Left: a trinket seller. Center: white, the color of royalty. Right: the Parisian Statue of Liberty.

Paris is torn.
Torn between a massive push to welcome more tourists, and efforts to deflect migrants and refugees to other destinations.

Interviewed by Antoine Asseraf and Rene Habermacher.
Transcribed and edited by Edward Siddons.
Editorial assistants Thibault Della Gaspera, Marion Louapre, Sebastien Macher.
Thanks to Nassim Majidi, Mehrdad Pourzaki, Jean-Michel Centres and Ali.

Photography by Rene Habermacher.

Left: Blue, the color of the Seine. Center: rules of the refugee squat. Right: a trinket seller.

New hotels, art museums, concert halls, festivals, the largest AirBNB selection in the world, a bid for the Olympics, training the French to smile… To recapture the crown of the number one tourist destination from London, nothing is unthinkable.

Yet, in the city where the Statue of Liberty was conceived and built, a concerted effort is also made to repel those who would want to settle more permanently – among them refugees. A few hundred metres from the Sacré Coeur, sheltered spaces underneath the metro tracks are being permanently blocked to prevent anyone seeking sanctuary.

Left: Ali, a refugee. Center: trinkets for sale. Right: Red.

Borders are overrated, François Gemenne has concluded. Executive director of the Politics of the Earth program at Sciences Po Paris and author of the Atlas of Environmental Migration, Gemenne concluded from his studies that borders do little to reduce the number of migrants, only increasing the number of deaths. … For this advocacy of opening borders for refugees, he has received death threats.

François Gemenne.

Did you choose Paris or did Paris choose you?

I think it was a bit of both! I’d always been attracted to Paris though it’s a city that I didn’t really know. Despite being Belgian, I had only visited a couple of times as a tourist before moving here in 2007 for family and professional reasons. I was pleased with the choice. I was in London before, but it was a refreshing change.

Which begs the question, London or Paris?

They’re very different cities but I think the quality of life in Paris is much higher than in London: the transportation system is better, the banks are better, less traffic. Paris is walkable: it’s a much more concentrated city without the spread and sprawl of London. Paris wins hands down in terms of quality of life.

“Paris wins hands down in terms of quality of life.”

There might be more cultural events or dynamism in London, but I think it depends firstly on your age, and secondly on the money you have.

What does it mean to be a Parisian?

I know rude Parisians, polite Parisians, busy Parisians, lazy Parisians – I’m not sure we can establish a set of Parisian characteristics.

It might have been the case years ago, but the city has been so transformed by immigration and other factors that we can no longer say the city is this or that. That’s what makes it a great city: the diversity of the people.

Where is the center of Paris?

I think the center has probably moved to the suburbs. Some Parisians do not consider what’s beyond the périphérique to be the real Paris, but it is: it might not be the Paris from the postcards, but this is where the people live and they are what make Paris. Paris is beautiful, but the challenge is not to make the city only an open-air museum, as beautiful as it might be.

A trinket seller.

You say Paris has been radically changed by immigration. Is this a recent phenomenon, or is it more related to a broader historical context?

Well, there are different flows of immigration with different effects. First and foremost, there is significant immigration of the French into Paris: many Parisians were not born in Paris.

Then there is immigration from abroad, and throughout its history the city has always been built by different flows of international immigration. Initially it was mostly European immigration, then predominantly North African and Sub-Saharan African migrants. Then more recently we have seen flows from other countries, and these flows will renew Paris and restore its dynamism.

If Paris wants to affirm itself as a real global city as London and New York have, it must keep attracting immigrants. This ties into the importance of reconnecting the suburbs with the city and keeping housing affordable.

I’m worried that Paris is becoming less and less welcoming and affordable to blue collar and poor migrants. There is a tendency to try and attract rich investors, but that isn’t enough to keep a city alive.

Where do you see Paris in five or ten years?

I think Paris in terms of local governance has the potential to thrive: what concerns me most is the wave of racism, anti-Semitism and xenophobia in France today, and not only in France but throughout Europe. Social cohesion will be a real challenge for Paris, as will remaining appealing to migrants. When I hear of current migration policies and the current state of the public debate on these issues, I’m concerned that in five or ten years France might not be attractive for the migrants anymore and that would mean the death of Paris.

Multiculturalism is a challenge that Paris needs to embrace. It cannot just position itself as an open-air museum or a beautiful city – that’s not going to be enough. If Paris wants to become a global city, a global hub, it will need to embrace the concept of multiculturalism and reconcile itself with its immigrants. It needs to realize that the diversity and dynamism of the city is thanks to immigration.

“Multiculturalism is a challenge that Paris needs to embrace.”

The Parisian Statue of Liberty in its city of origin, Paris.

But do you think you can separate attractiveness to tourists and to migrants?

Well, Paris could become like Versailles, somewhere you visit briefly for the museums and attractions – which is maybe a little too harsh an assessment of Versailles – but I don’t think Paris should want to just be that.

Both [tourism and immigration] are important, and are necessarily linked. A symbol of this is the RER B [train] that goes from Charles de Gaulle to the center. The train, and the mess that it is, is a symbol of how France has not yet fully understood that both tourists and immigrants are important to the city. There is always that awkward situation of tourists filling the whole train as it leaves the airport, but then stopping at every station picking up suburban workers on the way to the center. Parisians don’t understand why there are so many tourists, and the tourists don’t understand why the train keeps stopping.

The train is a symbol of the difficulty in assimilating both of these populations, and realizing that each one should enrich the other.

Isn’t the vision or dream of Grand Paris, the integrated, centralized city very French? Los Angeles and other cities have given up on that vision.

Yes, it’s very much part of the French tradition, and one must recognize and acknowledge that. The development of London, LA, and now New York with the growth of new hubs in Brooklyn and Queens has avoided centralization. But in France, there’s a tradition of having a clearly identified center.

I think Paris will continue in that vein. I think the notion of centrality is a fantasy, a fantasy I like. I like the idea that everything can happen in the same place. What are sometimes seen as the inconveniences of the French love of centralization also come with a huge range of benefits.

All trains stop at the same station: you cannot go through Paris, which is a major difference compared to other cities. It’s the start or the end of journey, not a midpoint. It needs to be aware of that and play it as an asset.

“The war on migrants they are waging is absolutely shameful.”

Left: rules of the refugee squat. Center: anti-refugee barriers. Right: François Gemenne.

What’s your take on the management of asylum seekers ?

I think it’s a shame. It’s a slap in the face of migrants, of Europe, and of the European spirit. It makes me ashamed of my own government. The war on migrants they are waging is absolutely shameful.

We need to realize that migration is a structural phenomenon that you cannot prevent, limit or strictly regulate: it’s not by closing a border that you control migration. It doesn’t work like that.

Governments need to accept that migration is not determined by their policies, but by structural factors beyond their control. We need to realize that it is not only a structural reality but also a fundamental right, and that it is an asset, especially for large cities.

Blue, one of the colors of Paris.

It seems that the French are more resistant to change. Would you agree?

I think it’s important that France accepts the idea that change is not a threat. Accepting the idea that one cannot control everything is also probably for the best, as much when we consider architecture and design as when we consider immigration.

Sometimes, there is an obsession with keeping things the way they are or have been without thinking deeply about whether the status quo is really that good.

Why are people so afraid of your proposal for free migration without national borders?

Because they think it would change everything, that opening borders would represent a major change in everything they know. To which I have two things to say: the opening of the borders would not change everything, it would just make things so much easier for everyone. And secondly, that the change is maybe not the threat they think it is, and that it can be extremely positive for them. Only once change happens can you understand how great it is.

We’ve all experienced not wanting to go to a party or dinner because we are tired or busy, but finally we’re convinced, and when we go we realize it’s the best dinner or party of our lives. That’s how I feel about the French: they need to be convinced or taken by the hand so they realize how positive change is.

White, the color of royalty.

What would have to happen for this change to occur ?

No politician is willing to take up with the idea because they know it would result in a sudden drop in opinion polls for them because people would think that the policy is completely crazy. What I see as my biggest challenge as a researcher is convincing people that this is not as crazy an idea as it seems. I want people to realize that this could be a very realistic proposal. I accept that people might disagree with that proposal, but I object to the assumption that the proposal itself is impossible. Once it appears realistic, I think some politicians would be willing to take it up.

In many ways, the idea isn’t new. The Byzantine and Roman empires were all about the absorption of peoples…

Exactly! It’s not new at all. What is new, what is against the course of history, what is unrealistic and crazy is the closing of the borders.

