<?xml version="1.0" encoding="UTF-8"?>
<rss version="2.0"
	xmlns:content="http://purl.org/rss/1.0/modules/content/"
	xmlns:wfw="http://wellformedweb.org/CommentAPI/"
	xmlns:dc="http://purl.org/dc/elements/1.1/"
	xmlns:atom="http://www.w3.org/2005/Atom"
	xmlns:sy="http://purl.org/rss/1.0/modules/syndication/"
	xmlns:slash="http://purl.org/rss/1.0/modules/slash/"
	>

<channel>
	<title>7000</title>
	<atom:link href="http://7000magazine.com/feed/" rel="self" type="application/rss+xml" />
	<link>http://7000magazine.com</link>
	<description>Fashion &#38; Art Magazine</description>
	<lastBuildDate>Thu, 16 May 2013 13:29:28 +0000</lastBuildDate>
	<language>fr-FR</language>
	<sy:updatePeriod>hourly</sy:updatePeriod>
	<sy:updateFrequency>1</sy:updateFrequency>
	<generator>http://wordpress.org/?v=3.5.1</generator>
		<item>
		<title>A poetic find</title>
		<link>http://7000magazine.com/a-poetic-find/</link>
		<comments>http://7000magazine.com/a-poetic-find/#comments</comments>
		<pubDate>Wed, 27 Mar 2013 18:04:46 +0000</pubDate>
		<dc:creator>Marine</dc:creator>
				<category><![CDATA[Blog]]></category>
		<category><![CDATA[7000 magazine]]></category>
		<category><![CDATA[corso como]]></category>
		<category><![CDATA[ete indien]]></category>
		<category><![CDATA[historesdeaux]]></category>

		<guid isPermaLink="false">http://7000magazine.com/?p=2667</guid>
		<description><![CDATA[Like a LOVESTORY these exceptional parfumes carry a message of happyness, sweetness, sadness&#8230; And some of the other strongest emotions that love and passion always at one point provoke. It&#8217;s like reading a book or a poem and getting drifted into this emotion or moment. How can one resist to words like that !? I found these parfumes on the shelf of the  Corso Como Concept Store in Milano. More info about these italian parfumes -Histores d&#8217;Eaux  …and your caresses in the morning, the tenderness of our INDIAN SUMMER …like a LOVESICKNESS you are all around me … so that we will not forget, AS USUAL I come to tempt you //back]]></description>
		<wfw:commentRss>http://7000magazine.com/a-poetic-find/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Albin Woehl</title>
		<link>http://7000magazine.com/albin-woehl/</link>
		<comments>http://7000magazine.com/albin-woehl/#comments</comments>
		<pubDate>Tue, 26 Mar 2013 17:47:28 +0000</pubDate>
		<dc:creator>Marine</dc:creator>
				<category><![CDATA[Art]]></category>

		<guid isPermaLink="false">http://7000magazine.com/?p=2628</guid>
		<description><![CDATA[Né à Paris où il est passé par l’École nationale des arts appliqués et l’École des Beaux-Arts, Albin Woehl a longtemps travaillé dans la capitale avant de s’établir dans le Vaucluse. Tout en continuant à poursuivre dans ses ateliers successifs une carrière d’artiste peintre, il s’est intéressé à de multiples autres potentialités de l’image, maquettes industrielles, affiches, décors de théâtre, d’opéra, et de télévision. Il a participé à de  nombreuses expositions personnelles ou collectives sous la signature « Albin ». Au cours de sa dernière manifestation à la galerie « Ou bien » à Genève, il a montré ses tableaux de sa série « Jeux de formes, jeux de signes, etc », d’étranges et éclatantes variations entre abstraction et figuration. Cela fait plusieurs dizaines d’années que je te connais, je t’ai vu changer souvent de style comme de technique. Il y a des peintres qui font toute leur vie la même chose, prenons un exemple ancien pour ne froisser personne, disons Canaletto ; et d’autres qui changent souvent, disons Goya. Comment expliques-tu cette recherche perpétuelle du changement ? Canaletto est né et mort à Venise. Il se servait d&#8217;un instrument à fabriquer de merveilleuses cartes postales qui s&#8217;exportaient très bien comme telles dans tout le nord de l&#8217;Europe et en particulier chez les Anglais qui d&#8217;ailleurs récemment on vendu une &#171;&#160;vue&#160;&#187; 18 millions de livres chez Sotheby ! Il n&#8217;avait donc aucune raison de changer de manière ! L’œuvre de Goya est née de ses aventures successives : sa famille, la famille royale, l&#8217;Église, l&#8217;Inquisition, Napoléon 1er, l&#8217;invasion de son pays par les troupes françaises, la surdité et enfin l&#8217;exil à Bordeaux ! Pour moi rien de tout ça. Le vécu n&#8217;entre pas &#8211; du moins pas consciemment &#8211; dans mes créations. Quand on n’a pas de contraintes commerciales les seules commandes que l&#8217;on puisse se faire à soi-même sont des travaux de recherche pure, ce qui était presque impensable