{"id":3557,"date":"2016-03-18T11:26:06","date_gmt":"2016-03-18T10:26:06","guid":{"rendered":"http:\/\/www.wakapedia.it\/?p=3557"},"modified":"2017-06-23T17:39:32","modified_gmt":"2017-06-23T15:39:32","slug":"marie-jose-jalou","status":"publish","type":"post","link":"https:\/\/www.wakapedia.it\/en\/marie-jose-jalou\/","title":{"rendered":"MARIE-JOS\u00c9 JALOU\uff08\u30de\u30ea\u30fc\uff1d\u30b8\u30e7\u30bc\u30fb\u30b8\u30e3\u30eb\u30fc\uff09"},"content":{"rendered":"

\"jalou-185387-1\"<\/a><\/strong><\/strong>The Jalou Media Group<\/strong> is based in Paris<\/strong> and publishes 12<\/strong> magazines covering art and fashion, and is known for being the people behind the world-famous fashion bible L’Officiel de la couture et de la mode de Paris<\/strong><\/a>. The magazine itself was established in 1921<\/strong> and is currently published across 5<\/strong> different continents and in as many as 21<\/strong> different languages. The Jalou family\u2019s connection began early on when Georges Jalou<\/strong> joined as artistic director, eventually rising to general director then owner. Later he passed ownership to his 3<\/strong> children Laurent<\/strong>, Marie-Jos\u00e9<\/strong> and Maxime<\/strong>, and the media group continued to grow, as well as being the training ground for many famous designers.<\/p>\n

In 2003<\/strong>\u00a0Marie-Jos\u00e9 Susskind Jalou<\/strong> became the company president, and with her own 30<\/strong> years-plus experience as editor-in-chief and her own 4<\/strong> children on board, the group\u2019s legacy is alive and well today.<\/p>\n

\"cover-comp-officiel-3\"<\/a><\/p>\n

WAKAPEDIA\u2019s\u00a0 MARIE-JOS\u00c8 JALOU<\/strong><\/span><\/p>\n

I am sure some people already know about the deep ties between L\u2019Officiel and Wakapedia. The first ever content<\/a><\/strong> we produced for a French magazine was in L\u2019Officiel and at the direct behest of Marie-Jose\u2019s daughter, Vanessa Bellugeon<\/strong>. Feels like L\u2019Officiel have been friends for a while now. And it was a very meaningful collaboration for us: outside of work, we are very close with some of their team, from the Editor-in-Chief at L’Officiel Italia and L’Officiel Hommes Italia Gianluca Cantaro<\/strong> to the art director of the men\u2019s magazine L\u2019Officiel Hommes, Francesca Occhionero<\/strong>. SaraWaka herself was chosen to be a contributor for the magazine this year (although she tries not to boast about that too much\u2026). They are like part of the family.<\/p>\n

So with that \"The_Devil_Wears_Prada_cover\"<\/a>and because of those very feelings, an interview with\u00a0Marie-Jos\u00e9 Susskind Jalou<\/strong> <\/strong>was a must! But our team became so nervous before the interview! \u201cShe\u2019s not like that editor-in-chief in The Devil Wears Prada<\/strong><\/a>\u2026 right?\u201d \u201cShe\u2019s not going to be looking down on us mere mortals in her Chanel suit and 6<\/strong>-inch heels\u2026 right?\u201d \u2013 our minds raced with (totally unsubstantiated) individual fears and anxieties. But any prejudices disappeared the moment we met. We met an elegant, straight-forward and kind lady. Standing in front of her, any fears were immediately forgotten and we returned to normal selves. Kind eyes, backed up with a clearly strong personality. Intelligent and professional, but also clearly having been blessed with a slightly-skewed rock\u2019n\u2019roll spirit (that we in Wakapedia loved). She is clearly interested in all things new and the avant-garde; this was the Superwoman that Wakapedia has been long searching for.<\/p>\n

