The weather wasn’t great, so Stéphane Ashpool offered his audience an in-studio teaser rather than the full blown, surround sound experience that is in the works. The film zeros in on the collection’s focus — leather treatment, with varied color palettes and textures. An all-white leather outfit kicks off the scene — a loose, ’80s-flavored jacket, the shoulder seam pushed toward the biceps, with a cinched waist and paired with minimalist, pocketed trousers.
Projected onto white looks, the patterns roll by, spurred on with easy jazz music — marbled motifs, water, scratched surfaces. Then come the real textures, with close-up shots of turquoise veins on a navy background or a lime-yellow dye being rubbed into white leather. And finally, the garments — soft jackets with patchwork hues of blue, each patch treated differently, and cargo pants with camouflage effect, tinged with orange or blue.
“It was like working on paintings — we treated each leather differently,” said Ashpool, speaking over the phone, noting he applied patinas by hand, painted leather, let it dry, added more layers for a crackle effect, and used aerosol sprays.
But leather wasn’t the only material. Ashpool collaborates with Dutch electric bike specialist Van Moof, and added another partnership, the Danish speaker company Soundboks.
“We worked with paint on the bikes, the sound systems, the speakers and clothes — a very large panel of applications. Fun but a lot of work,” he remarked.
The speakers feature in the film, in metallic blues, purple and lime, serving as a backdrop as a man works a turntable on his lap. He was dressed to the nines — the Pigalle aesthetic is very elevated — in a cool, collarless leather shirt that snapped down the front, and loose trousers to match.
Slick, sensuous leather outfits, hot wheels and shiny speakers, what’s left to do? Hit the town, Amsterdam and London, too, and the French country side. The film closes with a message: “Let the ride begin.“