Interestingly, Camille’s eye for costume jewelry was something she only started to develop a few years ago, while she was working at Louis Vuitton as the head of communications for ready-to-wear. In fact, it was Marc Jacobs, with whom she still has a close relationship, who encouraged her to pursue her creative interests. After helping Jacobs launch Vuitton’s first-ever costume jewelry collection, she jumped ship to Dior in 2009.
After a sneak preview of a clever new animated short that premiered today on NOWNESS, in which the construction of a Mise en Dior costume jewelry necklace is re-imagined as a pinball machine, I chatted with Camille about making the video, changing careers, the differences in working with Marc versus Galliano and all those rumors. Plus, watch the full video below.
The video is so cool. How did you come up with the idea?
We wanted something frivolous and we thought, ‘why dont we do a pinball,’ so it started basically like that and then we worked together on the concept and I decided we needed to make it very Dior.
How did you make it ‘Dior’?
The idea is to take something very classic and make it Dior, so we took the idea of the typical chair of Dior and turned it into the flipper and..pinball, sorry…and then I said, listen, we need to also have some elements that reflect Dior, like you have the lock of the jewelry, the ribbon that we use on the necklace… The star, because when he (Christian Dior) was in Paris on Avenue Montaigne, before he got the store, he found a coin which was a star, so it was like a good luck thing. We thought, okay, let’s put all these things together and let’s make something fun.
Did you enjoy doing it?
It was really interesting to work on something with so much push in technology because I’m not good at it at all. It was a very big experience for me all that part because it’s a world that I really don’t know and am amazed by. I have to say I’m very thankful for Dior to give me that freedom of doing this because said, ‘okay do it,’ but they didn’t know really what was going on. The trust is so nice to have.
How was the transition from PR to design? That’s a pretty big career change.
It was very natural. It happened step by step. I was at Chanel for seven years at the press office and I came to Louis Vuitton to take care of the ready to wear communication and I had a very close relationship with Marc Jacobs for all this time and then one day I had my baby–I think probably when you’re becoming a mother you see your life in a different way. I came to see him and I said, ‘You know the only part of this that is creative for me is the organization of the shows and so I’d like to do only that, because all the more corporate things really don’t relate to my personality.’ It started like that and then one day he came to me and asked me for a pair of earrings and blah blah blah, so everything started very by chance and naturally–as lots of things in my life, like this movie, also started really by chance.
According to NOWNESS, Marc Jacobs calls you his muse. What does that mean exactly?
[laughs] That was a joke between us. There’s this French word called amuseé “to amuse yourself” It’s also in English and, in fact, when I came to see him and [talk to him about the job], the whole thing was a bit like this: He said, ‘You know what, we’re gonna say you’re my muse.” That’s funny because for me, like a muse can be like a plant. There’s something quite planty, you know what I mean? But it was really a joke.
How was working at Vuitton with Marc compared to working here at Dior with Galliano?
Dior is completely different. First of all, you have to understand that for me, today I’m working for Dior. Tomorrow, if I work for someone else, things are gonna be completely different. The star is the house. Whatever I do has to relate to the company I work for and Dior is about femininty, about couture, about a look. The history is the New Look, so whatever I do has to reflect a kind of look; maybe it’s a boldness…
With Marc, a lot we work [together], exchanging always. He was giving me lots of input also and after, at Dior, it was a little different because we were not in the same studio and at first I was seeing the team and they were showing us kind of a mood of what they wanted to do and what they were going to do for the collection and then we were going back and doing things and then showing them what we were going to do…but we’re in a big change at the moment so we’re going to see what’s going to happen really.
Right. How has Galliano leaving affected your work? Has it at all?
Not really, no.
So you’re basically just working with the same team you were before?
Obviously, rumors have been circulating for a while that Marc Jacobs has been offered the creative director position at Dior. Would you be excited if he took it?
Absolutely, I would love it but I dont know…I’m not the person who decides, so I really don’t know, but I would love it.