\"IMG_0225\"<\/a>

Marie-Jos\u00e9 Jalou<\/p><\/div>\n

Sara Waka<\/strong>: Bonjour Marie-Jos\u00e9! It is truly an honour to meet you. To meet a lady so well-respected in the fashion publishing world that even Meryl Streep<\/strong> could not do her justice is quite exciting. If it pleases you, would you kindly tell us something about the history of your magazine L\u2019Officiel?<\/p>\n

Marie-Jos\u00e9<\/strong>: No problem whatsoever. L\u2019Officiel<\/strong> started back in 1921<\/strong>, before I was born. It\u2019s up there with Vogue<\/strong><\/a> in terms of fashion magazines with a rich history. I joined the company at 19<\/strong>, while I was studying to become a graphic designer, but had made my first steps into the fashion industry while I was still small. I guess I have been part of this industry for over 70<\/strong> years, from the moment that my mother, who loved fashion, took me to a haute couture<\/a> <\/strong>show at the age of 3<\/strong>.<\/p>\n

Sara Waka:<\/strong> Wow, from such an early age! Tell me about your father!<\/p>\n

Marie-Jos\u00e9:<\/strong> My father was Georges Jalou<\/strong>, employed as an art director<\/strong> right from the start. He was approached by Vogue USA<\/strong> and went to New York<\/strong>, but speaking no English, he was all at sea. Apparently, he was deeply embarrassed by this. So when he came back, he told my mother that he had learned that it was best that he always stick with L\u2019Officiel. Always working, he pushed himself hard and eventually bought all the stock in the magazine.<\/strong><\/p>\n

Sara Waka:<\/strong> Interesting! And your mother was also in the industry?<\/p>\n

Marie-Jos\u00e9:<\/strong> She was a fashion illustrator<\/strong>. Susskind<\/strong> was her name, from Germany<\/strong>. She was born in Berlin<\/strong> but then fled from the war to the Netherlands<\/strong>, which is where she met my father. At the time, they spoke to each other second languages, but fell in love with each other at first sight, and were very much in love. My parents were a nice couple. They had the same artistic sense, hobbies overlapped as well. My mother loved Pierre Cardin<\/strong> and Lanvin<\/strong>, and was always wearing their clothes. That was in the 50<\/strong>s, and I was always in her studio. When she was having her clothes measured out, she would always get slightly too much material so she could make me matching clothes. All my memories of childhood involve fashion. My siblings and I grew up just after the war had ended, but my mother was helping my father\u2019s work at L\u2019Officiel while being a housewife, spoke 4<\/strong> languages, so was also in charge of translation of content. Whether at a party or at a simple work place, she was always by my father\u2019s side, supporting him.<\/p>\n

Sara Waka:<\/strong> Sounds like it could make an Oscar-winning romance. Tell us about how fashion has changed<\/strong>.<\/p>\n

\"cover-comp-officiel-2\"<\/a><\/strong><\/p>\n

Marie-Jos\u00e9:<\/strong> It\u2019s so different! Firstly, in the past, every piece of clothing had its own name<\/strong>. In that time, haute couture was a mainstay of the fashion shows, there were huge parties, attended not only by people in the industry, but also famous artists<\/strong> and the literati<\/strong>. Another difference is people used to be able to smoke at fashion shows then!<\/p>\n

Sara Waka:<\/strong> No way! I don\u2019t believe it.<\/p>\n

Marie-Jos\u00e9:<\/strong> It\u2019s true. My mum was a smoker and always had a portable ashtray on her. She was very shocked when the movement to ban smoking in public spaces begain in the US<\/strong> in the 70<\/strong>s.<\/p>\n

Sara Waka:<\/strong> No doubt. So what hasn\u2019t changed in fashion<\/strong>?<\/p>\n