I bet that in a few hundred years historians will remember this period of closed borders as an oddity. A terrible oddity, and a criminal oddity.

“historians will remember this period of closed borders as an oddity.”

Do you imagine dying a Parisian?

I could imagine it, though I’m not sure that’s how I will die. The cemeteries are beautiful in Paris; it’s definitely a place I’d like to be buried.

Though if I could choose anywhere, it would probably be New Orleans, because I’ve always liked the atmosphere and I think it might be the greatest American city. It’s such a mix between Europe and the US and the people still speak a little French, though it might be barely recognizable to you or I. [Laughs.]

What objects would you be buried with?

A television. [Pauses.] Though maybe reception wouldn’t be great down there… [Laughs.] People are always complaining about the television, but to me it’s one of the best inventions of the last century.

Red, the other color of Paris.

Is Paris dead?

Somehow yes, and somehow no. It’s important to let some aspects die to create new ones.

The French would disagree. It relates to the way they experience change: they feel it as a disaster. The closing of a bookshop is understood as a drama, as though culture is dead. Of course, it’s a little sad, but it means that other forms of culture are emerging somewhere else. Death for one thing can mean life for something else.

Being a Belgian I have a different view. When a king dies and a new king is sworn in, we say “Le roi est mort. Vive le roi.”

It’s important that we are able to say the same for the Paris.

Paris is dead. Long live Paris.

Nadine and Paul both wearing Y/PROJECT.

Legends are not born, they are made.

Photography by René Habermacher.
Creative direction by Antoine Asseraf.
Styling by Rogelio Burgos.

Hair by Panos Papandrianos @ CLM.
Make-up by Yannis Siskos @ Airport.
Production assistant Marion Louapre.

Models: Nadine Strittmatter @ Next, Zoe Alayrangues, Paul L @ Rockmen, Timothée @ M Models, Florentin @ M Models.

Clothes by Drome, Icosae, Koché, Léa Peckre, Neith Nyer and Y/Project.

Special thanks to Versae @ Next, Adrianna @ Rockmen and Guillaume @ M Models.

Irene Silvagni, in vintage Yohji Yamamoto.

Today icons of the fashion industry, Peter Lindbergh, Steven Meisel, Martin Margiela, Paolo Roversi and Azzedine Alaïa were once young and on the outside. Yet before New York, before Milan, Paris gave them a chance.

Irene Silvagni, as fashion editor of Vogue Paris in the late 1980’s, fought for a new generation of talent despite nascent commercial pressure, supporting photographers and designers until she had to face a tough choice –
sell-out or pack-up.

(Hint: she didn’t sell-out).

Fast-forward over 27 years of Irene crafting the image of Yohji Yamamoto, fast-forward over her acting in a film alongside Jean-Pierre Léaud, fast-forward over then-nascent commercial pressure reshaping fashion entirely, fast-forward to today.

As the center of the city slowly shifts north and east to République, the question is, can Paris still give talent a chance, can there a new creation generation ?

(Hint: yes).

Zoe in a Drome dress.

Did you choose Paris or did Paris choose you ?

I have Russian origins, both my parents were Russian, I’m the great-great-great niece of Trotski. I was born during WWII in Cannes, because it was the free zone and we were in hiding. Then my parents chose Paris because they were refugees, I studied in Paris, started working, then married in Italy and lived there. And I would say I love Paris, sometimes I have a grudge against it because it’s not an easy city, but I feel like a world citizen, meaning I could move at any second. I am not trapped in Paris. But I think I didn’t choose Paris, it is Paris that chose me.

How does one become Parisian ?

Being born in Paris doesn’t automatically mean becoming a Parisian. I think you fall in love with this city, you set up camp, ground yourself, whether Paris accepts you or not, because it’s not that simple.
I’ve always thought, with much affection, that Rome was a whore and Paris a great lady. One chooses Paris, the skies, the roofs, the light, there are extremely endearing moments, and then moments where as with any grand lady, it’s not that great…

“Rome was a whore and Paris a great lady”

Timothée in Icosae sweater and jacket.

When is Paris – 19th, 20th, 21st century ?

I don’t feel that Paris is in the 21st century, but Belleville is a neighborhood I really love, very liverly, fun, and to me the mixing of cultures is very important.
For example in the south of France where I live part of the year, there is terrifying anti-Muslim, anti-North African racism, and it’s a shame. Paris has had this mixed culture for a longtime, and that’s formidable. When you have foreign roots, you feel it very deeply.
This “mixité” is not regressing yet, but these days people are afraid, and when people are afraid, they may turn racist, anti-semitic, etc. I don’t want to be too pessimistic, there are so many great people out there that are fighting for an integrated society.

Left: Nadine in Y/PROJECT. Right: Nadine and Paul in Neith Nyer.

What are your current projects ?

Christophe Lebourg, a fashion designer famous in the 90’s brand for his brand Dimitrios, and I are creating a school. My main project right now is transmission of knowledge, because so many people do not know, they haven’t been told about fashion, about art, about many things. This school would be in Nîmes, the city where denim was born – it has an incredible tradition. Some buildings have iron measuring sticks built into the walls.

“My main project right now is transmission of knowledge”

Paul and Florentin both in Icosae.

It seems the schools which train the most influential designers are less and less based in Paris…

With the exception of Studio Berçot, it’s true. The Bunka school in Tokyo is extraordinary. But you know many designers have never gone to school. It’s something you can have within you. You can learn cutting, pattern-making, but that’s learned quickly.
I’m still surprised by the consecration that is having a fashion show in Paris. But will it last ? In the US, Anna Wintour, with whom I’ve worked, truly supports designers, she has this power. But there is no one in Paris to do this. The issue is that fashion journalists don’t have the curiosity anymore. It’s the same everywhere but it’s sad.
Azzedine Alaïa would lend, not offer, dresses to about a dozen editors, and we would wear them to launch him, that’s how impassioned we were ! Today editors leave empty seats at fashion shows, openly saying “you’re not an advertiser, you don’t interest us”!

Zoe in Koché.

I remember at Vogue there was a wall with a magnificent picture of by Peter Lindbergh of Kirsten McMenamy with a dress, and one of my bosses asks “Who’s this, the designer ?”. I explained the dress was by Martin Margiela, a talented young designer.
“Maybe we don’t need in the office” my boss said.
“It’s your advertiser of tomorrow,” I replied, “if you remove this photo, I’m quitting tonight and I’m not coming back !”
I left journalism myself because when I was still at Vogue, I had been called in by the CEO of a big fashion company, who told me “Mme Silvagni, we are the ones paying your salary.” And I took the decision to stop, because the freedom to create is essential, for me or for designers…

Left: Paul, Florentin and Timothée in Icosae. Right: Paul in Y/PROJECT.

“the freedom to create is essential”

Do you imagine dying a Parisian ?

If the Front National were ever to get elected, I would leave France. Otherwise, I could die in the street tomorrow, in rue Notre Dame de Lorette where my dad was a shirt-maker, and, hop, be gone. My dad made the shirts and boxers of Maurice Chevallier right there, so it’s strange that I would come back to live here.
But if I were to chose…in Provence.

What would be your last look ?

Yohji Yamamoto shirt and pants. Black. And with a pair of ear rings.

Right: Zoe wears Lea Peckre.

The last meal ?

Pasta. My husband was Italian.

Any objects you would take with you to the grave ?

Ancient blue and green ceramic from the south of France which I collect. A big ceramic vase in which I would put peonies – I love peonies.

Is Paris Dead ?

No. I love Paris, I am critical, auto-critical even, but Paris is a city that survives, there’s something in the ground or under the Seine which can spring up.
Because there is an active minority who really loves Paris. It’s very difficult not to love Paris – it has many faults – but I think it won’t disappear any time soon.

Left: Nadine wears Lea Peckre top and pants. Right: Paul wears a Neith Nyer coat.

“there is an active minority who really loves Paris.”

Romain wearing jewellery by René Talmon L'Armée.

Photography by René Habermacher.

Creative direction by Antoine Asseraf.

Styling by Kanako B. Koga

All jewelry by René Talmon L’Armée.

Starring Loulou and Romain Eugene Campens.

Special thanks Versae @ Next, Rodger @ Success, Christophe @ City-Models and Muriel @ Airport.

Loulou, rings by René Talmon L'Armée.

If you can’t say something nice, say it with flowers.

Romain wearing jewellery by René Talmon L'Armée.

Romain wearing jewellery by René Talmon L'Armée.

Loulou.

“It is both a blessing and a curse to feel everything so very deeply.”
– David Jones

Romain wears jewellery by René Talmon L'Armée.

