Susan Sarandon se convierte en musa de Marc Jacobs

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/ 29 junio 2016
    Susan Sarandon se convierte en musa de Marc Jacobs

La actriz, de 69 años, ha posado para la campaña del diseñador junto a Marilyn Manson, Cara Delevingne o Kendall Jenner

Madrid.- El elenco de celebridades que participan en la próxima campaña de otoño de Marc Jacobs sigue aumentando. La última en unirse ha sido la actriz Susan Sarandon, de 69 años, quien ha posado con un sugerente escote y un vestido con aplicaciones brillantes. "Como otros muchos adolescentes, pasé incontables viernes y sábados por la noche viendo The Rocky Horror Picture Show, en el Playhouse de la calle 8º y en el Festival de Teatro de la calle 57º. Se convirtió en una invitación a vestirse y expresarse con libertad", ha narrado Jacobs en su cuenta de Instagram. 

"Había una sutil rebeldía que he encontrado en Susan y su manera de interpretar a Janet [personaje de la película] y quizás su decisión de entonces de asumir, como joven actriz, un papel en una película que cambió la noción de los roles de género", continúa el diseñador estadounidense. 

Sin embargo, el modisto conoció a la actriz personalmente cuando trabajaba para la marca Perry Ellis, en los noventa: "He admirado siempre su inteligencia, coraje, convicciones y fortaleza. Susan tiene una capacidad inherente de seducción como artista que siempre toma riesgos. Su talento y poder como actriz están muy arriba en la escala", ha afirmado Jacobs. 

El diseñador ha estado compartiendo en su cuenta de Instagram imágenes de todos los participantes en su campaña de otoño 2016 y añadiendo una explicación sobre cómo los conoció y qué significan para él. Entre los participantes se encuentran celebridades como las modelos Cara Delevingne y Kendall Jenner, los cantantes Keiji Haino, Marilyn Manson o Courtney Love y la actriz Sissy Spacek, entre otros. 

SUSAN, Seduction Like so many teenagers, I spent countless Friday and Saturday nights at midnight screenings of The Rocky Horror Picture Show at the 8th Street Playhouse (which is still standing!) and the Festival Theatre on 57th Street (which has long since closed). TRHPS was a coming of age and right of passage. It became an invitation (or excuse) to dress up and express oneself fearlessly. The cult classic made it cool for boys to wear sequins, satin and fishnets. I fell in love with Susan Sarandon’s onscreen portrayal of Janet during her “loss of innocence” scene by way of a crossdressing alien and her giddy, ecstatic rendition of, “touch-a, touch-a, touch me…” There was a subtle rebellious quality that I found in Susan with how she chose to play Janet and perhaps (as I now look back on it) her decision as a young actor to take a role in a film that challenged the notion of gender roles. In the hyper-stylized, gothic film, The Hunger, Susan’s portrayal as the lesbian love interest of vampire Catherine Deneuve was yet another progressive challenging of normal and a testament to Susan’s artistic exploration of boundaries. It was in my early days at Perry Ellis when I first had the privilege of meeting Susan. Her intelligence, courage, strength, conviction and ballsiness has always been so admirable to me. There’s an inherent seductive quality in Susan as a woman who always speaks her mind and an artist who takes risks. Her talent as an actress is one of extraordinary range, talent and power. The stunning Susan Sarandon by David Sims for our Fall ’16 ad campaign.

Una foto publicada por Marc Jacobs (@themarcjacobs) el

KEIJI, Sound Keiji Haino is known for his use of the Japanese concept of Ma, which is typically translated as pause or space. Keiji’s music came to my attention a week before our Fall 2016 fashion show through a friend who was sharing with me about different meditative music and alternative “sound.” The music selection for each show is as important as the set, the clothes and the models. It’s an integral part of creating the intended experience, expression and point of view of a collection. After hearing one of Keiji’s musical pieces, which felt hypnotically simple, strange and oddly appropriate, Katie Grand, Steve Mackey and I became hypnotized by the methodic bells and cymbals and their lasting shadows and impressions. We further stripped down the idea of the set so the clothes and shadows were all that was seen and Keiji’s chilling composition juxtaposed with the heavy hammer of the boots was all that was heard leaving behind, “the haunted spaces between the notes.” Keiji’s music is incredibly transcendent and meditative while also extraordinarily unique. There is a level of dedication and emotion that is ever present in his work that I greatly admire. The discipline of his craft and the intelligence in his approach is unparalleled. I am so greatly honored to share this photograph by David Sims for our Fall ’16 ad campaign that so powerfully captures the enigma-like qualities of the other worldly, Keiji Haino.

