A year and a half after his arrival at Dior, Camille Miceli has appropriated the spirit of the house without losing its spontaneity legendary. Meeting.
You come now to the creation of gemstone jewellery and leather goods. How do you cope with this dual role?
When Delphine Arnault I made this proposal, the challenge interested me because I add strings to my bow. Plus I have different activities, I enjoy myself more. If I assure totally creative direction for the bridal jewellery, the leather, I play more the role of a consultant or an external designer. I give “input” on the collection, the range of colors and I work very closely with the two people who are looking for materials, what fascinates me because I am very attached to the raw material.
At Louis Vuitton, your work was recognized associations of unexpected materials. What would you bring to the fancy Dior?
When I arrived here, I wanted to break the wrong side rhinestone and metal Body Jewellery. He needed a break with what was done before. I have taken matters which are part of the history of Dior, but in different ways, by diverting them from their traditional use.
For the first couture collection, we used cracked stones, Swarovski crystals in the oven, which had created the veins. It was not a paste but it gave the idea of rhinestones. On the fall-winter 2011, the metal is galvanized or enamel, leather and velvet devoured, the beads coated with resin or collected in “bubbled” in pompom … I hate things first degree, the references too literal. Instead, I like the idea of digesting the codes of the house.
Evoked Dior for you?
Dior is the story of a look, a silhouette. Christian Dior was a man who had a lot of fantasy and expressed it in his life. And then there is a commitment to tailoring, which is reflected in the choice of materials rather from shop work. This aspect really interests me but for me, workshop does not necessarily mean embroidery. This may constitute a search, a technological achievement.