PARIS, #FREETHENIPPLE CAPITAL OF THE WORLD.

IS PARIS BACK ?

PARIS WAS NEVER GONE.

PARIS IS DEAD IS DEAD.
VIVE PARIS IS DEAD.

Photographer: René Habermacher
Model: Nadine Strittmatter @ Next
Hair: Yuji Okuda
Make-up: Min Kim @ Airport Agency
Manucure: Aurélie Chevalier

Dress: Filep Motwary
Sandals: Giambattista Valli

Production: The Stimuleye

Thanks to Versae Vanni @ Next.

Shinsuke Kawahara, wearing a vintage top hat, with his 7 rabbits.

We won’t say how long ago, but it started the moment he landed.

On the Charles De Gaulle runway, white rabbits.

From that precise moment on, Shinsuke Kawahara’s obsession was set in motion.

Conducted by Antoine Asseraf, René Habermacher, and Suzanne von Aichinger.
Transcribed and edited by Edward Siddons.
Photography by René Habermacher.
Illustration by Shinsuke Kawahara.
Creative direction by Antoine Asseraf.

Shinsuke wears a black Haori kimono on top of a white silk Shiro-Oshima kimono.

Rabbit drawing, rabbit paintings, rabbit medieval tapestries, rabbit haute joaillerie, rabbit restaurant — wherever Shinsuke applied himself, rabbits appeared.

And apply himself he did:
illustrator, animator, art director, decorator, restaurateur…

Every month brings new projects to Shinsuke, and each project brings new rabbits.

Left: Shinsuke Kawahara at his window, wearing vintage Undercover shorts.
Right: Tank top by Brutals.

Did you choose Paris or did Paris choose you?

I chose Paris. My family is a very traditionally Japanese, which I now really appreciate, but when I was a kid, I can’t say I hated it, but I wanted to discover other cultures. Foreign cultures inspired me, French and otherwise. I was interested in cinema, particularly the work of [Jean-Luc] Godard, the poetry of Jacques Prévert, and the music of [Serge] Gainsbourg.

In high school I had already decided to move to Europe. I didn’t want to go to university, but my parents said that I had to. So I said, “Well, if I pass the exam, please let me study in Europe.” Finally, I ended up going to art school in Japan, and in my third year, when I was twenty or twenty-one, I came to Paris for a year.

When I got here, there were no cellphones, no fax machines, nothing. So I’d go into a public telephone box with the yellow pages, and bring a dictionary to write down set phrases in French, such as “I’m Japanese, I’m a painter and illustrator”. Then I’d have an appointment, and I’d go along with these set phrases written down. It was really manual. I showed Le Figaro my drawings, they liked them, and I quickly got a job illustrating for them every week. Afterwards, I found an agent which is when everything really started for me. I worked for Hermes, Baccarat, and others, which then lead to more international work.

“I’ve been living here for almost thirty years, but the people still aren’t kind.”

How does somebody become a Parisian? How did you become a Parisian?

I like Paris and I’ve been living here for almost thirty years, but the people still aren’t kind. [Laughs.] It’s kind of shocking whenever I leave the country and come back, I really can’t understand it, but maybe that is part of being Parisian.

Part of me is Parisian. Part of me is still Japanese. But maybe I don’t feel Parisian… At the moment I don’t feel Parisian: I don’t have that really “quotidian” feeling. For example, my friends come from Japan, and everything’s a surprise for them. I’m always surprised by Paris andI always like Paris. But now that’s quelque chose de quotidien too… Something common.

I have an apartment in Paris now, so when I go to Tokyo and talk in Japanese, I say the equivalent of “I’m going to Japan,” not, “I’m coming back.”

Left: Vintage bowler hat.
Right: Shinsuke, his rabbits, and the kids from the 11th arrondissement.

Do you imagine dying a Parisian?

I don’t think so. I didn’t always feel that way but for a while now I’ve been thinking that I can’t completely go back to Japan either, though I do want to discover more of it. So maybe I’ll make that choice later: to die a Parisian, or to die Japanese.

Finish the sentence: “A Parisian is…”

Something to do with “joie de vivre.” And being selfish. Maybe they are full of a selfish joie de vivre! [Laughs.]

At the beginning it was really difficult to make meaningful friendships, but having made some, I think that’s quite Parisian. When I first came here it was much more closed, but Parisians now are much more cosmopolitan than in the past. That’s why I can make the choice to die Parisian or Japanese, because maybe they’re sort of the same. The world is much smaller now.

“Maybe they are full of a selfish joie de vivre!”

Left: The courtyard of Shinsuke's pied-à-terre.
Right: Umbrella by Bangasa.

Where is the center of Paris?

The center of Paris always changes. As a foreigner, especially when I first came to Paris, it really was Saint-German-des-Prés; that was kind of my fantasy. But finally, in the eighties when I moved here, it was Les Halles—it was so strong—and then, and maybe still today, the Marais.

Today, though, I don’t know… but it’s not the Champs Elysées! I like the Faubourg Saint-Honoré, the Tuileries, and Concorde, so maybe that’s the center of Paris, but there aren’t many Parisians around there—maybe for foreigners it is. Now I’m in the 11^th because there are a lot more “local” people there. Even though it’s starting to change, there are still little ateliers.

Maybe the real center of the Paris is the Seine.

Where do you see Paris in five years?

I don’t want to see Paris become a museum because it’s a really beautiful city, one of the most beautiful, in fact. I want it to be active. Always.

A silver rabbit designed by Shinsuke Kawahara for Christofle.

What do you think was the golden age or the youth of Paris?

Maybe the 1920s. When I started Usagi, I wanted to create something of a private club, a kind of culture. I’m not a restaurateur, and I had no experience of that world, but I really wanted to create something like the art circles of Montparnasse, a cultural mix.

I wanted painters, actresses, photographers, everyone, to come to my place and mix. At that time, Fujita, Diaghilev, Coco Chanel, Picasso, people from all over the world mixed; I just imagine it was a really good time.

How would you dress for Paris’ funeral?

The story begins with my family being so traditional. When I was a kid, my mother wore a kimono every day, and she still does now, which is unusual even in Japan. At the time, I didn’t like it, but now I really appreciate it. That’s why, now, when I go to special occasions I love wearing a kimono. That’s what I’d wear for Paris’ funeral.

“I don’t want to see Paris become a museum”

Do you think Paris is dead?

I don’t want Paris to be dead. I like Paris, even though some of the people are selfish and difficult. I still love it, and for me it’s really important. I don’t think Paris is dead and I don’t think Paris will die.  I just hope it evolves.

Left:Shinsuke Kawahara in traditional kimono.
Right: The 7 rabbits of Shinsuke Kawahara.

What are your current projects ?

I’ve designed a series of objects for Hermès’ “petit h” collection, including 6 unique “bonsaï” vide poches,
a series of t-shirts for Erotokritos, and have exhibits at Tokyo Ebisu & Marunouchi.

http://www.shinsukekawahara.com

Louis Benech, landscaper of the Tuileries gardens and of the new grove in the Chateau de Versailles gardens, 
in his trademark attire.

As lowly post-internet humans, we have great difficulties planning life over the course of a few days, never mind a year.

Yet human being Louis Benech plans the life of hundreds of plants over the course of several decades.

Photography by René Habermacher.
Styling by Suzanne Von Aichinger.
Creative direction by Antoine Asseraf.

Transcription by Marion Louapre.
Retouching by Dimitris Rigas.

Shot at Bosquet du Théâtre d’Eau, Chateau de Versailles, opening May 12th 2015.

Louis Benech in full bloom.

Benech is the landscape genius behind the Tuileries gardens,
high place of both culture and cruising,
but that was to be only the beginning of
an international landscaping career
which boasts over 300 projects.

Benech now takes on Versailles,
bringing contemporary art to the sun-king’s domain with his new design for the Bosquet du Théâtre d’Eau
[Water Theater grove],

featuring an installation by artist Jean-Michel Othoniel.

Winter is over, Louis is in bloom.

Did somebody say Daddy ? Louis Benech wearing a vintage military cape.

Did you choose Paris or did Paris choose you ?

Paris chose me. I was working in Normandy, when there a pitch for the Tuileries garden. I was excited to work on this project with the team Pascal Cribier had put together. We were lucky enough to win the contest, so I came to live in Paris.

How does one become Parisian ?

No one is born Parisian. I was raised in Paris for a few hours, then I had a father original enough to decide to move the family far away, but even in the country I felt very Parisian. When you leave Paris as a child, you keep a vague air of arrogance.