pour la plupart des peintres dans les derniers siècles. J&#8217;agis comme un explorateur qui additionne des nouveaux territoires et qui a toujours envie d&#8217;aller plus loin. On peut avoir l&#8217;impression d&#8217;une œuvre disparate mais seul peut me satisfaire un critère, celui de la multivision, c’est-à-dire une pensée plastique qui tente de saisir toutes les facettes de la réalité visuelle. Bien sûr, ce n&#8217;est pas l&#8217;avis des marchands qui ont du mal à suivre ma démarche, mais je n&#8217;ai pas ce problème. Je casse le vieux moule à chaque fois! Mais ne crois-tu pas que les conditions biographiques sont très secondaires ? Il y a des peintres qui ont l’esprit de recherche, d’aventure, et qui changent tout le temps de mode d’expression, et d’autres qui n’ont trouvé qu’une petite chose et qui s’y tiennent (ce qui bien entendu n’ôte rien à leur éventuel génie !). Pourtant les nombreuses époques de Picasso sont intimement liées à sa biographie, il en est même l&#8217;exemple absolu! Ce qui frappe lorsqu’on examine toutes ces périodes, c’est que tu oscilles entre la recherche d’une certaine forme de réalisme, et même parfois d’hyperréalisme, avec des séries qui empruntent à la tradition classique, natures mortes, portraits, nu, etc, et, au contraire, une abstraction qui va même parfois jusqu’aux signes, on pourrait aussi bien dire une sorte de « signalétique ». Incertitude, inquiétude quant au statut de l’art ? C&#8217;est vrai, tous les critères sont tombés : l&#8217;authenticité, l&#8217;originalité &#8211; on parle même maintenant de « copies originales » &#8211; la vision unique, le génie, etc&#8230; Le post-modernisme est l’expression de cette forme nouvelle qui permet de sauter d&#8217;un mode à un autre sans que cela pose de problème à personne. Voyez Marcel Duchamp, qui en plus était une femme quand il prenait le personnage de Rrose Sélavy! : avant le célèbre urinoir, il peignait une Vierge à l&#8217;enfant!! Dans tes dernières productions, on est en présence d’une multitude de signes et de couleurs. On cherche à mettre en rapport des formes avec des couleurs, ou des formes entre elles, mais le mode d’emploi nous échappe sans cesse. Est-ce un jeu ? Une réflexion sur le signe ? Un pur arbitraire ? Un brouillage pervers des codes ? Il n&#8217;y a pas de mode d&#8217;emploi. C&#8217;est un simple jeu, comme chez les enfants. Le spectateur  &#160;&#187;finit l&#8217;œuvre&#160;&#187; en la composant-recomposant lui-même d&#8217;une manière aléatoire, selon sa propre sensibilité. En ce sens, cela ressemble au mouvement des &#171;&#160;musiques aléatoires&#160;&#187; comme celles de Pierre Boulez où l&#8217;on peut écouter un morceau en commençant n&#8217;importe où. Oui, mais il n’empêche que le spectateur est en demande d’explication : il va absolument vouloir déchiffrer le code ! Ne risque-t-il pas une désillusion ? Peut-être sera-t-il déçu en se demandant ce qu&#8217;il y a derrière ? Mais le sais-je moi-même? Quand on demandait à Dali ce qu&#8217;il avait voulu dire il répondait que s&#8217;il l&#8217;avait su il n&#8217;aurait pas fait le tableau ! Donc de l’art pur, sans intention a priori et sans code a posteriori ! Juste des images qui ont parlé à un moment donné à mon imagination… La plupart de ces formes ou de ces signes ne semblent pas avoir de référent immédiat. D’autres sont de pures silhouettes humaines. Serions-nous encore en présence de cette coupure que nous évoquions plus haut entre abstraction et représentation ? Cela nous ramène aux éternels débats sur signifiant et signifié. Mon intension naïve était de créer un signe nouveau, une forme nouvelle, et, à chaque fois, selon des règles de plasticité incluant le nombre d&#8217;or. Bien sûr il y a quelques répétitions internes. On comprend vite que la seule raison d&#8217;être de ces tableaux est simplement qu’ils soient vus ! Un langage sans représentation mais une mise en signes de l&#8217;espace. Pas de mode d’emploi, donc, et les questions du spectateur, ses indécisions, ses rêveries, sont le fondement même de ces tableaux. Lorsqu’on regarde ces dernières compositions, on se souvient de recherches semblables, Malevitch, Arp, Matisse… Est-ce aussi une façon de revisiter l’histoire récente de la peinture ? Nous avons tous des parents auxquels nous ressemblons. C&#8217;est plus de l&#8217;ordre de la citation que [...]]]></description>
		<wfw:commentRss>http://7000magazine.com/albin-woehl/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>DRIES VAN NOTEN</title>
