Meeting with Lou Doillon, a free artist at the Hyères Festival

Lou Doillon entre, à gauche, Haider Ackermann, président du jury Mode 2018, Farida Khelfa et Ben Gorham et à droite, Vanessa Schindler, lauréate du Grand Prix du Jury Première Vision à Hyères en 2017 et Farid Chenoune © Emile Kirsch

Lou Doillon © Philippe Olivier pour So Events 83

Lou Doillon posant devant une photographie de Paul Rousteau © M.P.

L'étendard de la Maison Berlutti flotte sur le sommet de la Villa Noailles © M.P.

Lou Doillon entre, à gauche, Haider Ackermann, président du jury Mode 2018, Farida Khelfa et Ben Gorham et à droite, Vanessa Schindler, lauréate du Grand Prix du Jury Première Vision à Hyères en 2017 et Farid Chenoune © Emile Kirsch
Lou Doillon © Philippe Olivier pour So Events 83
Lou Doillon posant devant une photographie de Paul Rousteau © M.P.
L'étendard de la Maison Berlutti flotte sur le sommet de la Villa Noailles © M.P.

A unique timbre, deep and muffled modulations, poetic lyrics. Lou Doillon‘s songs sound the sound of a singular rock, the one that symbolizes freedom. Because she’s free, Lou, free to go wherever she wants. Actress and model, the musical scene was not expecting the daughter of actress and singer Jane Birkin and director Jacques Doillon to impose herself in this universe and yet, her first Places, released in 2012, received an excellent critical reception, as well as the second Lay Low, released in 2015. But today, it’s not the musician we’re interviewing but the jury member for the Grand Prix du Jury Première Vision at the 33rd Hyères International Fashion, Photography and Fashion Accessories Festival.

Talking to Lou Doillon is a fascinating moment. Her bright smile is contagious, her aura will charm you and immediately, we grasp her role as a juror in the category Fashion. Lou Doillon embodies freedom, the freedom to live, to create, to feel, to express oneself. Encounter with a whirlwind of energy!

Marlene Pegliasco: Is this the first time you’ve entered a contest as a juror?

Lou Doillon: I was a member of the Wollmark Price last year, which is a fashion award. I was for movies, too. But what is very moving and inspiring is seeing people at work. I love creation and I’m curious to understand how we stand out in it, how a starting singularity is created and I think that the complication, if there is one in these professions – there, is to say : – we must privilege a kind of instinct that is not necessarily linked to know-how for the moment or know-how that is already present but with less instinct ? So that’s where we have to try to separate the creators, because there are some very good makers, to whom we can’t really teach fantasy, whereas I like those who have fantasy where I think we can teach them a form of rigour or industry. I’m not a fashion professional, I’m a fashion buyer, I love it since I was a teenager. It’s extraordinary to just be able to stand out with what you’re wearing and I was curious to see how the other members of the jury, who have an eye on the workings of the profession and understand what’s at stake, can function. I’m here from a different perspective. If I myself have a singularity, then perhaps I would be able to recognize it in creators ? This recognition is very pleasant and at the same time, it brings a very unpleasant pressure.

M.P. : Are you like the representative of the non-professional world of the jury?

L.D. : Absolutely! I’ve had the chance to fly around in this business for a long time. I have been working in fashion and with fashion for 20 years. I worked with Vivianne Westwood, I was one of the first to follow Antony Caravello (who won the Grand Prix Première Vision in 2006), I met creators at different stages of their careers. Having had the joy of collaborating with incredibly talented and talented people, I have seen several stages of fashion but I have never been confronted with the problems of this industry : the professional world, the strong pressure on models, profitability… Can a machine take over from traditional manufacturing ? Can I sell it in the shop? Is it feasible ? People do everything by hand& and it’s amazing ! I see incredible things of the costume order with an amazing fantasy but that would not make a career in ready-to-wear. Finally, there are many things to take into account and I am like an artist who needs to be inspired and these young creators contribute fully.

M.P. : Do you have creative fetishes?

L. D. : I like to walk around. I like the idea of representing people who wear what they love. I have many friends in the fashion industry who understand that I can move from one style to another, that having a total look of a unique designer does not suit me. I have my ego and I need to find my place in my clothes. It’s certainly an English influence. There’s an English term“dressed up” that means”to put on a suit” as much as“to dress“. This term keeps a certain ambiguity and I like the contrast and the idea of playing with fashion. I like to have fun with sexy, vintage things, pieces from Gucci, from Haider Ackermann, all my costumes from Yves Saint-Laurent for their masculine/feminine side… Have fun with lightness.

M.P.  Would that be your definition of French fashion?

L.D. : When I do interviews abroad, people ask me what characterizes the French style. A question like a global obsession ! I think we know when to stop. The French woman stops revealing herself before the last stage and this ambiguity, this unsolved egnimma, is very stimulating. We keep something, we retain it, we do not reveal everything that is feasible and that is certainly what defines the French style, that we cannot be 10/10 everywhere. I don’t like the expression“dressed to impress”, this idea of dressing to impress, on the contrary, one dresses to move and clothing should be the revealer of personality.

Mr. P. : How do you see the evolution of French fashion?

L.D. : I notice today a little sadness in fashion and in many circles. A friend explained to me that the majority of the sale is done online and we must sell only one dimension, understand: everything must be readable, like a logo, a naked shoulder, in a single photo. However, the sensory marks of the garment, what is made, what is undone, what moves, the modularity and movement of the garment, all this cannot be sold in a single photograph. I hope we’ll get back in the garment and its shapes and not have to sell solid. This impression extends to other fields such as cosmetics, art… But some people are trying to counter this process. That’s encouraging.

M. P. : What is your musical news?

L.D. : I am in the process of finalizing my last album which will be released before the end of the year.

33e Festival International de Mode, de Photographie et d’Accessoires de Mode de HyèresVilla
NoaillesMontée de Noailles83400 HyèresFestival et concours du 26 au 30 avril 2018

Exhibitions du 26 avril au 27 mai 2018More info here S
de Lou Doillon ici

Marlène Pegliasco

Graduate of a Master in Art History and living in Toulon, I created the blog Art In Var ( to share with my readers, the rich artistic news of this beautiful department. This passion...

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