When you leave Paris as a child, you keep a vague air of arrogance.

Where is the center of Paris ?

My work method is that of an architect, so it’s the geographical center, I would say, the Ile de la Cité.

When is Paris ?

I don’t see Paris in a golden age, but in the current age of muddling, sluggishness and lack of dynamism…on the surface ! I find there are some nice exceptions in certain spheres. From a creative point of view, I think there are a lot of creative people today, whereas 10 years ago, it was clearly in America or even in London.

I think there are a lot of creative people today, whereas 10 years ago, it was clearly in America or even in London.

Paris in 5 years ?

No idea. My sense of projection is generally very very slow, because a garden is in spite of everything rather slow in comparison to all contemporary projections where everything is accelerated…the absence of hindsight in fact !
I project gardens 30 years ahead.

I project gardens 30 years ahead.

Clearly quite a few parts of Paris are being wrapped up for preservation. But I think it’s in a good way. When you see for example what Renzo Piano just did for the Fondation Pathé, in the heart of a block, it’s raw modernity and creativity, you see a metamorphosis of the city beyond the exterior aspect, which means it’s not that fossilized.

Sleeping Beauty: Louis Bench regenerates in a drainage hole of his own design in the Versailles gardens, 
with his favorite tools.

Do you imagine dying a Parisian ?

­No. I am not the right person to whom to ask this question, since I don’t need asphalt, sidewalks or movie theaters to be happy. I love picking a book and gardening, so I see myself age somewhere I can garden.

What would be your last look ? The last look you wear to be buried in ?

My look is no look !
I have no real vanity, I am dressed the same way year round. Same sweater, one type of shirt, one type of shoes.

My look is no look !

Which objects would you be buried with ?

Oh, nothing, in the nude !
As I was raised catholic, I was taught about resurrection, but not in the way of pharaohs with their cats, dogs, goats, cutlery, jewelry and furniture. I was also told about returning to dust so… I don’t think I need anything.

That’s what I love in Buddhism, when talking about reincarnation it’s much smarter and fun to know you’ll be reborn an ant…if you get to be reborn at all !

The day Paris dies, what will you wear to its funeral ?

Again, nothing. I would wear my tears.

I would wear my tears.

Gardening is hard work, Louis Benech wearing just a Borniol fabric and rubber boots.

If you had to design a tomb for yourself, what would that look like ?

I’m doing, actually, a cemetery for a friend of mine. A place where people could come and still talk to her.. So it’s a huge huge bench and it’s a sort of camembert shape to be trivial. I thinks it’s a clever attitude. Because she wishes to..she’s a bit scared probably, so she wishes to have contact with the human beings she knew..she knows. And she wants them to come, being attached to her person.

I would love that the spirit could connect me with all the people but not with signs. I mean you’re belonging then to the sea, the sky, the stars, the flowers.

I’m doing, actually, a cemetery for a friend of mine.

Is paris dead ?

Yes, I knew that you were going to come for that. I should be prepared.
But no, it’s dying but it’s not dead. And I don’t the see the ways it will die, but it’s dying in some ways. I’m very confident in the future myself.
­
First I love metamorphosis, and somethings change a little, and I alway find positive things in change.

Louis Benech finally resting in a bench of his own design, in marble and concrete, 
for the new Bosquet du Théâtre d'Eau of the Chateau de Versailles gardens.

I just finished a garden in the childen’s psychiatric ward of Montsouris Hospital. There’s many young girls who are anorexice or ill at ease. And the garden is a way of leaving your body, as it is for fashion, music…

Each time I make a garden I think it will help someone. And if I can do it in an area where there is a strong concentration of pain, I’m very happy. For people who have Alzheimer, who don’t even know they’re in a difficult situation, it’s a way of making their absent moments happy.

So I believe in the benefits of gardens.

Each time I make a garden I think it will help someone.

Bosquet du Théâtre d’Eau in Chateau de Versailles opens May 12th
featuring sculptures by Jean-Michel Othoniel,
landscape and benches by Louis Benech

Blue trench coat, cherry handbag with brass knuckle handle and pink ruffle satin wedge shoe by Undercover.

The fashion fantasies of Jun Takahashi, mastermind of the Undercover label, always seem to tell us a story.

Dark fairytale or fun nightmare ?

Neither, both.

Photography by René Habermacher.
Styling by Suzanne Von Aichinger, all looks by Undercover.
Creative direction by Antoine Asseraf.
Production by Agathe Rousselle, assisted by Marion Louapre.
Colour management by Dimitris Rigas.

Portrait of Ingrid Astier: Hair by Philippe Mensah @ L’Atelier(68) / Make-up by Min Kim @ Airportagency.
Undercover: Starring Tako @ Next / Hair by Marc Orsatelli @ Agence Aurelien / Make-up by Min Kim @ Airportagency.
Special thanks to Versae Vanni, Jun Takahashi, Chieri Hazu, Hiromi Otsuka, Giorgio Martinoli, Hôtel Saint Merri, La Perouse, Alice Revet.

Lilac silk tulle tutu dress with jagged leaf bodice, lilac jagged leaf crown by Undercover.

For his summer 2015 collection, Takahashi sent black winged debutantes down the runway, counterbalanced by black-perfecto clad fallen angels.

Writer Ingrid Astier has always been drawn to the “noir.” Her novels, published by the prestigious house of Gallimard, give a “fair” account of its pull on her.

Like a phoenix in reverse, Undercover’s haunting impression inspired Astier to write a short exclusively for Paris is Dead.

“Deep Purple” by Ingrid Astier

“Il suffit de fermer les yeux pour faire la nuit en soi.

“To make it night inside yourself, you only have to close your eyes.

Blue trench coat, cherry handbag with brass knuckle handle and pink ruffle satin wedge shoe by Undercover.

Longtemps, je l’ai cherchée dans les rues de Paris, jusqu’à douter de l’existence de cette femme aux ailes de feu. Qu’avais-je suivi, elle ou mon rêve ?

For a long time, I sought her in the Parisian streets, to the point of doubting the very existence of this flame-winged woman.

Black leather motorcycle jacket with taffeta ruffle trimmed sleeves and leather fringe belt detail with black 
skirt with ruffle hem and black cock feather wings with wrap around leather ribbons, black flat patent leather 
shoes with snakeskin straps and black cherry ornament, all by Undercover.

Paupières closes, absence aux autres et à soi, la rêverie dévore l’esprit, dans ce lit où je ne sais plus si je dors ou si je vis.

With eyelids closed, absence to others, and to oneself, dreaming devours the mind in this bed in which I no longer know whether I’m sleeping or living.

Le peuple intérieur s’éveille.

The people inside awake.

Hieronymus Bosch printed dress with black jagged leaf collar, sleeve and hem trim, Hieronymus Bosh print wedge 
shoes and pink jagged leaf crown by Undercover.
Pink metal leg bracelets by Ambush for Undercover.

Des songes bruissent comme des oiseaux. Les draps me font des jambes de coton. Des phrases me traversent : « Mais si la mort n’était qu’un mot ».

Dreams murmur like birds. Bedsheets turn my legs to cotton. Phrases traverse me: “But if death were only a word ?”

Crevel se bat avec Kakuzô : « La seule fleur dotée d’ailes est le papillon. » Je me livre au mystère, à son empire, au hasard des croisées. Jusqu’où la beauté d’une femme peut-elle nous hanter ?

Crevel fights against Kazuko: “the only flower bestowed with wings is the butterfly.” I surrender myself to mystery, to its empire, to chance encounters. To where can a woman’s beauty chase us ?

Black dress with jagged leaf trimmed collar and bell sleeve with black cock feather wings 
with wrap around leather ribbons by Undercover.

Dans ma tête, un bestiaire halluciné profite de l’ombre. Ne jamais trop laisser grandir la nuit en soi. Un phénix d’or et de pourpre brûle les dernières teintes du couchant.

In my head, a phantasmal bestiary thrives in the shadows. Never let the night inside you grow too big. A phoenix, golden and purple, burns away the lingering hues of sunset. I ask it to take me to the land where fantasies take bodily form.

Je lui demande de me mener jusqu’au royaume où les fantasmes prennent corps. « Connais-tu ces terres, Phénix ? » Caresse de ses ailes. Il survole le jardin des Délices. Qu’est-ce que ces fraises des bois entre mes doigts ? Est-ce toi ? Voici la cavalerie de la nudité.

“Do you know those lands, Phoenix?” The stroke of his wings. It surveys the garden of earthly delights. What are these wild strawberries between my fingers? Is that you? Here’s the cavalry of nudity.

