Four days after the end of the Fashion Week in Paris, it is a parade of a different kind, which was held in the festsaal of the city hall, Saturday 6 October. On the floor creaking under the gilt and painted ceilings that have seen, among other things, the sumptuous collections of the belgian designer Dries Van Noten, Maroussia Rebecq has convened, on a blue carpet, not red, ” 99 clothing popular.” In the framework of the white Night, the fashion designer and founder of the brand, and collective Andrea Crews has worked a raw material that she knows well : the clothes of second hand, scrap textile.

for twenty years the ex-student of Fine-Arts of Bordeaux is transforming, as happenings rather cheerful, piles of clothes that nobody wants anymore. It cuts, découd, sews to make it new, that it recycles, and does everything that pleases as much today, at least in speech, to the brands of ready-to-wear or luxury, and to the actors of the circular economy.

When she begins to discuss with Gaël Charbau, the artistic director of Nuit blanche, in January, of this idea of a fashion show of clothing from second-hand people from the street, as an art project in its own name, everything seems to make sense. “The relationship between art and fashion is not obvious to everyone, but the fashion feeds on art for a long time. It is even obvious to the creators, recalls Gaël Charbau. The white Night is a time dedicated to creation, it would have been strange to zap the mode. Yet, here, with normal clothes, and dummies, “non-calibrated” from a casting in the wild, it is really the writing of the stylist who is speaking. The medium body/clothing is particular, but the approach is that of any artist. “

Without a press card or cardboard VIP

However, if the aesthetics of popular is used extensively today by major fashion brands and young designers, from Balenciaga to Marine Emissions, the industry is still struggling to look her straight in the eyes, without the intervention of marketing or speech reassuring. “The funding for the project was not evident, continues Gaël Charbau. Everyone is a little afraid of this kind of approach not cost-effective. We were going to bury the project, and then The Right Corner has just re-launched just before the summer holidays. “Maroussia Rebecq loved this patron fell from the sky which, for her, is nothing other than a” version 2.0 of the pile of clothes bordéliques full of beads ! “

Saturday, October 6, at eight parades that are chained together in the night, 10,000 people, without press card or cardboard VIP, were able to live an experience reserved for ordinary journalists and buyers : queue street Löbau, seating for early arrivals, standing for the other, and – what is not seen in the fashion weeks – a giant screen that shows what happens backstage (in the respect of the privacy of each, all the same), the text of intent, set to music by Chassol in loops way mantra, podium straight and classic models, between 18 and 78 years of age, who were much less.

In 35 passages and so many looks twistant archetypes (the queen of the night to the professor of drawing, passing by the fisherman boots, between influences queer and cultures of the world), Maroussia Rebecq has directed the clothes out of context-dealer, such as we see on the street. Where, worn by a particular person, fat, skinny, old, young, shy or uninhibited, it takes its entire dimension, whimsical, chic, quirky, absurd… ” We know that the clothing is a social marker box, jogging is one, the costume also, explains the designer. But if he seems to need to “mark” the person who wears it, it can be labeled as strongly in return. A single trench about you, about me or about the guy down there will never have the same thing. “

The public has watched, with a little kindness common in the parades reserved for professionals, an old dandy in a dress and cowboy too large, a dummy lanky the 1980s (Violetta Sanchez, not the name) which takes the pose, “sexy sexa “anonymous”, boys in fur, a young obese girl who puts the delicacy of the world in her wrist twirling, ” walking fast “, ” watch their feet “, “who relish their quarter-hour warholien “. All decked out of these clothes, a priori, of no great value, and which, according to the passages, formed silhouettes, sometimes mundane, sometimes sublime. That evening, the phones that were filming did not prevent the spectators to applaud warmly, without knowing if they praised the performance, ” mode “, artistic, social or simply personal.

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