Performance by
Kira Poutanen  
“La Seine”

Costume, direction, filming: Sami Korhonen
Hair: Henri Nuko

Institut Culturel Cloître des Billettes 24 rue des Archives 75004 Paris



What makes a view a scene?

It is a cold Parisian afternoon on the river Seine. The death-pale riverside trees quiver by the dark sound of the church bells of the Notre Dame, making the last dry leaves fall into the river, where the strong current spins and abuses them before swallowing the damp, lifeless crusts in its endless darkness.

She knows there is no turning back now. Slight uncertainty shivers in her moist eyes. Her dark, red lips pinched tightly together leave the mouth looking like a fresh, bloody cut.

“What have I done!?” The hardness of the reality chokes her with its cold and bony hands. But then, like a menacing storm cloud, the shadow of the next question begins to tarnish the horizon: “What do I do now?”

In Passion Marginale I am exploring my creative process, leaving it all visible and open. Open as a story but also open for interpretation.  I am designing costumes for this imaginary character, who is trapped in a story that has no beginning nor ending.

The character in a play or a movie is a sum of many parts, including, but not limited to, the actor’s interpretation, director’s vision, set design, costumes and the viewer’s perspective. However, it is often thought that the character is created mainly by the actor. So what happens if we remove the actor from the equation, then do we have enough information to complete the character?

I’m also playing with the role of the costume in different times. The inspiration for the character in these images comes from the 50’s, but the style of the clothes presented here might have had different connotations during that time than what they have today. When we see a certain piece of clothing in specific surroundings, worn by a character, it changes our perception of that piece of clothing.

Is the human figure in the picture an actor in a scene from a movie or is this image an imagined documentation of a ‘real’ event and the figure a representation of a ‘real’ woman? And does this define whether her clothes are a costume or rather a fashion item. How do we define that?

The blurred line between fashion and costume is something that I find very interesting. What is the difference between these two entities and is there really a difference?

The locations inspire the photographs that inspire the story that creates the character that gives birth to the costumes. The public is in charge of completing the story.