Black dress with gold wire mesh inserts by Undercover.

Des corps où la peau est lumière trouent le vert de leur chair. As-tu décidé, Mort, d’un congé ? Comme c’est profond, la pensée.

Bodies whose skin is light, tearing holes of green in the flesh. Have you decided, Death, to take a break ? How deep thought is.

On dit aller, parfois, au fond des choses… Mais de soi ? « Continue à creuser ». Et si je creuse en moi, vais-je m’évider ? L’amour est une mine, un réseau souterrain. Glissements de terrain : le pur et l’obscur, la fée et la bête. Qui possède ma tête ?

We are sometimes told to get to the bottom of things… But of oneself? “Keep digging.” And if I dig within myself, will I hollow myself out? Love is a mineshaft, an underground network. Landslides: the pure and the obscure, the fairy and the beast. Who possesses me?

Left: Black chiffon top with jagged leaf sleeve detail and black jagged leaf crown by Undercover. 
Right: Cherry handbag with brass knuckle handle by Undercover.

Deux cerises lustrées à la force du poignet tendent leur miroir. Je me penche et vois un crâne. Un Pacman ricane. Non loin, Eros et Thanatos s’embrassent.

Two cherries, shiny through wrists’ work, hold forth a mirror. I lean down and see a cranium. Pacman in a delirium. Nearby, Eros and Thanatos kiss.

Blue trench coat, cherry handbag with brass knuckle handle and pink ruffle satin wedge shoe by Undercover.

Dans quelques heures, je renaîtrai, pour continuer à te chercher.”

In a few hours, I will be reborn, to keep searching for you.” – Ingrid Astier

Writer Ingrid Astier is wearing vintage mauve brocade dressing gown with Watteau back. 
Shoes by Christian Louboutin.

Did you chose Paris, or did Paris chose you?

Paris is an octopus born of the Seine. It took me in its tentacles and never let go of me. Though I never really asked.

How does one become a parisian?

One becomes a Parisian walking by the Seine. Romantic endings start growing out.

Where is the center of Paris? – Where are you in Paris?

The Seine, always ! It is the soul of the city. But whenever I’m riding my bike, I live in each and every corner of Paris.

Was there a golden of Paris or is it now?

The Golden Age ? Hasn’t it always been over ? There is only in nostalgia… I would have loved to watch women going down the Opera stairs, dressed in Christian Dior in the 50’s, to plot with feelings with René Crevel, the poet, hidden in the hollow of a balcony from the Pont Neuf in the 60’s, to have known the great Tony Gomez parisian nights in the 80’s, to have hung around cemeteries with Cyril Collard in the 90’s… Early 2000’s, sliding along the night, rollerskating with my boyfriend remains my own golden age. Having dinner in Paris today is also fantastic. And about pastries and chocolates : Paris is not dead at all !!! Even after a trip around the world.

How do you see Paris in 5 years?

Ask the medium lady from the Denfert-Rochereau trailer.

Your writing research has been very grounded in the details of the city’s seemingly automatic functioning, and its underworld?

As long as you haven’t fathomed a city upside and down, you don’t know really it. I need to dive into the Seine with the river squad, to listen to the fishermen’s stories, to sink into fortresses (the morgue, the quai des Orfèvres or a thugs’ nest), to find out improvised places where Haitian play the bezique while eating buccaneer chicken – to go beyond the postcard. Paris is a small capital: you can jump very quickly from one environment to an other, no transition. I love those clashes.

How did you enter that process? How does Paris influence your writing?

When I left Bourgogne for Paris, I wanted to find nature again. Some escapades canvas as well. The river gave me the opportunity to reset a fantasized world where both action and contemplation are melted. Just like Victor Hugo did when dreaming Paris from Notre-Dame, or Luc Besson from the underground world with Subway.

Do you imagine dying a parisian?

No, Paris is a vampire. It requires loads of energy. For my own twilight, I demand oceans or mountains. Freedom, wide, silence.

Is Paris Dead? If so, what comes after? What is after death?

Rather than « after death, » I prefer Except death from !!! (Chk Chk Chk) and its psychelic rock. Nick Offer is the only singer who can shoot a music video with his slippers on. Their drummer died in an elevator accident in New York… After death, there is life. Except that it happens without you now, you just skipped your turn.

What are you current and future projects?

The Angle Mort (« Dead Angle ») promotion, and a bold novel called Même Pas Peur, out in April (Syros). And then in 2016 my next Série Noire Gallimard novel on which I’ve been working on for two years… And a secret project, as beautiful as a cherry blossom tree who will decide for his own season.
www.ingridastier.com

 Christian Louboutin wears a lab coat embroidered by Cheeky Boom, shirt and midnight blue bow tie by Charvet.

“Heels are dead,” they’ve been saying.

His heels are not dead, they’re just beyond life.

Beyond life, beyond fashion, beyond pain, beyond the great beyond.

Photography by René Habermacher.
Styling by Suzanne Von Aichinger, with Louboutin shoes.
Creative direction by Antoine Asseraf.

Interview by Antoine Asseraf & Suzanne von Aichinger.
Transcribed by Marion Louapre.
Translated by Ed Siddons.

Starring Agathe Rousselle and Charles Boutheloup.
Grooming by Debora Emy @ Airport Agency.
Special thanks to Colette Lacoste, Valérie Marcou and Galerie Jeanroch Dard.

Left : Christian Louboutin is wearing a white shirt and red bow tie by Charvet. Shoes black “Mea Culpa” 
by Christian Louboutin. Right : Shoes patent leopard “Senora” by Christian Louboutin, vintage electric blue 
new wave trench and fishnet stockings by Falke.

Heels, as Christian Louboutin has understood so well, are beyond reason, and have become to many women and men, a possibly unhealthy obsession.

The shoes of this self-aware, self-made Parisian have travelled around the world, yet wearing his steepest designs, you’d be lucky if you can make it out of the house. But perhaps you were never meant to leave the bedroom in the first place.

These are killer heels we’re talking about.

Left : Shoe “So Kate” in red patent leather by Christian Louboutin, fishnet stockings by Falke. 
Right : Shoes “Hot Chick” yellow patent by Christian Louboutin, seamed stockings by Falke.

Did you choose Paris or did Paris choose you?

Well, my parents chose Paris for me: I was born here to two Parisian parents, so I didn’t make the choice, but I’m very happy with it!

Do you feel you are a Parisian?

One thousand percent Parisian. Wherever I go, I see Paris as the “Greenwich [Meridian],” that is, the standard.

How does one become a Parisian?

You have to overcome all the obstacles, and by that I mean the unpleasant or unhelpful people… This isn’t an easy town. There are obstacles, and lot of them, because the people here aren’t fundamentally kind; they don’t make much effort; they aren’t there for you, ready to help when needed. Paris doesn’t particularly want people to be Parisian, in fact, but I like that about it, because thanks to that, the city keeps its identity. I’m always hearing people go on and on about London, things like, “It’s so great because it’s so international!” and all of that.

It’s true that a lot of cities are international, but Paris is not an international city and that’s why I love it. I’m horrified by cities that people call international because it often means that they lack identity for everyone, except those people who like it because they might as well be anywhere. It’s a little bit like those restaurants serving fusion food. Paris is not fusion food, it’s Paris, that’s all.

“Paris is not fusion food,
it’s Paris, that’s all.”

Complete the sentence: A true Parisian is…?

Not really a French person.

Where do you live in Paris?

The Louvre. I’m sandwiched between the Louvre Post Office and the Musée du Louvre. That’s why I feel a lot like a Parisian concierge…

When did you make Paris your own?

I really made a Paris for myself the moment I agreed to become part of a Parisian community. I was so happy being part of the community along the rue Jean Jacques Rousseau and the junction with the passage Véro Dodat. Why? Because passage Véro Dodat symbolizes, for me, a very specific time for Paris, the Paris of the 1950s similar to the Paris seen in [Ernst] Lubitsch’s films. By that I mean the Paris of those iconic rooftops, the Paris of small markets, a Paris tinged with grey – Paris as seen through the lens of American cinematography.

Shoes “Dalida” by Christian Louboutin, geometric patterned pant by Alexandre Vauthier.

Shoes “Degraspike” by Christian Louboutin, acid yellow backless mini dress by Alexandre Vauthier and seamed stockings by Falke.

Where do you see Paris in five years’ time?

What’s amazing about Paris is that it doesn’t change. In five years, it will be the same – crystallized – as it is now. Paris really doesn’t change.

