More in this project
- CRIB PRESENTS, CRIB x TOMMY SISSONS
- Mowalola Ogunlesi, Kilón Shélé Gán Gán
- Matthew Gode, Can You Hear Me
- Alexandra Kennedy and Brendan Brulon, ALXVNDRA A/W 17
- Andre Bato, Stockholm Syndrome: Les Enfants Riches Deprimes SS 17
- Boyhood Garments Official, My Ideal Brothers
- Kenji Hirano, Lepus Cornutus
- Michele Foti, My Beautiful Laundrette
- Adam Csoka Keller, Echtes Leder
- Jeaneen Lund and Barði Jóhannsson, Sacred Universe
- Regina Sepp, I Don't Need It
- GVN908, Gravity
- Yuen Hsieh, Xiu Long
- Sylvyen Nazaah, Bisou
- Ela Kaçmaz, Istanbul, 400 Lira
- Jayne Lies, Wonderful Law
- Laura Searle, Litost
- Candice Lo, Whoever, Wherever, Whatever.
- Nüesch Sisters, Moon Girls
- Egor Novikov, BASIC
- Victor Claramunt, Breaking Rules
Stockholm Syndrome: Les Enfants Riches Deprimes SS 17
Andre Bato, Stockholm Syndrome: Les Enfants Riches Deprimes SS 17
Georgina Evans: What made you choose fashion film as a medium for your work?
Andre Bato: I’ve always been into fashion. It’s a form of expression, of course, a medium in itself - your outfit is your business card in many ways, a presentation, or alternatively a way to disguise, or even protect oneself. So, once I started making videos, the fashion theme happened very organically - close to a no brainer. At the beginning I was not interested in making films, and films alone (with a script, plot, or narrative) - the idea was really about reinterpreting, or repackaging the idea of 'the outfit' in one of the many medias it can live within. With film you can have your 'outfit'/fashion become part of a narrative, and go through, or tell you a story - and that's super fascinating as a creative endeavour because the possibilities are close to endless.
GE: Tell me about the film's concept, where did the idea stem from?
AB: I was in Los Angeles working on a job and went to visit Henri (Enfant Riches Deprimes) at his office - he’s always doing something, never stops, so this time he was vacuum sealing (hence the ‘vacuum seal’ reference in the film) some of the items that were inspiration for his new collection: books, zines, packs of Parliaments, and one of those president masks that bank robbers wear in Hollywood films - it was Clinton, for the record.
He had this particular printout on one of his walls: it was a black and white, blurry photo of the trunk of a muscle car, sitting in the middle of a field. The print is what sparked what eventually became the whole concept for Stockholm Syndrome - seeing a car in a field always means something that should not be happening is about to happen or has already happened, so the whole idea with the film was to put a context to that particular picture which caught my attention that night.
The film in itself plays a lot with with the idea of feeling of attraction vs. fear, or of attachment vs. detachment one may have for the same thing, person, or situation - and that duality is represented in the film through 3 different narratives happening at the same time. The first narrative happens visually, with our main character stuck in a field, in a hamster-wheel of a run both towards and away from a muscle car, which here represents both a persecutor and a savior. The second through VO, where we have a woman describing her relationship with a man - and lastly, with the subtitles, which in this case act as a 'translator' for what we are being told. The subtitles here are her inner voice, or a hidden truth in a way - breaking the 4th wall to give the audience another side to this story.
GE: Can you tell me about the making of the film?
AB: The film itself was actually all shot in one morning in a field in Malibu. We shot it with a cinema camera but used filters to give it more of a dated look. The way I see it, this is a snippet from a Police show playing on an old TV set in a sweaty apartment Korea Town, Los Angeles in summer 1989.
GE: Can you describe the role of the model in your work?
AB: Grace was an amazing presence, Henri brought her over he has a good eye with everyone that he allows to put his clothes on for the videos we make, if I had to do it again I would do it with her - her look is perfect for the brand. For the film specifically she was the right amount of beauty vs. dark, innocent vs. wild. Truthfully, it was also genuine, which really just makes mine and everybody’s job easier.
GE: How do you approach the inclusion of fashion in a shoot?
AB: It’s about taking into consideration all the elements in the film and make sure they are true to the fashion, so that both can feed off each other rather than overshadow one another. It’s about creating a world where the clothes can not only survive, but actually thrive you know?