livlifewithlivandnoah @skamnlislife - Tumblr Blog

My Tumblr account means the world to me 😭

This is one account that has been there since forever, I've had twitter or Insta account but idk why but I always deleted them. But I've always kept this tumblr account.

It has seen all my craziness 😭😔

#mine #my precious

FRANÇOIS FOR L’OFFICIEL CHINA

#françois arnaud #L’OFFICIEL CHINA #FRANÇOIS #francois arnaud

concoisarchives

François Arnaud + talking about Connor Storrie

absurdsensations

essay VI.

the saint laurent production

The studio system used to do this work. It would place an actor inside a house style - Paramount's polish, Warner's grit, MGM's gloss - and the films that followed would teach the audience how to read the body on screen. The construction was the credentialing. The work and the legibility arrived together.

That structure is gone. What has emerged in its place, at the top end, is a patchwork: streamers, festivals, A24-style production-as-brand, and now luxury houses with film arms. None of them is the studio system, but together they do a version of what the studio system did. They place an actor inside an aesthetic, fund the films that would let that aesthetic be visible, and tell the audience - quietly, through company kept - how to look. The interesting actors are the ones whose patchwork is internally consistent. The uninteresting ones get assembled out of whatever is offering.

In January, in a tiny side room at the Bourse de Commerce in Paris, the photographer Ezra Petronio shot a portrait of Anthony Vaccarello's extended Saint Laurent family. Kate Moss, Charlotte Gainsbourg, Béatrice Dalle, Rami Malek, Aaron Taylor-Johnson, Kid Cudi, the filmmaker Gaspar Noé. And Connor Storrie - a twenty-six-year-old actor from Odessa, Texas, listed in the roll call, photographed, quoted. "I got into Saint Laurent through the sunglasses, he said. I think the brand is very chic without being boring. It's rock 'n' roll."

The quote is doing the work of a quote in a fashion feature: light, brand-compliant, not revealing very much. The room is doing more.

The house Vaccarello has built over ten years is not just a fashion brand that happens to dress actors. It is a production apparatus. In 2023, Vaccarello launched Saint Laurent Productions, which has since co-financed films by Pedro Almodóvar, David Cronenberg, Paolo Sorrentino, Jacques Audiard, and Jim Jarmusch, with Gaspar Noé's Lux Æterna already in the lineage from the same creative relationship. Lux Æterna stars Charlotte Gainsbourg and Béatrice Dalle. Both of whom were in the Petronio portrait room.

This is the part of the alignment that matters.

When Storrie shows up at the Vanity Fair Oscar party in a sheer Saint Laurent turtleneck, or sits front row at the AW26 menswear show, or appears in the January portraits, two readings are immediately available, and both are wrong. The casual reading files it as celebrity fashion. The slightly knowing reading files it as brand ambassadorship. Both treat the clothing as the content and the films as a separate, unrelated category. A more accurate reading is that an actor whose stated influences are Lynch, Lanthimos, Amirpour, and Cregger - and whose own short has been compared by commenters, repeatedly, to Gaspar Noé - is publicly aligning himself with the one major fashion house currently producing feature films by filmmakers in that lineage. The turtleneck is the visible edge of a deeper congruence. The clothes describe a transaction. The slate describes a contract.

Jerry the Ginger Eater draws the Noé comparison for reasons that survive a close reading. The camera rarely flinches. The body is treated as both subject and object without shame. The desire depicted is present, in a frame that refuses to look away. Lux Æterna does the refusal differently - split-screen, strobe, an explicit meditation on the image of Joan at the stake as film image - though the underlying argument is the same. The body in extremity is a frame to be held, and the camera's job, in the presence of discomfort, is to stay. Storrie learned that somewhere. Whether from Noé directly or from the broader river of which Noé is a tributary - Pasolini, Clark, Denis, Amirpour - the lesson has been taken. The more interesting fact is that commenters are already reading Storrie’s short in that neighborhood.