Marie-Jos\u00e9:<\/strong> Some things haven\u2019t changed. Both then and now, the collections are built as the focal point of the industry\u2019s calender and have a special feel to them. It\u2019s not just an opportunity to exhibit your clothes to professionals, but also part of the social calender<\/strong>.<\/p>\n

Sara Waka:<\/strong> Even in those days was there the mass-produced\u00a0pr\u00eat-\u00e0-porter<\/a> <\/strong>to balance the made-to-order haute couture<\/strong>?<\/p>\n

Marie-Jos\u00e9:<\/strong> It was there, but not as prevalent. In that time, L\u2019Officiel produced a magainzine called \u201cActualit\u00e9 couture<\/strong>\u201d that covered pr\u00eat-\u00e0-porter, but it wasn\u2019t seen as very important. In those days, people who did not have the money to buy designer clothes would copy the designs and make their own. Even down to matching the material. But material quality is of utmost importance, and we paid a lot of attention to this in terms of print quality.<\/strong> When we sent the photos to the press, we always made sure the original colours were replicated.<\/strong><\/p>\n

Sara Waka:<\/strong> Professional! Was L\u2019Officiel Magazine popular then too?<\/p>\n

Marie-Jos\u00e9:<\/strong> Hmm, L\u2019Officiel was more of an industry magazine than a mass-market one. But, on the other hand, it was also at the forefront of haute couture. We had many rivals. The big magazines were, magazine L\u2019art et la mode<\/strong>, Vogue<\/strong>, Collections<\/strong> and Madame<\/strong>, but in the end, only Vogue and us survived. Then, with the rise of\u00a0pr\u00eat-\u00e0-porter everything changed. That was the start of my era at L\u2019Officiel. I still remember, but I had just entered the company, and everyone was dismissing pr\u00eat-\u00e0-porter as mass-produced low-grade wear. The first\u00a0pr\u00eat-\u00e0-porter collections in Paris<\/strong> were Sonia Rykiel<\/strong>, Doroth\u00e9e Bis<\/strong> and KENZO<\/strong>. Everyone was drinking beer, far rougher than the haute couture shows. Veteran fashion journalists would see that and be shocked.<\/p>\n

Sara Waka:<\/strong> Really! It went quite rock\u2019n\u2019roll<\/strong>!<\/p>\n

Marie-Jos\u00e9: <\/strong>Yes. But it was a great time, full of changes.<\/p>\n

\"cover-comp-officiel\" <\/a><\/p>\n

Sara Waka:<\/strong> What was your impressions when you first saw Japanese designers <\/strong>?<\/p>\n

\"10fb0f0b7aa79b2d133cfc99e9138b14\"<\/a>

Yohji Yamamoto F\/W1981<\/p><\/div>\n

Marie-Jos\u00e9:<\/strong> That question reminds me of a certain episode. The designer who came to France<\/strong> after KENZO<\/strong> was Yohji Yamamoto<\/strong>. To be honest, I had no idea who he was but he said he could help with the magazine\u2019s promotion. Then one day, Yohji\u2019s clothes<\/strong> came for a shoot, all black<\/strong>, minimal lines<\/strong>. Very different to all the dresses I was used to seeing<\/strong>, a style I had never seen before<\/strong>. Then, our stylist who had previously worked at this very girly, very feminine lingerie brand Chantal Thomas<\/strong><\/a>, added a very cute cherry to Yohji\u2019s clothes. Then when I first actually met Yohji, I discovered he wasn\u2019t aiming for a cute design. He was aiming for something more radical, more comtemporary. From that time forward, I realised how important it is to meet the designer and understand their philosophy behind their designs<\/strong>. I also realised how important it is to introduce the designs of a designer to the public in a way that matches the designer. The rise of the Japanese<\/strong> in the French fashion industry<\/strong> started there. They have very strong, very creative visions. Lots of contrasting styles in that period. On one hand, you\u2019d have the busy baroque-styles<\/strong> of, say, Versace<\/strong>, on the other, the minimalist Japanese styles<\/strong> rose up.<\/p>\n