		<link>http://7000magazine.com/dries-van-noten/</link>
		<comments>http://7000magazine.com/dries-van-noten/#comments</comments>
		<pubDate>Tue, 26 Mar 2013 15:34:14 +0000</pubDate>
		<dc:creator>Marine</dc:creator>
				<category><![CDATA[Fashion]]></category>

		<guid isPermaLink="false">http://7000magazine.com/?p=2619</guid>
		<description><![CDATA[Dries Van Noten’s fashion is rather like the perfume he has just launched with Frédéric Malle : concentrated, heady and intoxicating. His style attracts traditional clients, as well as trendier ones. No need to be a two-metre beanpole to wear Dries. His clothes impart an inimitable allure to those who wear them, an elegance marked by depth and intelligence. A reference for every genuine fashion lover, Dries Van Noten is a discreet, refined and pragmatic creator, who manages to be romantic and down to earth. The Antwerp designer, who will turn fifty-five this year, does not follow trends if they don&#8217;t suit him. You won’t see pre-collections or piles of accessories bearing his label at countless retail outlets around the world. You keep pieces from Dries for years, developing an intimate relationship with them. His clothes never date and they are sufficiently qualitative to last. Moreover, his approach to his work is different from that of his colleagues, who often focus on specific themes. &#171;&#160;When I start a new collection, I do not have a particular story in mind, or a person I absolutely want to reference. The creative process is primarily defined by the relationship I have with my team, rather than one single inspiration. In my case, it&#8217;s completely interactive. Many people have mentioned grunge when talking about my last womenswear show, and it&#8217;s true that I thought about it while coming up with the silhouettes. However, it&#8217;s not grunge itself that appealed to me, but the idea of having fun with fashion. I wanted to get back to that playful, light dimension, where everything can be mixed and categories cease to exist.&#160;&#187; Van Noten&#8217;s talent lies in the fact that he always finds a balance between the new and the old or more familiar. A huge success with buyers and the press, his last womenswear collection was a breath of fresh air, showcasing his personal taste and his very singular approach to fashion. Checks were mixed with beautiful embroidery and floral prints. Long caftans in silk organza floated around the body, worn freely over blouses and pants. The girls seemed almost ghostly, fragile yet present at the same time. The Sonic Youth version of The Carpenters&#8217; Superstar provided an offbeat tone to the soundtrack, adding a nice touch of irony. Dries&#8217; signature tune belongs neither to the past nor the future. It&#8217;s a complex arrangement he reinvents for the present, thereby avoiding the trap of repetition: &#171;&#160;As soon as I feel that something is too Dries Van Noten, I change everything and start again. I do not want to get stuck in a system, it would be far too simple. Besides, I do not want my collections to age with me. It&#8217;s important that they speak to a wider audience.&#160;&#187; There is something disarming about Van Noten&#8217;s humility. After all, he could assume the arrogance of those who have succeeded and gained many honours, except that his mentality simply doesn’t allow it. His restraint is probably due to his strict upbringing, or the values passed on by his father, the owner of several fashion boutiques in Antwerp. Reserved and touching, Van Noten cultivates a certain mystery. He is happy away from the chaos of the world, in his garden, or in his spacious office with his dog: &#171;&#160;I am aware that I protect myself from many things and I am fortunate to work in a pleasant environment. It&#8217;s a personal choice. With this last collection, I really wanted to find a certain spontaneity again, something that is not calculated. I wanted freshness. I often feel that fashion has become too serious, and that it lacks that creative impulse.&#160;&#187; Van Noten is his own man and his company, totally independent, is a reflection of this: &#171;&#160;We were often approached by investors in the past, but I always refused. During the nineties and the noughties, many brands signed with big groups. I have to admit that we hesitated at times, but it&#8217;s difficult to give up one&#8217;s freedom. I opted for growing at our own pace, slowly but surely.