Purple Diary

purple fashion magazine
— F/W 2016 issue 26

Pascal Greggory

photography by GIASCO BERTOLI at the Brasserie LIPP
interview by SIMON LIBERATI

Gold chains and medallion DARY’s and Hamsa Padlock charm pendant and Ottoman Architecture ring SEVAN BICAKCI, worn throughout


Pascal Greggory’s discreet presence at a Paris party or club has always signaled that you’re in the right place. For years, he was the promising young male lead, playing in André Téchiné’s The Brontë Sisters (1979) and later in many of Éric Rohmer’s films, notably Pauline at the Beach (1983). Public success arrived when his lover and mentor, theater director Patrice Chereau, cast him in Hamlet (1988). Today, the elegant French star continues to enliven the Paris scene. He is one of the most valued actors in France, on film and on stage.

SIMON LIBERATI — The first time I saw you was in 1977 at a movie theater on the Champs Elysées that was showing The French Woman [Madame Claude]. You were playing the son of Klaus Kinski, and you were getting deflowered on a yacht by Dayle Haddon. Do you remember?
PASCAL GREGGORY — Yes. It was my second film. I was lucky. I started off with two box-office smashes: The French Woman and Docteur Françoise Gailland [laughs].

SIMON LIBERATI — Ah yes, with Annie Girardot… Yes, Annie Girardot was a big star at the time, but I didn’t like that film as much. I liked The French Woman better.
PASCAL GREGGORY — Docteur Françoise Gailland was a phenomenal success. Annie was kind with me. I did a play with her, too — a play by Roberto Athayde, directed by [Jorge] Lavelli. That was my first time doing any theater. She’d be all alone onstage, and she’d slap me… The play was called Madame Marguerite. Since I didn’t have any lines, I was allowed only a single bow.

SIMON LIBERATI — Let’s get back to the other madam, The French Woman. Dayle Haddon was gorgeous.
PASCAL GREGGORY — Yes. I had a nude scene with her [laughs]. I was falling in love.

SIMON LIBERATI — As I recall, you weep on your windsurfing board when you find out she’s a call girl. And right then, we hear the Jane Birkin song.
PASCAL GREGGORY — Yes, except that I couldn’t cry on command back then, so what’s-his-name, the director, Just Jaeckin, told me to splash some saltwater on my face, to...

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[October 25 2016] : Art

Maurizio Cattelan “Not Afraid of Love” Exhibition at Monnaie de Paris, Paris
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Maurizio Cattelan “Not Afraid of Love” Exhibition at Monnaie de Paris, Paris

On view until January 8, 2017 at Monnaie de Paris11 Quai de Conti, Paris.

Photo Johann Bouché-Pillon

[October 25 2016] : Art

Johan Creten “La Traversée” Exhibition at Centre Régional d’art Contemporain, Sète
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Johan Creten “La Traversée” Exhibition at Centre Régional d’art Contemporain, Sète

“La Traversée” is a solo exhibition of works by Belgian sculptor Johan Creten marking 25 years after artist’s residency at Villa Saint Clair in Sète during the summer of  1991. From ceramics through sculptures in bronze to flower-covered female busts, the show investigates Creten’s symbolic practice inspired by the mysteries of nature and organic shapes. On view until January 15, 2016 at Centre régional d’art contemporain, 26 Quai Aspirant Herber, Sète.

Photo Andrea Montano

[October 25 2016] : Art

“La prima notte di quiete” by Valerio Zurlini screening for 11° Festa del Cinema di Roma at Sala Trevi, Rome
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“La prima notte di quiete” by Valerio Zurlini screening for 11° Festa del Cinema di Roma at Sala Trevi, Rome

At the occasion of the 11th Festa del Cinema di Roma, the Cinema Trevi proposed a nostalgic retrospective dedicated to the work of one of the most brilliant roman filmmaker of the 60s Valerio Zurilli.
“As a filmmaker, Valerio Zurilli looked towards the future but keeping an eye on the tradition of the past generation. He presented his cinema as family chronicles that appear nowadays incredibly moderns and contemporaneous”  explains Sergio Toffetti, director of The National Film Archive for Industrial Film.

About “La prima notte di quiete”,  Valerio Zurilli tells that “it is a movie strongly linked to the Adriatic landscape, where winter can be very violent. It also contains some aspects of “popular history”:... Read More

Photo Gabriele Malaguti


[October 25 2016] : "All things being equal... Isn’t that phrase a little hard to swallow? In a time of enormous inequity — social, political, racial, eco- nomic — how can a serious thought begin this way? What would follow? Almost anything. All things being equal, we are just as anti- Trump as we are anti-airboards. In parallel, we identify one to be as pathetic and ridiculous as the other, the self-balancing novelty, the imbalanced clown, although airboards are relatively harmless. Those who ride them, a look-at-me breed to be sure, don’t begin to compare with the attention whore for whom social media might have been invented. He and the riders of airboards glide by as if having to walk as mere mortals were beneath them. Neither have their feet on the ground. They are symptoms of a contagious disease. The hot air that belches from the thin lips of this thin-skinned cartoon running for president — telling it like it is! — represents a toxic cloud that may asphyxiate us all, and oh how the winds have shifted." Read the full "today" anti-column by Bob Nickas on purple 26 #purplediary

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