\"officiel-bw\"<\/a>

Vanessa Bellugeon<\/p><\/div>\n

[The interview was briefly paused when her daughter Vanessa Bellugeon came in \u2013 the same daughter with whom she had worked with. SaraWaka was the grateful witness of some mother-daughter shopping chat, as they swapped tales of their shopping adventures new and old.<\/strong>] <\/strong><\/p>\n

Sara Waka:<\/strong> The fact that cultural differences pervade as far as the clothes you design is incredible. What are your views on Italian<\/strong> brands?<\/p>\n

Marie-Jos\u00e9: <\/strong>I went to Italy<\/strong> for the first time on the recommendation of an American<\/strong> acquaintance, and at the time in Paris<\/strong> there would have been only a very small Missoni<\/strong> boutique. Italians<\/strong> weren\u2019t making there way to Paris<\/strong> then. They viewed Paris<\/strong> as the sacred ground for fashion so would think to go to New York<\/strong> first, get some success there before attempting Paris<\/strong>. I went to Paris<\/strong> in the 70<\/strong>s, with a person from Vogue. I still remember the first collection I saw: a ground-breaking brand of the time called KRIZIA<\/strong>. As well as Versace<\/strong> and Armani<\/strong>.<\/p>\n

Sara Waka:<\/strong> So was it you who brought those Italian brands to France<\/strong>?<\/p>\n

Marie-Jos\u00e9:\u00a0<\/strong>Perhaps you could say that. I introduced many Italian designers\u2019 portfolios to French people, but most were turned away confused. Of that group of designers that is still around it would be Giorgio Armani<\/strong> only, I guess. He brought about a real revolution in the style at the time. Simple and graceful. Easy to wear. A style with no reproach. Armani\u2019s clothing became like a drug for the people at the time, like\u00a0Chanel<\/strong> or Herm\u00e8s<\/strong> bags did in the 60<\/strong>s. Everyone was spending all their pennies on Armani<\/strong>! It then took him a little time to really find his palce in this fashion world. It\u2019s tough. And by that I mean, he became famous through his own unique style, but then needed to react to the changing fashion without betraying that sense of style he had created. That is tough.<\/p>\n

Sara Waka:<\/strong> Wow. Well, he is the King of Italian Fashion<\/strong>. Thank you so much for letting us hear so much about the fashion industry. Which designers do you personally like?<\/p>\n

Marie-Jos\u00e9: <\/strong>Hmm, I liked C\u00e9line<\/strong>\u2019s new collection. Really spoke to my emotions. Then… Valentino<\/strong>, I guess. The styles are classic, but are dressed up in a contemporary way, so allow you to forget where you are.<\/p>\n

Sara Waka:<\/strong> So true! Changing topic: do you have an secret ideas or dreams<\/strong> you would like to acheive still?<\/p>\n

Marie-Jos\u00e9: <\/strong>Hmm, I would love to make a film. A burlesque-style <\/a>film based on the fashion industry. Turn all my personal experiences and funny episodes into a film. I am currently looking for someone who can express these 70<\/strong> crazy years of fashion with a great sense of humour! A funny, light, interesting story. I actually think that is how fashion has to be understood. The joy of those wearing the clothes and those looking at the clothes. I think people nowadays tend to forget about that.<\/p>\n

Sara Waka:<\/strong> Thank you so much for today, Marie-Jos\u00e9! Please invite me to the premiere!<\/p>\n

[And with that, and moved by Marie-Jose\u2019s worda, Sara Waka found herself in a gentle hug. A hug with the mother of the fashion industry.]<\/p>\n

\"officiel-bw-2-\"<\/a><\/p>\n

Description & Interview: Sara Waka<\/i><\/p>\n

Edited by : BJ Fox<\/em><\/p>\n

Photo by: Yusuke Kinaka<\/em><\/p>\n

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