Vogue China Setembro 2014 | Nicolas Ghesquière + Mais por Patrick Demarchelier
O diretor criativo da Louis Vuitton, Nicolas Ghesquière, é destaque no editorial intitulado “Vogue Attitude” da revista Vogue China Setembro 2014. Nicolas que fez o seu debut na marca de luxo francesa na temporada do outono 2014, substituindo Marc Jacobs, fala na entrevista sobre a sua estréia na Louis Vuitton, e também explica o porquê ao invés de chamar somente um fotógrafo, chamou três grandes nomes da fotografia como Annie Leibovitz, Juergen Teller e Bruce Weber para assinarem a sua primeira campanha.
Grandes nomes do mundo da moda como Fan Bingbing, Charlotte Gainsbourg, Ji Hye Park, Golshifteh Farahani, Chloe Sevigny, Stella Tennant, Ko Shibasaki, Rinko Kikuchi, Nicola Peltz e Kate Mara posam para as lentes do fotógrafo Patrick Demarchelier exibindo alguns must haves da coleção assinada por Nicolas nas fotos que acompanha a matéria principal.
The Patience Stone was the movie in Toronto that two separate women told me I needed to see. And boy was it worth it. It is basically a monologue performed brilliantly by Iranian actress Golshifteh Farahani to her husband who is lying in a coma after being injured in war. The woman is unnamed, as is the country, and she is a symbol of all women who are forced to marry young, bear children, and deal with men fighting and killing each other. She symbolizes the women whose own hopes and dreams are sublimated due to circumstances and restrictions placed on them just because they are women. They long for love and long for life but live with duty and in fear. It is a beautiful lament on the need for peace.
The movie is ow in theatres in NY, and Women and Hollywood spoke with leading lady Golshifteh Farahani about the film.
Women and Hollywood: Can you tell me about what drew you to this role?
Golshifteh Farahani: Before reading the film script, I had read the book a few years before like in 2009.
As an actress, I thought, of course, I have to play this part. This is a woman fighting for her individuality. She has so many contradiction and so many contrasts. I really wanted to understand all that feeling and I wanted to understand it to play it well.
WaH: It is not a conventional movie. There are very few words. It feels poetic and you are simply the entire movie. How hard was it to have all of this on your shoulders?
GF: That is the reason that I was motivated to do this part. But, it was very difficult because of course, it is, not a monologue, but dialogue with herself and the universe. The partner is mostly not there. I saw the camera as my partner. I needed something as my partner and I was alone with this camera. The amount of monologue is enormous. I had to learn 30-40 pages in a language which was not my mother tongue. French and Italian are close, but they are different. It was difficult, but it was also great.
WaH: She feels to me like an everywoman--women who live in these war torn countries, women who don't have as many rights as men, she is a very kind of symbolic character. Do you agree with that?
GF: As a symbol of a woman, I would agree. But, she is not an Afghani woman. Yes, it's really true that we all have something in common with this woman. That's what makes it international and that's what makes it a symbol of all women. We all have stories to tell and secrets. Or fear sometimes, especially in societies with a huge pressure of religion on the society. There are many places like that and we have so much in common with that woman. We have the same sexual problems, like sexual pleasure. This woman for the first times realizes that she can have the sexual pleasure. Her body is not just for suffering, but also for pleasure. She starts to understand herself and become mature. She is true to her soul and her mind and her body, which she had ignored before.
