artist’s foil paint-
ings and commissioned a line of bags from him.
Reyle met in his Berlin studio with renowned ar-
chitect Arno Brandlhuber and told his long-time
friend how and why he became an artist—and why
art is teamwork.
BRANDLHUBER: Hello. I’m always surprised
how you end up with such complex works. What are
you doing here—is it a painting?
REYLE: Painting is just a tool. The definition of
what I do—painting, making a sculpture—long ago
ceased to play a role. There are always many options
for how you use the same material.
I can stretch foil over a whole picture, and I can
make it from some intricate composition. If I slap on
a museum Plexiglas box, then it can be taken as seri-
ous art. And here too, believe me, it really doesn’t
matter what it is called.
BRANDLHUBER: Are you ever afraid that at
some point the creative system you’ve built will ex-
haust itself?
REYLE: Some day, definitely! If only because it
would all cease to be interesting. Indeed, in the end