Laird Borrelli-Persson - Vogue: Fantasy & Fashion

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Table of Contents

Guide

FANTASY & FASHION

ABRAMS

NEW YORK

TIM WALKER

, Jewel in the Crown, May 2012.

Models Frida Gustavsson and Mirte Maas.

FANTASY & FASHION

EDITED BY

LAIRD BORRELLI-PERSSON

FOREWORD BY

JOHN GALLIANO

Contents

I

w

as drawn to fantasy even as a child. Its something that I would use

when I wanted to escape from the real world. Thats why one creates

stories, no? Sometimes it was nicer to be in my head. I still think it is

sometimes! When I was a boy, my chopper bike would become my

stallion. Id pretend it was a horse like Black Beauty as I rode around

Peckham Rye Park in South London. I was escaping with speed and

freedom. I loved reading from a very early age, when I would borrow

books from the lending library in Lordship Lane. Alice in Wonder-

land has been a figure in my life since childhood. (It was a magical day when

my partner, Alexis [Roche], and I were photographed by Annie Leibovitz for

Vogue

s Alice in Wonderland

story.)

Vogue

has a history of fantasy and surrealism in fashion, and its obvi-

ously something that has been very much a part of my vocabulary from the

beginning. The idea of taking inspiration directly from Vogue began when I

was a fashion student at Central Saint Martins, spending a lot of my time in

the library. I would also go to the London College of Fashion Library, where

I discovered that they had an even more complete set of the Vogue s of the

1940s, 50s, 60s, and 70s. I think I must have gone through every Vogue that

existed, every page of those bound volumes. Theyd bring me three books at

a time, and I would just dip in and out of them, page by page. I would spend

days there, because you couldnt take pictures then. You made photocopies

if you were allowed, and youd have to use a little bookmark so that the page

wasnt damaged. I remember having a very dry tonguea white tongue

because the pages were like dust. After some time I invested in a postmans

stamp moistener!

In this way, I started to build my own little archive of images. Later, those

images would become elements in the research books that were like bibles for

a collection. Every detail was included. Everything was relevant. Those bibles

were really important to help me introduce the story of the collection because

they inspired the set, the mood, the music, the hair, and the makeup. It was

the backdrop to the collections.

FOREWORD

JOHN GALLIANO

SALVADOR DAL

, Cover, April 1, 1944.

previous page:

STEVEN MEISEL,

Mad About You,

October 2003.

Model Eugenia Volodina.

There was a connection that I felt to the Vogue images that I

was studying in the libraries, to the fantasy of them. They chal-

lenged me to dream. And then, little by little, as I started to learn

more about the photographers, they became part of my grammar.

The level of excellence in these pictures is just breathtaking. The

Irving Penns! Thats someone who understood the garment and

painted with lightGods light. And later, to have worked with

Mr. Penn, whose work I so revered, to have had my work photo-

graphed by him, and to have been photographed by himI felt

transported. Even today, when its getting tough in the middle of

preparing a collection, I often imagine him in the room, and I say

to myself, I have to finish this dress for Mr. Penn.

And of course the artists who did work for the magazine:

Tchelitchew, Dal, Cocteau, and de Chirico. And the illustrators,

too: Carl Eric Erickson, Christian Brard, and Ren Gruau

among them. Sometimes those illustrations make you dream more

than the photographsthey leave a little more scope for the imag-

ination to play. Ren Gruaus work I found hugely inspirational,

for instance, because it was almost unfinished. Its gestural, he

just captured

lessence

. Its an invitation, isnt it? An invitation,

rather than a very academic study.

My student collection was inspired by contemporary prints

of the Incroyables, the dandies who emerged toward the end of

the French Revolution. It wasnt historically correct at all, but I

was inspired learning about that world, and I started to create

stories. These characters thrilled and excited me. Because of the

limits of my technical abilities at the time, the coats were all tak-

en off the kimono block. Later I studied real 18th-century cos-

tumes at the Victoria and Albert Museum: the cut and construc-

tion, how the collars were notched, how they were finished. Im

really fortunate that I was able to see these things firsthand. But

otherwise, I took inspiration from paintings and from literature.

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