Nighthawk: A Cinematic Journey into the World of John Galliano’s Artisanal Haute Couture
Released in late September, Nighthawk has become a hot topic among fashion and film enthusiasts. This captivating documentary dives into the world of John Galliano’s Artisanal Haute Couture collection for Maison Margiela, unveiled during the Spring-Summer 2024 season in Paris. The film doesn’t simply showcase the stunning garments; it transports viewers into a cinematic universe where art and cinema collide.
Inspired by the aesthetics of 1980s horror films and the work of Franco-Hungarian photographer Brassaï, Nighthawk features a star-studded cast, including Kim Kardashian, Monica Bellucci, Lulu Tenney, Leon Dame, and Gwendoline Christie. The film is the brainchild of Sasha Kasiuha, a Ukrainian filmmaker based in New York City, who has worked with notable figures like Madonna, Tom Ford, and Miley Cyrus. A chemical engineer by training, Kasiuha brings a unique perspective to his filmmaking, capturing the creative process and genius of John Galliano and the Maison Margiela team. The film is a testament to their months-long labor, culminating in a final product that seamlessly blends fantasy and reality.
Nighthawk is a cinematic experience that deserves to be enjoyed on the big screen. The film’s final version incorporates footage from the premiere held at the iconic Cinéma Le Balzac in Paris on September 30th. In Kasiuha’s words, Nighthawk is “a cinematic experience to elucidate Margiela’s haute couture collection for posterity. In a world dominated by speed and social media, it serves as a desire to be present in the moment and in memory.”
In an exclusive interview with Vogue, Sasha Kasiuha sheds light on the making of Nighthawk and his remarkable career journey:
Vogue: How did you get started in filmmaking?
Sasha Kasiuha:
I began by helping a friend here in New York. I was born in Ukraine and was studying chemical engineering. I consider myself a chemistry student who always had a passion for art and photography. When I moved to New York about ten years ago, I started working for a talent agency. This allowed me to experiment and explore new ideas in the world of audiovisuals. The opportunity to work with Madonna was a true turning point in my evolution.Vogue: When was the first chapter of this partnership?
SK:
It was during the Madame X tour (2021). I co-directed and co-edited the film. We continued working together, completing various projects, large and small, always focusing on the visual aspect. We collaborated on the music video for ‘Hung Up on Tokischa’ and sound design for one of her NFTs in the Mother of Creation project in 2022.Vogue: You have a brilliant, albeit recent, career…
SK:
I’m 29 years old. Honestly, I don’t know if I could do it all again (laughs). I think the film with John Galliano was my most demanding work, some days I only got two hours of sleep. The Madonna tour, which passed through Rio, was quite intense. But the film was something new, and very inspiring.Vogue: How does your personality influence your work?
SK:
For me, the outcome reflects dedication. When you work with art and cinema, especially, you have to create almost all the time. I’ve always been obsessed with work and creation. I feel like I’ve absorbed many things from different fields. Then you start combining all that to create a narrative.Vogue: How does your creative process work?
SK:
It depends, each time it’s something different that has to do with the objective of the idea and the story we want to tell. I start by living this idea. I live the world and try to imagine how this project could exist in this world. How will it be perceived and lived? I start visualizing the characters involved, the visuals, the story, and the meaning of all that. For me, it’s always about the emotion, even if it’s a more commercial or smaller project.Vogue: How did the Margiela film project come about? Had you worked with John Galliano before?
SK:
This was the first time. The idea came from John. After working with Madonna, my perspective on filmmaking gained more visibility. I really enjoyed making this film because it is driven by passion and art, which are traits of John’s and, I can say, mine too.Vogue: But this began in January, right after the Paris show?
SK:
Yes, in January, right after the show in Paris we started exchanging ideas and references. But the filming actually started in May, right after the end of the Madonna tour. I left Brazil and went straight to Paris to start the film. We aimed to show John’s creative process as realistically as possible.Vogue: At least for me, this process is very clear in the film. It’s almost as if we can live it through your eyes…
SK:
That’s the goal. We sought to capture people’s emotions and attention quickly. The film is quite intense, almost chaotic. But it’s almost like the way the brain works. John is a genius, and we wanted to show that in Nighthawk. I love drama, and I think that’s clear in my work and in the work of the people I usually collaborate with. With drama, you can be a little more aggressive in the visuals, in the sensations and the emotions you want to evoke. In the Margiela film, it’s as if the real world blends with a fictional world. At the premiere, we combined footage from the film with real-time footage, it’s as if what happened there in the theater was reflected on the screen.Vogue: Does Galliano interfere a lot with the direction?
SK:
We created as a team. To create something truly incredible, you have to be open and collaborative. And working with this team was one of the greatest joys I’ve ever had. When we met with John, he explained in detail how the clothes were made. And he’s a genius, I was obsessed. Not to mention the references you can see throughout the film: there’s a lot of Brassaï, but there’s also a lot of John’s own sketchbook and Margiela’s, which is very rich, beautiful to see.Vogue: And all of this happened very quickly…
SK:
Yes, very fast. I have a team based in different countries, mainly Ukraine, we were divided among the fronts involved in this film. Over time, between May and September, I was dividing my time between NY and Paris. We shot the last take of the film shortly before the premiere.Vogue: And what was the most magical part of making this film?
SK:
I’d say this play with dimensions. How real life and the scenes there in the theater combined with the filmed scenes. It’s as if you see two realities that are superimposed. This was something new we experimented with, and it actually came about two days before the release. We were 95% of the way through the film. But when we saw this possibility, we changed course. It was more than just a film playing on the screen, it was the combination of the art of cinema with real life, with what was happening there. I’d say that anyone who sees the film feels like they’re inside a dream – it’s as if you’re watching the dream, but suddenly, you’re pulled into it.For those who want to delve deeper into the cinematic universe that inspired Nighthawk, here are a few recommendations:
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7 Ludlow
: “When you’re in New York, don’t miss this cinema in the Lower East Side. What was once a theater, now screens classic films, especially martial arts.” 7 Ludlow St, NY*
The Metrograph:
“A must for art film lovers. Always with a special program at this cinema in Brooklyn, which occupies a beautiful art deco building.” 136 Metropolitan Ave, Brooklyn, NY*