&#160;&#187; It&#8217;s very clear that the Belgian designer has never wanted to advance by leaps and bounds, even after a career of more than twenty-five years. Titillating the small world of fashion with improbable clothes never appealed to him: &#171;&#160;I did not choose this career out of a desire to provoke. I have no desire to go to extremes or to offend people. Creating fashion as showbusiness isn’t me.&#160;&#187; However, there is always a hint of subversion in his collections that doesn’t fit with the image people tend to have of him. You can feel it in his sophisticated outfits, resembling luxurious pajamas, worn in a nonchalant and almost aristocratic way. You can sense it in his graphic prints, blending history with abstraction. And you see it in his materials, as rich as they are hi-tech, combining the energy of sportswear with the dream of Haute Couture. There are few poets in Fashion today, but Dries Van Noten remains one of them. We are still under his spell, and there&#8217;s no reason for that to end. Thank you Dries. //BACK]]></description>
		<wfw:commentRss>http://7000magazine.com/dries-van-noten/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>ARMANI</title>
		<link>http://7000magazine.com/armani/</link>
		<comments>http://7000magazine.com/armani/#comments</comments>
		<pubDate>Tue, 26 Mar 2013 15:25:54 +0000</pubDate>
		<dc:creator>Marine</dc:creator>
				<category><![CDATA[Blog]]></category>
		<category><![CDATA[Fashion]]></category>

		<guid isPermaLink="false">http://7000magazine.com/?p=2610</guid>
		<description><![CDATA[Immediately recognisable and defined by its longevity, the Armani style sidesteps the diktats of Fashion. Uninterested in trends for their own sake, Giorgio Armani designs real clothes, which are worn on the street the world over. It’s a far cry from the efforts of many designers to impress the media. A look at the company’s annual returns shows that clothing remains its main source of revenue as opposed to many other houses that rely on accessories and other merchandising. Today, few luxury brands have remained independent but Armani is one of the exceptions to the rule. Moreover, there is a total match between his collections and his personality. Cerebral and sensual at the same time, Armani&#8217;s approach has always favoured a refined and discreet elegance, but the designer can also be bold and fantastic. He demonstrated this during his Spring-Summer 2013 Haute Couture show in Paris last January, celebrating a cross-breeding of cultures and influences. “We must embrace different cultures&#8230;”, the Italian maestro told the press just after the show. Subtly arabesque, the Armani Privé collection combines fluid materials with the structured cuts he does so well. The trouser suit is a key piece of the collection, as convenient as it is comfortable. With its palette of warm shades, combining intense red, bright orange and saffron yellow, the collection is resolutely chic and playful, evoking the splendour of India and the charm of Marrakech. All topped off by shiny, asymmetrical, satin fezes, the models seemed to have escaped from a Bedouin tent to explore the desert in all its immensity. An undertone of charm and mystery defined their outfits, timeless and impalpable. Lustre is one of Armani’s recurring motifs, both in the shimmering, shaded silks he uses for his trousers or the precious embroidery adorning his evening gowns. Metallic brocades bring a touch of glamour to pure and minimal shapes, made to last for decades. A thirties femme fatale appears between two passages, impeccable in a check suit worn over bare skin. Herringbone patterns decorate some pieces, evoking the breathtaking beauty of the Art Deco style. A small Moroccan vest sets off a silk pleated dress, worn over a pair of flared trousers. The marriage of masculine and feminine punctuates the rhythm of the show, which succeeds in being romantic and pragmatic at the same time. In fact, there are more clients sitting in this front row than anywhere else, as well as many stars who swear by Giorgio; Isabelle Huppert, Uma Thurman, Claudia Cardinale and Hilary Swank all responded to the summons of the stylist, still as loved as ever by the stars. Haute Couture allows Armani to intensify his research into fabrics and to dream up new confections, later to be rediscovered in this prêt-à-porter lines. It is difficult to discuss the collection without mentioning his gorgeous evening gowns, ready for the red carpet. This season, Armani dazzles with embroidered, sequined tops and masterful draping in heavy, silk satins. The apparent simplicity of his clothes succeeds in concealing the huge focus on cut, where a few inches can completely alter a silhouette. As Armani puts it: &#171;&#160;Quality is the difference between style and fashion.&#160;&#187; //BACK &#160;]]></description>