A defining feature of Paris is that Parisians will know – at the very most – four or five restaurants in the city. When you ask, “Can we go somewhere new?” true Parisians are terrorised. In fact, the two things that define a Parisian are that they know barely any restaurants, and they always go to one, the same one.

You can always know who’s a true Parisian and who’s not. If you were to start an investigation with the police trying to find out whether someone was Parisian or not, it would be too easy: you don’t ask for their identity card – it’s not needed – you ask if they have a drivers license. If they do, they are not Parisian. When you’re born in Paris, you don’t need a drivers license, so you don’t have one.

“You can always know who’s a true Parisian and who’s not.”

Do you imagine dying a Parisian?

Absolutely! I’ll die a Parisian through and through.

I once heard something that traumatized me. I read an American student’s research that one could construct a small atomic bomb with ingredients purchased on the internet, that could fit in a suitcase, with a range from Alésia to the Sacré-Coeur.

The idea that Paris might disappear… Honestly, I’m not sure anything’s made me so sad.

What would you wear to Paris’s funeral?

I would do something like Angelina Jolie at her wedding, but in black, and I’d have an enormous veil that I would have had embroidered by Lesage with all the monuments of Paris. It would be embroidered in black jet and encrusted with precious stones, with threads of silver not gold. Paris is very much a city of silver, just like its roofs.

 Shoes “Corafront” by Christian Louboutin, white shirt and red bow tie by Charvet.

Left: Shoes red "So Kate". Right: Shoes patent blue “Iriza” by Christian Louboutin.

What would be your last look?

Well, at that point I would have had my tomb engraved in red porphyry. My tomb would read, “Here lies a Parisian who spent a quarter of his time sketching (dessiner), a quarter of his time organizing his schedule, another quarter reorganizing his fucking schedule, and the last quarter having fun.”

I think that inside the tomb, I’d do something like Lupe Velez – something you could photograph. I’d be perfectly bandaged up and encased in a papier-mâché sarcophagus like the ones found in Faiyum [in Egypt] with a painted head rising up… Faiyum style!

“Faiyum style!”

I would ask the exceptional Jean-Noel Lavesvre to do the painting. He’s extraordinary, but he only knows how to paint men because they’re the only thing that interests him; he doesn’t know how to paint anything else. He has tried, and the closest thing to success he’s had is his painting of Elizabeth Taylor, and that’s because he’s obsessed with her.

I’d have two symbols in my hands, crossed just like the pharaohs: instead of the ankh I would have… I’m afraid I’d have a shoe [Laughs.] and in the other hand, maybe an Eiffel Tower, one of those small, beautiful things like in the cartoons. The shoe would be one of my Pigalle designs, because it’s sort of a high-heeled symbol of Paris. A heel held like a scepter, like the slipper I made for David Lynch.

Finally, the sarcophagus would be painted like a map with all of my favorite places on it. Paris would be at the center, then all of the other places I’ve loved. That way I’d be like someone from Faiyum, but someone from Faiyum who’d travelled a lot.

Shoes Swarovski “Pigalle Follies-Cosmos” by Christian Louboutin, vintage purple silk knit dress, 
seamed stockings by Falke.

Is Paris Dead?

Is Paris dead? Why, Paris has been dead for a very, very long time.

“Paris has been dead for a very,

very long time.”

When did it die, and what comes after death?

I think Paris died in the 1960s. It came back to life maybe twenty years ago in some ways, with the arrival of people who weren’t really Parisian at all, but who understood the fundamental importance of Paris as one of the three most beautiful cities in the world.

There are the Parisians, and those who’ve decided to be such, namely, the people of Rome and of Rio [de Janeiro]. For very different reasons, those are the three most beautiful cities in the world.

I will never accept the English claiming that London is the most beautiful city in the world. That is not going to happen any time soon…

What are you current and future projects?

I’m producing a film in Varanasi in India, plus I’m working on a site that I’m keeping completely secret for the moment which is not a Louboutin site, and thirdly, I’m working on the second phase of my foray into the world of beauty, which I’m also keeping top secret and which I’m delighted about. That’s all.

And one more really important thing: I’m getting my back waxed next week, and that will be quite a production!

“I’m getting my back waxed next week, and that will be quite a production!”

Christian Louboutin is wearing his “Chrisolido” shoes, white shirt and red bow tie by Charvet. 
Her shoes “Mea Culpa” by Christian Louboutin.

Thierry Schaffhauser wears black socks with white stripes by AMI, and his red umbrella tattoo, symbol of the STRASS,
the sex-workers union.

Museums, monuments, shopping… scratch that. Once upon a time, Paris’ number one attraction used to be its bordellos.

Interviewed & edited by Ed Siddons.
Photography by René Habermacher.
Styling by Suzanne von Aichinger, assisted by Chafik Chariet and Lahcen Fatah.
All looks by AMI.
Retouching by Dimitris Rigas.

Black coton red hearts boxer shorts and black bermuda by AMI.

How times haves changed.  And yet today, as the DSK trial winds down, society’s oldest binaries are being recycled.

Virgin or whore? Pimp or client?  But what about those who are neither? What about those who are both?

Enter Thierry Schaffauser, sex worker, thinker, activist and author.

Not your average Valentine – or, at least, not without a fee – his radical politics, incisive social insight, fearsome intellect and no-fucks-given outlook are enough to wake the dead.

So meet your new “ami,” your guide to the Paris of where the light don’t shine.

But beware, his bark might not be worse than his bite…

Sleeveless denim jacket and black coton red hearts boxer shorts by AMI.

Did you choose Paris or did Paris choose you?

I was born in the suburbs of Paris and you don’t choose where you’re born… I chose to move into Paris when I was 18 or 20 because the suburbs are segregated from the rest of the city. As a fag or queer person, it’s much easier to access LGBT spaces in Paris proper than in the suburbs.

I chose to leave Paris for five years, though. I meet men, fall in love, and move to a new place [Laughs.] But now I’m back.

Do you feel Parisian? Did you feel Parisian in the banlieue?

People from the rest of France would say I’m Parisian because they don’t make the distinction between Paris and the banlieue. But when you live there, the distinction is obvious and you don’t go to Paris all that much—you don’t have the time or the money to go regularly. I went for clubs and the gay scene, but there’s a strong separation and I think it’s on purpose: it’s political. The richer you are, the more central you are, and so the poor are pushed out.

Left: Sleeveless denim jacket by AMI. Right: “Pornocchio” t-shirt limited edition by The Gold Dust Orphans 
theater group, black and white stripe bermuda, black and white plaid shirt, black socks and shoes by AMI.

You left Paris for five years to live in London. Why did you return?

I want to stay because I think Paris is more politically interesting. STRASS (Syndicat du Travail Sexuel, a trade union for sex workers) the movement we have created, is more interesting than anything in London, from the way we construct the movement to the way we fight for our rights. In the UK, I thought it was interesting that there is a general union like the GMB [one of the largest general trade unions in Britain] which allows sex workers to join, but I quickly discovered that they’re very patriarchal structures and they don’t understand the sex industry. They don’t understand our needs and demands at all because it remains very controversial in the labour movement.

In France, on the other hand, most organisations ignore us and don’t consider us a real movement. But our independence allows us to do what we want and force them to acknowledge that we exist. Even when we were part of political structures in the UK, we got sidelined. Independence can be really valuable. They couldn’t shut me out because I was a member—even if they tried to at first—but the British have that way of using technical rules to keep you out anyway, while the French just shout at you.

“the British have that way of using technical rules to keep you out anyway, while the French just shout at you.”

Unions in the UK are riddled with bureaucracy, and it’s exhausting to fight within your own structure; I don’t want to waste time, I want to build something. I spent more time trying to talk to bureaucrats than sex workers, discussing the same old things about how the Labour party doesn’t support us, to which my response was always no, because the Labour party isn’t for workers any more: it’s corrupt. It’s the same in France. The corruption starts in the unions. The workers have lost control over the bodies supposedly fighting on their behalf.

So are the French more political than the British?

The French might be more political about some things, as the stereotype goes, but it depends on the question. You have people striking over pension rights across France, whereas in the UK so few people really fought against the cuts. Yet in terms of racism, the British won’t stand it: make a comment as an MP and you’re forced to resign, in France, you get elected President.

The French often want huge change and revolution, but always the reassurance of a hero figure to save the country. It’s depressing because we just get new patriarchs. The really depressing thing is that the next patriarch might be a woman: our first female President might be a fascist…

“the next patriarch might be a woman”

Black denim sleeveless jacket with red and white t-shirt and black denim bermuda by AMI. Thierry is holding his 
book “Les luttes des putes”.

