CINEMA  
Film director Mārtiņš Grauds. Photo from the personal archive

What are your future collaboration plans?

We’ve had a plan since last year: we’re thinking about a continuation of Lust Lust. The title will probably be different, but the clothing concept will be similar. Of course, we will try to raise the bar even higher, but we’ll see how it works out.

What is your own relationship with fashion?

Well…I’m not too interested in fashion. But since I was a teenager I’ve paid attention to what I wear. I have my own style in regards to what I look for in clothes and shoes. I more or less know what I like, and I try to hold to that.

Do you understand the passion for fashion?

I understand the passion for outfits, costumes onstage. But to blindly follow the latest fashion actualities seems slightly silly to me. No, I don’t understand it. Of course, in some way or other, we are nonetheless dependent on fashion tendencies, even if we want to dress completely simply.

I have the fantastic opportunity to be acquainted with several fashion designers, and therefore I order individual outfits from them and can be independent from what you find on the shelves at stores.

Yet in order to create this short film, you’ve had to get a feel for the avant-garde madness of designers. Have you caricatured them at all?

It’s possible that I caricatured them, but I caricature myself, too. There’s something of that taxi driver in me, too. At the very beginning of the film the taxi driver is introduced as a person who takes care of himself, who even takes care of what his car looks like. Yet to his surprise, he meets even bigger maniacs than himself. Because of this experience, he is forced to look at himself from a different angle. It’s hard for me to say if this caricaturing, or this smirk about a dependence on fashion, comes across. Yet at the same time, a passion for clothing is very sympathetic, just like any passion. In this case the story is much broader—not just about clothing. It could be any passion. 

Since the film is traveling the world, perhaps you have noticed differences in how the film is perceived in Latvia and elsewhere in the world?

Like always, if a Latvian achievement is noticed and appreciated outside Latvia, then Latvians will start to look at it differently. This genre is new. On account of our current economic situation, there aren’t many good stories and films, therefore I think the assessment is not unequivocal. Because it is rather difficult to talk about fashion at time when things are how they are.

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