		<wfw:commentRss>http://7000magazine.com/armani/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>VALENTINO</title>
		<link>http://7000magazine.com/valentino/</link>
		<comments>http://7000magazine.com/valentino/#comments</comments>
		<pubDate>Tue, 26 Mar 2013 15:20:30 +0000</pubDate>
		<dc:creator>Marine</dc:creator>
				<category><![CDATA[Blog]]></category>
		<category><![CDATA[Fashion]]></category>

		<guid isPermaLink="false">http://7000magazine.com/?p=2597</guid>
		<description><![CDATA[If Haute Couture is a constant search for perfection, it happens that some surpass themselves in achieving the sublime, as in the case of Valentino&#8217;s last collection, flawlessly orchestrated by Maria Grazia Chiuri and Pierpaolo Piccioli. Taking the universal idea of a garden in bloom as their inspiration, they created some stunningly beautiful outfits, of equal strength and fragility: &#171;&#160;It&#8217;s the idea that the garden is part of our lives, and that each culture has its own space. We didn’t just want to evoke beauty in this collection but also the fact that we can live better.&#160;&#187; The angelic white of their embroidered gowns brings a message of peace and hope to the world. Intensely spiritual, the collection uses beauty to achieve goodness. A cage of black tulle trimmed with crepe, worn as a cape over a long dress, suggests the joy of flight and newfound freedom. Poetry, grace and lightness define the show, modest and grand at the same time, a homage to the true nobility of Haute Couture. The technical skills of the atelier are also much in play this season, with the clothes taking several hundred hours to make before they are finally completed. It requires weeks, sometimes even months, of hard work to achieve such splendour. A life in Haute Couture is demanding but those who have tasted it can never go back. Even if these garments are for a very limited public, they still afford great pleasure to us all. The raison d&#8217;être of Haute Couture lies in the intervention of the human hand, capable of far more than the simple sewing machine. In an age when fashion debases itself and uniformity envelopes the planet, Haute Couture remains an expression of rare individuality and uncompromising aesthetics, impossible to mass-produce. &#171;&#160;Haute Couture must be magical,&#160;&#187; says Piccioli, obviously as moved as the show&#8217;s guests. A leitmotiv within the collection, silk organza is reinterpreted in a fresh way, sumptuously embroidered for a skirt suit, tastefully painted by hand, or embellished with crystals and topaz pearls in the case of a ball gown. With their diaphanous complexion and elegant gait, the models seem unearthly, like apparitions from a dream. The talent of these two Italian stylists lies precisely in the fact that they can use such craftsmanship without falling into the cumbersome or conventional. This year they are pushing across the frontiers, leaving Italy for new territories. Floral dresses sport motifs from ancient Persia, as timeless as they are refined. A monastic rigour underscores certain looks, referencing the purism of the Master. However, the minimalism of Chiuri and Piccoli does not exclude luxury, proposing as it does a contemporary interpretation of style. This collection marks a turning point for the two designers, establishing them as a duo of consequence. Dramatic at times -but always very feminine- the collection united everyone in a standing ovation lasting several minutes. How to understand such a wave of emotion? That&#8217;s the splendor of Haute Couture. //back]]></description>
		<wfw:commentRss>http://7000magazine.com/valentino/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>IRIS VAN HERPEN</title>
		<link>http://7000magazine.com/iris-van-herpen/</link>
		<comments>http://7000magazine.com/iris-van-herpen/#comments</comments>
		<pubDate>Tue, 26 Mar 2013 14:57:21 +0000</pubDate>
		<dc:creator>Marine</dc:creator>
				<category><![CDATA[Blog]]></category>
		<category><![CDATA[Fashion]]></category>

		<guid isPermaLink="false">http://7000magazine.com/?p=2579</guid>