Paris has been a hotspot for left wing intellectuals and activism throughout the twentieth century. Has this changed?

Up to the 70s and early 80s, intellectuals were linked to social movements, often the communist party or the feminist movement. Almost all of the intellectuals in Paris now sound right wing, talking about demographic transformation, the loss of French identity, or themes like “Paris is Dead.” [Smiles wryly.]

Look at the Manif pour tous [the anti-same sex marriage movement] and their attacks on gender theory. The only response from the Left and even some LGBT movements is to say “No! It doesn’t exist, nobody was talking about gender theory!” They aren’t even able to defend the wealth of knowledge and theory produced in the last 40 years. When Simone de Beauvoir said “On ne naît pas femme : on le devient” [“One is not born, but rather becomes, a woman”] she started a movement of thinking about gender as a social construction. Yet now people are terrified of defending that.

There are still fights that rage on, but the Left often isn’t where it should be. It was in part due to some mainstream feminists that the veil was banned, and certain feminist movements are strongly against the decriminalisation of sex work soliciting. It’s ridiculous. There’s no self-reflection, no critique, they just repeat the same old dogma that “bodies are not for sale” without a wider understanding of capitalist systems that limit choice, and crucially, our own ability to make choices. They treat us as victims, and in doing so, remove our agency.

“They treat us as victims, and in doing so, remove our agency.”

What makes a Parisian?

Just living in Paris. I don’t like the idea that your identity is fixed. If you come from abroad and live in Paris and you get an ID card, then you’re Parisian. What even is French culture anymore? Geography is enough for me: I don’t need any more than that.

Finish the sentence: “A Parisian is…”

Someone who lives in Paris… [Smiles.]

Left: "Les luttes des putes". Right: Black coton red hearts boxer shorts and black socks with white stripe 
by AMI.

Where is the centre of Paris?

For the tourists, Notre Dame. There’s a huge post saying that you are now in the centre of Paris, and as far as I’m aware, it’s from that point that distance to other cities is measured. So I’d say that’s pretty central. I live in Barbès, though, so maybe that’s my centre. Or if I’m not there, I go east where most of my friends live.

Sex work and activism makes me travel everywhere, all the way from the Bois de Boulogne in the east to the Bois de Vincennes in the west. When I see my clients, I travel all around Paris, even to the suburbs sometimes. For sex work in general, but especially male sex work, almost everything is organised online. When I started, gay sex work centred around Porte Dauphine, but the internet has changed that. I haven’t been there for ages for work, but I go there to talk to guys and understand what their working lives are like.

“Sex work and activism makes me travel everywhere, all the way from the Bois de Boulogne in the east to the Bois de Vincennes in the west.”

Does the Syndicat du Travail Sexuel (STRASS) have a centre?”

STRASS has never owned anywhere, our meetings are hosted by ACT UP [the AIDS Coalition to Unleash Power, a radical queer organisation with chapters worldwide] who provide the room for the weekly meeting. Sometimes we meet at Bastille, sometimes Belleville, which though it’s a little less accessible, is good because of the concentration Chinese sex workers there.

More broadly, there are many places which are symbolically related to the history of sex work, like St. Lazare Prison. In the nineteenth century they put sex workers, and any women they wanted rid of, in there. I went there recently, and there’s nothing that remains, just a small wall. Now there’s a school and they have a street that runs through where the prison court was. You would never imagine there was a prison there.

Our past has been completely erased. Occasionally when things are demolished, people put up a plaque; I wish we could have something like that for the imprisoned prostitutes, but nothing remains—it’s like we never existed.

“Our past has been completely erased.”

The hôpital Salpêtrière is important too. Before the Revolution in 1789, Louis XIV made the place a prison for unwanted women, then after it became a psychiatric hospital for the “hysterical.” Like the St Lazare prison, its history is linked to the repression of women. It’s still a hospital today, and people only vaguely know about its past. People know it used to be a psychiatric hospital, because of Charcot’s studies of hysteria, which Freud later worked on, but the exact history isn’t known.

When was Paris’ Golden Age?

The revolutions: 1789, 1792, 1830, 1848, 1871, 1936 and 1968. The most interesting things in history, to me, are when you can hope for big change, and the revolutions were very short moments when the people thought they might get the change they needed, when people were ready to fight for their rights.

Vintage 70’s Givenchy silk scarf.

Where do you see Paris in five or ten years?

I never think about the future. I often do things on a daily basis for now, so for me or the city, no idea, but there are reasons why it doesn’t change as much as other cities like London. You need permission to build, there are strict limitations on size, and there’s a really strong urge to protect the patrimoine [cultural heritage]. I appreciate that: I often feel moved when I see structures from the Middle Ages in the Marais, for example.

When you’re in London, anyone can build anything and it’s ugly and nobody cares; people walk past and it’s normal. In Paris, people wouldn’t allow an entrepreneur to build something hideous to house his new business—the people would fight. I don’t think it’s as static as people say, and some neighbourhoods change a lot.

That aside, larger scale change is taking place. I have a fear of the far right and their rise across France, and it seems unstoppable. Paris is less concerned for the moment, but it will still have consequences here. In five or ten years, I will probably have to move to another country because of the political context.

“In five or ten years, I will probably have to move to another country because of the political context.”

Do you imagine dying a Parisian?

I don’t even imagine my death. I don’t know where I’m going to die and I don’t care.

What would you wear the Paris’ funeral?

I’m not fascinated by death, I’m more scared by suffering, I think it’s just the end of life, that’s it. If I had to say, then my tracksuit. Always my tracksuit.

What object would you be buried with?

I’d rather give my body to people who need it than be buried.

“I’d rather give my body to people who need it than be buried.”

Is Paris dead?

I know that many Parisians say it is because people like to be blasé, but there are people doing things. Maybe if you work in fashion and you get bored easily it might seem dead, but it isn’t.

Look at Barbès: there are people doing things all day every day to get by, doing things just to survive.

People on the streets are fighting to survive. They are definitely not dead.

Book: Les luttes des putes, by Thierry Schaffauser, La Fabrique éditions.

There is no time to waste, no hesitation for Scott. His reckless skateboarding earned him an international reputation, along with a severely damaged knee.

Photography & interview René Habermacher.
Styling by Suzanne von Aichinger, assisted by Chafik Chariet and Lahcen Fatah.
All looks by Berluti.
Retouching by Dimitris Rigas.
Edited by Antoine Asseraf & Ed Siddons.

Special thanks to Geraldine Nicourt @ Elite Models.

Left: Scott Bourne wears an Aubergine linen jacket, deep violet pants and scarf by Berluti,
shirt and knit tie by Charvet. Right: a map of Scott Bourne's nightly excursions.

But the otherwise well-mannered man still attacks his topics full on: champion-turned-writer Scott may be “Bourne Free” as the ink on his chest proclaims, but not yet quite ready to die.

Starting at the end of a dirt road in Carolina, passing through a windowless room in San Francisco… Scott Hobbs Bourne was pretty much in the dark about the city of lights.

Now in Paris, he walks among the dead, or with them, as he likes to say.

Cotton sand-colored sweater by Berluti.

Did you choose Paris or did Paris choose you?

I definitely chose Paris. I came here when I was 27 and fell in love with it overnight. It took me three years to actually make the move and I really struggled hard to get back here.

For six years I was living here illegally, which is a fun game to play with the French and also kept me moving. But no matter how much I traveled, every time I returned to Paris I would see the city from my taxi window as it started to happen, or from the train, and all of a sudden you’re more excited to be home than you were about going on vacation. I totally chose this place, and everyday I’m excited to be here.

“For six years I was living here illegally, which is a fun game to play”

Your last book on your years in San Francisco was about a dark room. Then you came to Paris. What was it like going from a dark room to the City of Lights?

I was actually skateboarding professionally when I first came here, so we were outside skating around, I looked up, saw the Eiffel tower, and said, “No way! The Eiffel tower is in Paris?” That is how ignorant I was. Even the biggest idiot in the world knows the Eiffel tower is in Paris. I knew nothing about this city, and less about the City of Lights.

“‘No way! The Eiffel tower is in Paris?’ That is how ignorant I was.”

Do you see yourself as a Parisian?

No, man! I’m working really hard to not be a Parisian. I’m originally from North Carolina, and I always say I’m from North Carolina, because that’s where I’m actually from. I lived in San Francisco for ten years and never once have I said I was a San Franciscan, so I certainly wouldn’t call myself a Parisian.

