Loïc Prigent - Fashion Insider #5
His off-beat styled coverage joyfully displays what happens backstage on Fashion shows and his documentaries capture the very essence of maisons de Haute Couture. Almost Paris Fashion Week's official Twitter thread, this talented journalist and documentary maker has now become a key figure of the Fashion world. Come behind the scenes with Loïc Prigent!
How did you end up in Fashion? Why you specialized in this field?
I ended up in fashion because it seemed fascinating and fun to me. I am interested in every thing in fashion, even its flaws. This season was crazy, I was captivated by all the shows, I did not get bored a single moment even when looking at collections I did not like.
How could you sum up your job? What is it up to?
My job is different from one project to another. During archive documentaries like “Le Testament d'Alexander McQueen” (Alexander McQueen's Testimony) for Arte, I was immersed almost autistically into the documentation with the film editor. Whereas during “Habillées pour...” for Canal+ I dive unrestrainedly into the spinning rhythm of the shows, even if it means barely sleeping. At the end of the day, it very often consists of days spent without moving, in a beige editing room, drinking coffee and taking lunch breaks at 12 o'clock sharp.
Please tell us about a typical day during the Fashion Week.
Waking up is just awful. There is a lot of filming, with a lot of preparation upstream but also a great deal of improvisation. There is a great deal of observation, laughter, crazy moments, the general pushing and shoving, and also repetitive things. We shift from being a spoilt child to being an outcast as we move from one place to another and the flattered ego gets smashed by Miley Cyrus's wrecking ball the next moment. We get involved with people we have seen for years without saying hello, and start canoodling people we met the night before. We ask simplistic questions to people who haven't slept for three days and who clearly do not wish to give the key to their work to a moron they see twice a year. We get carried away like crazy, we're disappointed like crazy, we get offered champagne at 10:30am, we don't always have time to eat but we take it, we miss shows, our judgment gets altered, we enter a paradoxical transe, float inside a parallel dimension, become even crazier.
What fascinates you most in Fashion?
What keeps captivating me most in fashion is its crazyness. Be it creative or destructive. Positive or negative. And the various filters. Snobbery filters or the total lack of them.
Your worst professional blunder?
The worst blunder is always to not check information enough. The other mistake is being unfamiliar with your material, turning up with a film camera whose sound equipment does not work for instance. The numerous soundless interviews! I have a gorgeous image: on the film, we see feet entering a room. Then we hear the voice of Alexander McQueen, he says “good evening”. Then cut. On the next image, Alexander McQueen stands up and says thank you. Such a phenomenal blunder, thinking you are recording when you are not, and vice versa. So you did not record the interview. To come to terms with it, the only solution is to kick yourself for about 20 years.
You often tweet offs of press officers and journalists. What do you think about them?
They often have the same job.
Could you share a few censored tweets with us?
I do not hold anything back. My favourite press officer tweets are still “I sat the Madame” or “The Elle loved it”. They make me laugh for hours.
Your greatest professional encounter? And why?
Mrs Raymonde Pouzieux, a lace-maker, who used to say that the only limits we had were those we set ourselves. And Karl Lagerfeld, because he has no limits.
You once were a simple witness and then became a real player on the “fashion stage” has that changed your job in any way?
I am still a witness. I do not create. What I do comes always after the fashion process.
Fashion means a lot of networks. Do you still feel as free as when you first started?
I do feel as free as when I began. But this does not mean I felt free at first. Well, I do hope I will always be as discreet.
If no one were interested in fashion anymore, what would you work on?
If no one were interested in fashion, I would work on fashion. The fact no one would be interested in it would make it even more interesting to me.
Who do you nominate for the next interview?
Dominique Deroche, Monsieur Saint Laurent's press officer from the 1960s, to ask him what working as a press officer means and what his philosophy on this job is.
PR and journalists?
“They often have the same job.”