		<description><![CDATA[Little fairy of the Parisian Haute Couture, Iris van Herpen is a talent apart in the fashion industry. The creations of the young Dutch designer are amazing, captivating and magical, a marriage of artistic dreams and artisanal skills. Strong, individualistic women like Björk, Lady Gaga and Daphne Guinness wear her clothes. Prestigious museums like the MoMA in New York or the Centraal Museum in Utrecht collect them as well. It is clear that in the world of Iris, there are no real limits. Fascinated by the future, eschewing all nostalgia, she transports us to alternative universes steeped in science and spirituality. Conceived as real, one-off objects, her clothes are the fruit of extensive thought and production processes. Besides, Haute Couture seems almost like a natural condition for her: &#171;&#160;Haute Couture is still the laboratory of fashion. It is the space where everything is possible. Excitement, experimentation and know-how are pushed to the extreme. Fashion is more than an industry, it is also a dream that people experience. We need Haute Couture to reach the dream of fashion.&#160;&#187; Individualistic and uncompromising, van Herpen is not like anyone else. One could say the same thing about her work, subtle blends of scientific research and smart construction. Capable of making dresses in 3D prints or sculpting leather like crystal, she creates clothes that are architectural, strong and graphic. Her women are sensual and unreal, celebrating a beauty that is both moving and contradictory. Her Paris show last January, confirmed her position as the alchemist of fashion. Inspired by the body&#8217;s electrical impulses, she named her collection &#171;&#160;Voltage&#160;&#187;, offering clothes that awakened and energised the senses, bringing a greater flexibility and fullness to her 3D models. One of the advantages of this revolutionary, technological approach is to enable the production of new and different forms, impossible to achieve with traditional materials. Van Herpen’s designs seem like atoms evolving around bodies, both abstract and organic. Even if they are not obvious at first glance, they generate an incredible energy, stimulating everything but indifference. &#171;&#160;Creating a collection is like walking into a big maze. You do not know where it begins and where it ends. All the things that surprise me, make me think or dream, produce images in my mind. These images become clothes in my collections.&#160;&#187; Honoured in 2012 by a magnificent retrospective at the Groninger Museum &#8211; when she was only twenty-eight &#8211; van Herpen cultivates a certain detachment from the virtual excess that defines our era. You won&#8217;t see her on Facebook and she&#8217;s not ready to have a Twitter account. Her imagination seems rich and fertile enough to allow the evolution of her own dreams. This March, she presents her first and long-awaited prêt-à-porter collection, once again in Paris. The city of the avant-garde has made her welcome, conscious of the importance and scope of her style, a style at once intangible, ethereal and evanescent. //back]]></description>
		<wfw:commentRss>http://7000magazine.com/iris-van-herpen/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>VINCENT CASSEL UNCUT</title>
		<link>http://7000magazine.com/vincent-cassel-uncut/</link>
		<comments>http://7000magazine.com/vincent-cassel-uncut/#comments</comments>
		<pubDate>Tue, 26 Mar 2013 14:43:39 +0000</pubDate>
		<dc:creator>soavina</dc:creator>
				<category><![CDATA[Blog]]></category>
		<category><![CDATA[Cinema]]></category>

		<guid isPermaLink="false">http://7000magazine.com/?p=2576</guid>
		<description><![CDATA[ON HATE La Haine defined its times. I believe that it showed that part of French society for the first time, I’d say, in a new way in the sense that it pleased the people of that France, the young people of the suburbs and the relatively new Hip Hop culture. Suddenly, they had a film to which they could relate and with which, moreover, we could all identify because it reflected us as well. This film was about all of us. It simply belonged to us… ON YOUNG FILMMAKERS I need their energy just as they need mine. It’s an exchange. I’ve never pretended to be the Mother Theresa of young French filmmakers but it’s true that these are films that I’ve made, let’s say, for nothing. I made them because I felt it was important to make them but, obviously, it wasn’t to make money. ON JAMES BOND VC &#8211; All of a sudden, Daniel Craig comes along and for the first time gives us a complex James Bond, dark and genuinely violent, and he turns out to be the best James Bond so far. PK &#8211; Certainly truer to the Bond of Fleming’s imagination… VC &#8211; Yes. I feel that the more our society advances and the more the public educates itself in line with that, the more we need to see rounder, fuller characters rather than noble savage hero types, which is far less interesting in the end. ON INSPIRATION PK – In the last few seconds before the director yells “Action”, are you scared? VC – I dunno if it’s fear but whatever it is, there is a tension, that’s for sure, and I can tell you, the more time that passes, the more I understand that the only thing that keeps me interested in this job, it’s that moment when you come up with something. The rest is a pain in the arse but that moment where you magic something up because you are so psychophysically invested, where all of a sudden, through your being, your imagination, you find something new in yourself, that brief moment when that happens, it’s for that that I carry on because it is, literally, a moment of magic. ON DARKNESS Sure, I like playing all sorts but I do like roles where I actually have something to play. It occurred to me that heros tend to bore me ; it’s much harder for me to believe in a hero than someone complex and dark because I think we’re all relatively dark, and that the efforts we go to every day to free ourselves from that darkness, that’s what’s interesting… ON MUHAMMAD ALI VC &#8211; It’s funny, but just the other day I was talking with someone about Muhammad Ali, who refused to go to Vietnam. It ruined his career but he was one of the rare ones who was fully conscious of what was actually going on at the time. PK – Yeah. He said “No Vietcong ever called me nigger”. And he went to jail. VC – Quite so. It destroyed his career. He never quite got it back again. The first worthwhile match he had afterwards was in Kinshasa, years later, and he just wasn’t as fast and strong. The best years of Muhammad Ali, we never got to see them because they stopped him from fighting. It’s just one example amongst many but what I mean is that these are the personalities who are interesting&#8230; TEXT BY PROSPER KEATING PHOTOGRAPHS BY MARTIN LAZAREV  //back]]></description>
		<wfw:commentRss>http://7000magazine.com/vincent-cassel-uncut/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>GIRLS WITH CAMERAS BY STEVE HIETT</title>
		<link>http://7000magazine.com/portfolio/girls-with-cameras-by-steve-hiett/</link>
		<comments>http://7000magazine.com/portfolio/girls-with-cameras-by-steve-hiett/#comments</comments>
		<pubDate>Fri, 22 Mar 2013 13:26:54 +0000</pubDate>
		<dc:creator>soavina</dc:creator>
		
		<guid isPermaLink="false">http://7000magazine.com/?post_type=portfolio&#038;p=2549</guid>
		<description><![CDATA[GIRLS WITH CAMERAS BY STEVE HIETT //back]]></description>
		<wfw:commentRss>http://7000magazine.com/portfolio/girls-with-cameras-by-steve-hiett/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>JUMP! BY ARTHUR ELGORT</title>
		<link>http://7000magazine.com/portfolio/jump-by-arthur-elgorth/</link>
		<comments>http://7000magazine.com/portfolio/jump-by-arthur-elgorth/#comments</comments>
		<pubDate>Thu, 21 Mar 2013 19:58:13 +0000</pubDate>
		<dc:creator>soavina</dc:creator>
		
		<guid isPermaLink="false">http://7000magazine.com/?post_type=portfolio&#038;p=2523</guid>
		<description><![CDATA[JUMP! BY ARTHUR ELGORT Styling by John Tan Hair by Fred Vandebunt Art Department Makeup by Elaine Madelon Special thanks to Marianne Houtenbos and Sally Taylor at Arthur Elgort Studio Talent Actor Ansel Elgort Dancer/Model Lindsey Wolfram Cameraman Warren Elgort //back]]></description>
		<wfw:commentRss>http://7000magazine.com/portfolio/jump-by-arthur-elgorth/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>HAIR DO BY JILL ANN WOLFE</title>
		<link>http://7000magazine.com/portfolio/hair-do-by-jill-ann-wolfe/</link>
		<comments>http://7000magazine.com/portfolio/hair-do-by-jill-ann-wolfe/#comments</comments>
		<pubDate>Thu, 21 Mar 2013 18:30:05 +0000</pubDate>
		<dc:creator>soavina</dc:creator>
		
		<guid isPermaLink="false">http://7000magazine.com/?post_type=portfolio&#038;p=2535</guid>
		<description><![CDATA[HAIR DO BY JILL ANN WOLFE Styling Katrina Tee &#38; Corine Moreau Model Dolores Doll Woman Management Assistant styliste Joy Sinanian Assistante numérique Jeanne Gérard Assistant photographer François Eglin Make up Raphael Pita b-agency Hair Christian Attuly b-agency DIGITAL MARINE WOEHL //back]]></description>
		<wfw:commentRss>http://7000magazine.com/portfolio/hair-do-by-jill-ann-wolfe/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
	</channel>
</rss>
