The day after the show Léa Seydoux came down to breakfast without being Léa Seydoux, or perhaps even more so than ever. Without makeup, with sunglasses, with that long hair that only French women have and that half the world wants to imitate by calling that hairstyle ‘just-out-of-bed hair’, but that only they can truly look like just out of bed. That’s how Léa came down and out of modesty, not because it wasn’t my greatest interest, I didn’t pay attention to what she was having for breakfast or what she was reading (she was reading). The entire terrace looked askance at her. There were more actresses, some much more famous, but the Frenchwoman’s magnetism was cut with butter knives.
Léa Seydoux is once again on the cover of S Fashion and in an involuntary closing of the circle we asked Álex Vicente to interview her. Again. She had already done it for the cover of this publication in 2012 when she was an auteur film performer about to become the protagonist of the birth of an international star thanks to the film The life of Adele. With that film she collected the Palme d’Or that took her directly to Hollywood. And there she continues, in that uncertain place between both worlds, proudly European, she says, without submitting to the most commercial cinema, but at the same time working on big blockbusters.
The difficult balance in which it moves is sustained thanks to a mystery only manageable by those who have enough ambition but not enough. Who knows how to move many balls in the air at the same time, neither too high nor too low and at a constant pace. In this issue we have found a few of those rare and valuable profiles. As the flamboyant president of a holding company fashion that allows radical creativity. The Italian Renzo Rosso, interviewed by Leticia García, owner of Maison Margiela, Marni, Jil Sander and Viktor&Rolf, tells the secret to being an avant-garde businessman: focus on the product, on manufacturing, on scale, and leave the creative directors be free in their work. Thus he has managed to increase the sales of all of his brands, but also to be the promoter of the most important show in recent years, the one created by John Galliano for the Maison Margiela haute couture collection under the Alexander III bridge in Paris in January. . A minority and cult event where the public stamped their feet with emotion.
Ottessa Moshfegh is another one of those Rare avis. The author of one of the great literary successes among women of her generation listens to flattery with a lackadaisical attitude. Understand the success of My year of rest and relaxation and this is what he tells Nerea Pérez de las Heras in these pages. The book itself, and the title in particular, the writer explains, was a commercial artifact, a metacriticism, a parody. She actually prefers dark, contained, hallucinatory writing. But there she walks, between those two worlds, without settling into either.
It is not usually easy to meet these characters. They are elusive, they do not expose themselves too much and they know that their magnetism is based precisely on tightrope walking on that thin line between the niche and the mainstream. Therein lies the mystery.