I grew up in the only house at the end of a dirt road. My father was a minister, both of my parents worked in mills. I am the American cliché. Not that we were super poor – we weren’t – but we were living in a poor farm and mill community.

Where I grew up manners are really important. You open doors for ladies, you help them with their coats. And I realized now that this type of stuff is like old southern law, and it might even be sexist. It’s crazy, but I have manners and really like having them, in that regard I think Parisians are really a rough bunch of people. They plain and simply lack everyday common manners that are a must in the community I am from. But once you pay the rent here you just become instantly Parisian: you just start pushing people out of the way and say “pardon” before you even bump into someone – it’s like yelling “get out of my way.” So that’s why I say I am really trying hard to not be one of them!

It’s a crowded city and everyone wants to live here and there is a lot of competition for a space that is only getting smaller and smaller.

Scott Bourne wears olive linen pants by Berluti.

“It’s a crowded city and everyone wants to live here and there is a lot of competition for a space that is only getting smaller and smaller.”

What’s the opposite of a Parisian?

It’s someone who just doesn’t think they’re special. There is no such thing as a Parisian. Parisian, what do you mean [by that]? They’re just people who think they’re special: that’s why they bump into you, that’s why they expect you to get out of their way, that’s why they act like they don’t see you. Because they think they’re special.

Where is the center of Paris?

I’ll tell you: the center of Paris is… [Points to his heart] bam! Right there in the middle of your ribcage in each and every person. That’s Paris for me.

It navigates from you. It’s important to realize that Paris isn’t any one thing. For one person the center is over there and for another it’s over there. And that’s the glorious thing about this city, it’s not like an American city, it doesn’t have a defined downtown.

Where is Paris going to be in five years’ time?

It’s gonna be a nightmare! Everything inside the Péripherique will be so expensive that people like you and I probably won’t be able to live here.

Everybody wants to live in a beautiful and charming place, and they’re not building beautiful and charming places anymore. The new thing is Montreuil [an eastern suburb]. Everyone is moving out there, it’s like the new Brooklyn. But who cares? Brooklyn is horrible too. No one ever said “I wanted to move to Brooklyn,” they said, “I wanna move to New York,” and ended up living in Brooklyn. Or they said: “I wanna live in San Francisco,” but they all end up living in Oakland. But, you know, I wanna live in Paris. So I’m here, fighting my way to live in Paris.

“Everybody wants to live in a beautiful and charming place, and they’re not building beautiful and charming places anymore.”

What would you wear to Paris’s funeral?

Fucking nothing! I would go butt naked – hell yeah! How else do you greet the biggest whore in human history? You know what I mean? Jesus Christ, man. If I’m gonna go to the funeral of Paris, I’m going to bare it all.

Left: Bottles in which Scott stores souvenirs of his nightly excursions.
Right: Scott wears a cotton sand-colored sweater by Berluti.

“Fucking nothing! I would go butt naked – hell yeah!”

At the same time, I’m not the first guy that slipped up under her dress. There’s something inspiring and fantastic under that garment. Is she a whore, is she a lady? I don’t know. We just know that Paris is a woman and she can give birth to fabulous ideas and artistic movements.

Historically speaking this city has been fucked by every great artist in the world. What the hell are you gonna wear to that funeral?

I have this theory about Paris. Everything is beautiful. Even the ugly girls are beautiful. There are strikingly beautiful women, or strikingly beautiful men. People always compliment them, always look at them – you can’t help it. I’m more interested in the girl that’s not so beautiful. She did something, she made you look, she made herself be noticed.

I love the girl that is just a little bit freaky looking, a little crazy, the one who is not like that picture perfect magazine beauty and she got you to look. That’s a really beautiful quality – to get someone to notice you. That’s the thing about Paris.

Is there anything that you would want to take with you to the grave?

What is there to take? My cowboy boots to kick some ass on the other side? I think it’s amazing: you get to live and you get to die. That’s what’s cool about it, this doesn’t have to go on forever.

I think “death” is this wonderful taboo that no one talks about. I’m fascinated with taboos. You know, it’s like, “Is Paris dead?” and I think, who cares if Paris is dead – I’m not!

Left: Scott Bourne's typewriter.
Right: Scott Bourne wears a long sleeve tshirt with shirt cuffs, 
olive linen pants and sneakers by Berluti, suspenders by Charvet.

“I think ‘death’ is this wonderful taboo that no one talks about.”

I know I’m going to die, I don’t have time to waste, I don’t have time to sit around and do nothing. You never know when it’s going to happen; you could pull out a gun right now and shoot me, and bam, that’s it – game over! I feel incredible inspiration comes from knowing that.

Just a couple of weeks ago my wife and I snuck into the Père Lachaise in the middle of the night, just so we could walk through the cemetery alone, not to do anything else. Just so we could have it to ourselves. I’m 41 years old. There’s barbed wire [on the cemetery walls]. There are spikes. Why would I do that? Because I wanted that cemetery to myself, I wanted to walk with the dead and not a bunch of tourists.

I have this theory about something the gods don’t have: it’s called flesh [slaps the interviewer]. And everything in my life is about flesh. I am not sitting in a room somewhere meditating about something trying to get my chi on.

The one thing that we know that we cannot take with us when we die is our body. Flesh! So until death takes me, I am pushing this thing, this whole body thing, this whole physical thing as far as I can. You know, I wanna get punched in the face, I wanna eat pussy, man, I wanna live – you know what I mean? I wanna ride my bike. I wanna get naked and run through the cemetery. I wanna do everything I can with this flesh.

“The one thing that we know that we cannot take with us when we die is our body.”

All those people over there in cyberspace, virtual reality, they’re missing the gig man. They’re missing the gig. Because when you die, this is the one thing that you can’t take with you. Don’t waste it.

I met a friend of mine yesterday who lives in this incredible four-storey mansion here in Paris, a wonderful guy with a beautiful wife and fabulous kids. After I had seen him I went home to my 60 square meter apartment, and the cars are flying by and we have this wrought-iron on our windows and the shadows are running all over the walls. And I’m like, man, I wouldn’t change my life and the relationship I have with my wife and my kid, and this relationship I’m having with Paris for anybody’s life. I really love my life and it’s because I’ve made choices to keep a firm grasp on my flesh.

Right now I’m working on a novel that begins with this guy basically being trapped, not literally trapped but figuratively trapped in this room that he just can’t leave. It’s this beautiful room that has this beautiful view of Paris all around. He sees people on the streets, but he can’t make himself participate. So it’s going be inverted from my first novel – instead of darkness it’s about being trapped in this place full of light.

Is Paris dead?

Everything will die. Everything will be forgotten. Berlin has been bombed how many times – destroyed – but it’s still alive.

I would say the world is dead, not just Paris. That’s the whole thing about the computer generation of the “share” function: everybody is sharing and no-one is creating.

You’re living in a generation of “share” or “follow me”. [In the past,] people weren’t following anyone, they were individuals. Albert Camus or Jean Paul Sartre or Simone de Beauvoir – all these people who wrote these great things, they didn’t share, they created. Now people sit around with their cell phones and they send each other cool pictures of what Picasso did, or Carpeaux, or Nijinsky. They don’t create anything.

“You’re living in a generation of ‘share’ or ‘follow me.'”

Is Paris dead? No. But the people sometimes are. They’re like walking cell phone clones, not an independent idea among them because they are all tuned in to the same source.

And what they do create is like a mash up of other people’s stuff. The example I always use is: we could be best buddies, grow up together, I don’t know, in Zurich, and then you go traveling and I go traveling and we both go all over the world and 5 years later we meet in Paris and you show me this tattoo you got of a mermaid while in Japan. And I say, “No way, I got a mermaid in Australia,” and miraculously we have the same tattoo. How does that happen? Because everybody uses the same references now: the Internet!

“Is Paris dead? No. But the people sometimes are.”

A tattoo artist googles “mermaid” and uses the first thing for reference, like ok yours looks a little different from mine, but they have the same pose, the same shaped hair, the same breasts. Yours is blond, mine is brunette. You know, and that’s the world now: homogenizing!

One thing super interesting about literature, even the science fiction genre, is that no one really predicted the Internet. No one predicted what would happen with it, whereas almost every other thing had been predicted, like in 1984. For example, he [George Orwell] thought of “telescreens”, like screens in every room watching people to make sure they did not step out of line. Like the computer that someone will probably read this off of, it’s a telescreen that is actually watching you!

Paris is dead and it’s up to you and me and every other person that trots across these boulevards to make it great again. You can do anything in this city.

Book: Orgy Porgy – Short Stories and True Tales, by Scott Hobbs Bourne, 1980 editions.