french artist thierry dreyfus sculpts light for fashion shows, art installations and major monuments
A well-known figure working in fashion, founder and artistic director of Paris
Headquartered in Eyesight production studio, we have an impressive track resume, including the \"advanced customization\" event for the Royal Air Force Simmons, Martha, Rocha, Roland Murray, Calvin Klein, Victoria Baker Alexander King or Yves Saint Laurent 40 th anniversary of the Royal Air Force Special Exhibition
Helmut Lang of long-term cooperation (
From his first to the last, who he worked)
Thierry Mugler, Dior Horm, Gassen, or Jill sand.
His work in shaping the brand image makes him dedicated to his own image, so although the medium he chooses may be bright, his work is mainly behind the scenes in the fashion world.
Whether it\'s women\'s preparation-to-
Every time, the idea of clothing, men\'s wear, or a premium custom show is to make the lights, music, and set disappear into the background and make the costumes and series take a place.
Dreyfus believes that if the ography is too powerful, it is usually because there is something that needs to be hidden and the collection is weak.
During the fashion week, no more than one show per day, in order to be able to pay full attention to each, he participated in every show he produced.
He met with fashion designers a few weeks ago to discover the direction of their season, as well as the fabric and color of the collection, the source, and study its architectural drawings to move around in space, and consider the angle, height and lighting color.
Constantly communicate with his clients and send other photos, drawings, colors and inspiration to each other.
The design on paper quickly evolved into a building stage and runway, drawing the background, adding sound, setting up lights, and being obsessed with all the tiny details.
However, dreyfus\'s work is not limited to the show.
His art transcends the boundaries of light design, explores different aspects of light design, and reveals the emotional power of light design.
Born on 1960 in Brune, a suburb of Paris
Bilancott of self
In 1979, Professor art director, photographer and designer came to the stage lighting for the first time as assistant lighting designer of the Opera House in Strasburg, before lighting up the Paris runway, trying the lights for the theater and opera house, milan and New York are the brightest stars in fashion.
When he performed the opera in Nantes, he was asked to apply his skills purely by accident.
At his first fashion show in 1985, he conceived a dramatic candlelight environment for American designer Patrick Kelly, and by 2000 he was working on lighting designs for most fashion shows in Paris.
When dreyforth worked at the theater, he learned to emphasize in a subtle way so that the audience could remember the actors or operas on the stage, not the set.
When it comes to fashion shows, his challenge is to make an event that lasts no more than 15 minutes more memorable than all the other shows the audience will see on that day, and successfully conveyed the image and collection time of the brand.
Because of its responsiveness and cyclical nature, the pace of fashion gives him almost immediate satisfaction, and it may take years between the original design and completion of the art device compared to the art device.
Just as fashion designers have to create something in a very short period of time, dreyforth must also immerse themselves in their minds and make a show in just a few weeks.
Dreyfus\'s artistic installations reveal the nature of light.
He lit up the Grand Palace in Paris, the historical exhibition hall unveiled for the 1900 World Expo, in the visible wave of re-opening in 2005-he returned here in 2014, guided on-site photography with French architect Patrick Buena to attend official celebrations marking the 50 th anniversary of French diplomatic relations and China;
Cast two beams of light from the maze to the sky, and imagine the light of fire in the fountain of Versailles gardens;
During the 2010 Nuit Blanche, the exterior of the Notre Cathedral is completely dark, just to allow it to breathe light and color inside;
A series of home fixtures are designed, such as broken wall lighting systems for lighting objects such as flowers and squares
Neon tubes or lamps filled with salt crystals;
The first book that published his photo-not the lamp he designed himself, but the lamp he observed and found moving.
A film made without the use of a flash, crop, or digital modifier, the mysterious lens makes the audience want to know how he did it.
For dreyforth, it is not wisdom, it is emotion.
It is invisible and elusive, and it has its own instinctive behavior that reveals personal, intimate emotions and leads to the disappearance of the surrounding environment.
\"Through each of my gestures, I try to let the volume flow, mix the glowing waves to transfer them, see them answer each other, reveal each other, reflect each other, and he points out: \"separate and absorb each other-will produce some kind of chemical precipitation in the heart of each of us. \".
The essence of light is perceptual and does not need to be explained;
Dreyforth doesn\'t want people to read a show. he just wants people to feel it.
Combine your own ideas of space with the creative vision of a fashion designer, director or architect, working on different scales and different surfaces, whether it\'s a two-dimensional space like a photo, or a 3D space like a glowing object or building, the goal is always the same: capture and share the essence of light.
\"Whether it\'s in a dark room, in a city landscape, in a private space, or on a stage, I\'m playing with the problem of light on different volumes and brackets, he wrote: \"It\'s like I\'m walking around with my studio. \".
Since light is the medium of dialogue between the building and the audience, dreyfus\'s sculptural lighting fixtures and objects allow him to work with the hotel operators and architects: this is a permanent lighting installation, used for lighting on the facade of the hotel. Shanghai and San Francisco\'s merrydean roof and façade background lighting, interior concept of branded boutiques, video screens for Sky, Cloud Recordings, water or sunshine through the trees through the cantilever balcony of the beauusant Museum of Contemporary Art in Fort Istanbul, a perennial lighting device in New York City, New York City, it is also the lighting environment of filmmaker David Lynch\'s Paris Club Silencio.
Dreyforth notes, \"Even those who refuse to see, the light can touch their eyes.
It opens up space, expands the scope of possibilities, and expands time-contrary to the consumer society that destroys and increases space.
While everything in modern life tends to be submerged, far away, displaced, forcibly guided or circled, a glowing creation will be instantly reengaged, confirming that it is in a weightless state.
What does Thierry dreyfus\'s Q & A light mean for you?
Life, death, love and time.
What are some of your personal memories of the light?
Candles, The Sun, the installation of Bill Wiola in Amsterdam, the sunrise in Arizona, a painting by hammershaw . . . . . . Describe to me the way you handle light, your method and
Sincerity, no nonsense, no accumulation looks rich or efficient, less is the best, coherent and free from fear.
Many people add and add because they are not confident and create gimmicks.
You have worked with many of the greatest fashion designers in the world.
What are you trying to achieve in your work for each of them?
They cannot express their expectations in words.
Each of them has a different personality: each has its own vibration, emotion, aesthetics and expectations.
Everyone is open and confident in me.