Una foto publicada por Marc Jacobs (@themarcjacobs) el

COURTNEY, R(evolution) With my abundance of respect for Courtney Love’s musical contributions to grunge/rock culture and her status as this sort of, Grunge Goddess, it was her mesmerizing and extraordinarily moving portrayal of Althea in the film, The People vs Larry Flynt that simultaneously broke my heart and won my love. While I hadn’t yet met Courtney during my time as Creative Director at Perry Ellis, it was her then style that had a great influence on that now infamous “grunge collection” show in 1992. Courtney and I (and a then 2 or 3 year old Frances Bean) first met at dinner with Anna Sui in 1994 at Bar Six in NYC. I remember being quite taken by her deep, thorough knowledge of and voracious appetite for fashion and music. There has always been a genuine allure about Courtney that I continue to admire. The way she’d scream her lyrics from that gash of a red mouth to the hard rocking, wailing sounds of Hole. She was then and remains now, for me, the ultimate divine mess in a dress. Gone but no where near forgotten is the girl-woman Goddess of Grunge in her too small tattered dresses, the little girl barrette in her messy, scattered hair and beaten up brocade 1960’s evening shoes. It’s a long distance from the now iconic kinder-whore Courtney photographed by Juergen Teller for I-D magazine in 1994 to the movie star glamour of the powerfully aloof and infinitely present Courtney, photographed here by David Sims for our Fall ’16 campaign.

Una foto publicada por Marc Jacobs (@themarcjacobs) el

Trio, BLACK Black can be defined as the visual impression experienced when no visible light reaches the eye. The absence of color. During the 14th and 15th centuries black was worn by royalty, clergy, judges and government officials as it represented a symbol of power and elegance. By the 19th century black was the “color” worn by English romantic poets, businessmen and statesmen. Steadfast and relevant as ever, black has long been and continues to be the choice for the coolest of New York’s downtown denizens. Taking inspiration from girl groups of the eighties, celebrating the MTV favorite song and video, “I Wear My Sunglasses at Night” by Corey Hart and clad in vivid BLACK with flaming red hair: Julia, Willy and Kiki photographed by David Sims for our Fall ’16 ad campaign.

Una foto publicada por Marc Jacobs (@themarcjacobs) el

ANNIE, Other The idea to ask musician Annie Clark (more commonly known by her stage name, St. Vincent) to be a part of our ad campaign had been discussed long before the Fall 2016 season began. It was Katie Grand who originally brought Annie to my attention and suggested we consider extending an invitation to join this campaign. I was really taken by comments Annie made in an interview with Rolling Stone Magazine where she described queerness as a transcendence of sexuality and as a “banner” for being “other.” It was thoughtful, relevant and poignant. There’s a certain maturity that’s inherent in Annie that transcends her age and while her music is a direct reflection of her intellectual curiosities and musical prowess, it was when I had the privilege of meeting Annie in person that I experienced her magnetism. She operates with such genuine grace, poise and sincerity. I am in complete awe of the beauty of this photograph by David Sims for our Fall 2016 ad campaign. It so perfectly captures the inherent contemplativeness of Annie, her humility and mystery.

Una foto publicada por Marc Jacobs (@themarcjacobs) el

KEMBRA, Femininity While I had been aware of Kembra Pfahler's unique voice and vision during the East Village scene in the 1980’s, it was when her band, The Voluptuous Horror of Karen Black (that name alone!) released their album, The Anti Naturalist, in 1995 when I found myself completely enamored with and curiously drawn to Kembra. Those curiosities lead me to my first TVHOKB performance. Not knowing what to anticipate, Kembra took the stage (set with giant ladybug-like cutouts) in her bow-festooned raven black, teased-to-there hair, naked-painted-red body dressed in nothing but black panties and dominatrix like stiletto boots rocking out with a magnificently raw and punk energy to songs like Spelling Bee, Gotta Get My Eyes Done and my all time favorite, Honky Tonk Biscuit Queen. Making the best use of what's available or AVAILABILISM as Kembra refers to it, has always been her approach to performing art. This low-tech performance/concert was the most brilliantly raw, twisted punk-rock-of-a-school-play I have ever witnessed and Kembra, a deconstruction of cliché femininity was rooted in such purity and innocence. Portrayed here as a Fetish High Priestess by David Sims for our Fall 2016 campaign, the intensely stunning and provocative Kembra Pfahler.

Una foto publicada por Marc Jacobs (@themarcjacobs) el

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