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Since 2010, design studio Bonsoir Paris aims at producing artworks and specific design features for brands and retail. Woodworking, mixing of hybrid materials, 3D modeling and printing experiments are among the most emblematic methods used to feed and generate Bonsoir Paris’ creativity. Today, for Daily METAL, they are happy to present their new fashion series titled "JAPANジャパン". This fashion story immerses us into a new state-of-the-art future, illuminated by neon lights and optimized by ancestral self-introspection.

From window displays to art sculpture and fashion series, your work reaches a wide range of territories. How do you split work for each project?

We - Morgan Maccari, Remy Clémente, Ben Sandler – apply equal energy on our projects in order to get the job done successfully. We each have different skills which, combined together, allows us to work on various creative concepts.

What is everyone’s specific area?

Morgan and Rémy are in charge of the AD and Ben, as a photographer and director, is focused on visual production. Starting from one concept, Remy makes a detailed design piece while Morgan works on shaping it by the research of materials and production solutions. Ben participates on the production aspect, and turns the concept into visual storytelling.

What are the top three concepts you apply to each of your design works?

First of all, we want to ensur each project is challenging for us. Then, make sure each project is part of our constant evolution. Lastly, always experiment with new material applications.

Your editorial story is inspired by an ultra-modern society and its fascination with neon lights. How does the city in particular (and the urban culture in general) inspire your work?

For us, the city is like a huge playground that offers endless possibilities for design and architecture. We pay considerable attention to our environment and its surprising details. Nightlife and urban culture are closely linked. We appreciate how the night makes the city so mysterious on the one hand, and, with its lights, highlights obvious details on the other hand.

Another inspiration for the story is the Internet and its billions of special characters. Do you think signs are more powerful than words?

We grew up in a world where media and screens have a substantial importance to many of its citizens. Modern societies have learned to catch the audience’s attention by using intellectual short cuts. Those processes progressively made the signs and images very attractive to us as a new fast (albeit lazy) way to communicate. We wanted to reuse them in a poetic way by sticking antique Japanese quotations on our images.

Colors have a big significance in the series. Could you tell us more about this particular spiration?

We worked with different lighting for this series. It’s all part of the narrative: our character evolves in various universes, from interior light to the city’s luminous saturation and the soft light of midnight. Each of these states embodies the contrasts of the city.

If you could add some music or environmental noise on this series, what would it be?

Fishmans, by Uchu Nippon Setagaya (1998).

WORDS
JUSTINE TRAN

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