Saint Laurent Productions makes that neighbourhood easier to see. Vaccarello has described his interest in film as a way of extending the brand's life beyond the ephemerality of the runway. A catwalk show, that will pass, he told the FT. But the name Saint Laurent being associated with a film is a guarantee that the name will still be alive in 20, 30, 40 years. This is a fashion-house justification. The more honest version, implied by the slate of directors he is producing, is that Vaccarello has built a minor but serious arthouse production company inside a luxury brand, and that the work it is producing - Parthenope, Father Mother Sister Brother, Emilia Pérez, Lux Æterna - constitutes a specific cinematic sensibility. Formally committed. Tonally strange. Narratively unafraid of genre. Concerned with the body. French-adjacent in register even when the filmmaker is Argentinian or Italian or American.

This is the cinematic neighbourhood Storrie's work seems to live in. Transaction Planet, as described, belongs on the same shelf as Lux Æterna and Enter the Void in the way it belongs on the shelf as early John Waters or Pi-era Aronofsky - not by resemblance but by temperament. The alien-in-wrong-body premise is Noé-adjacent in its bodily estrangement; the fairy tale framing is closer to Amirpour; the iPhone-alone-in-LA production method is Sean Baker. What ties them is the refusal to let the body be ordinary. The body is always new, always arriving somewhere, always learning how to be in a room.

This does not mean a formal collaboration is inevitable. Storrie has not been announced on a Saint Laurent Productions project, and there is no need to pretend otherwise. But careers are shaped not only by finished works, but by rooms entered, patrons acquired, and systems of taste within which an artist becomes recognisable. Saint Laurent is one of those systems. It is a fashion house, yes. It is also, increasingly, a way of signalling cinematic company kept.

This is the patchwork doing the studio system's old job, in a smaller way, for a younger figure. Not a studio building him an image; a fashion house funding the cinema he is already legible inside, and including him in the family portrait while it does. The cynical reading - that he has been credentialed by a luxury brand - gets the direction wrong. He is not being credentialed. He is being recognised by the institution most equipped, currently, to recognise him.

The Met Gala in May will be the next test of this. Vaccarello is co-chairing the host committee. Saint Laurent is sponsoring the exhibition catalog. If Storrie attends - and the New York Times has already hinted he will - he will be arriving inside a structure he has been attached to publicly for several months now. What he wears on that carpet will not be costume. It will be the visible outline of an argument he has been making, quietly, about which rooms he intends to be a working part of.

François Arnaud and Robbie G.K. at the Warner Bros. Discovery Upfront 2026 🫶🫶

#francois arnaud #françois arnaud #Robbie G.K #heated rivalry #François looks extra tall here 😭#Warner Bros. Discovery Upfront 2026

shoresys

Connor Storrie | Met Gala 2026

He looks so soft here 🥺🥺

#francois arnaud #François Arnaud #ilhsm

connorstorriegifs

Connor Storrie | Met Gala 2026 | Connor Storrie Tells the Story Behind His Bloody Jeans

I don't know why I brought up the blood.

CONNOR STORRIE wearing YSL and Tiffany&Co for his MET GALA debut.

#connor storrie #connor #heated rivalry #ysl #tiffany and co #met gala

connorhudsongifs

CONNOR STORRIE 2026 MET GALA

francoisarnaudsource

François Arnaud Birthday Bash 2026 | July 3-5, 2026

Hello! To celebrate everyone's favorite French Canadian, @francoisarnaudsource is hosting a 3 day celebration, culminating on François' birthday on July 5th! We are providing themes below but the sky is truly the limit. You can make gifs, photosets, anything you want. NO RULES (ok some rules!)

July 3 | Day 1: Favorite Photoshoot

July 4 | Day 2: Favorite Work (Film, TV, etc.)

July 5 | Day 3: Free Choice (memes, moodboards, fics, anything you want to make that celebrates François!)

Rules:

Please tag ALL works for this weekend with #fabb2026 so we can track all entries and reblog! We will continue to track #farnaudedit, #francoisarnaudedit, and #françoisarnaudedit like always in case you forget!

Create a separate post for each prompt you choose to do! Include the prompt somewhere on the post.

This is a time to celebrate someone we all enjoy; please respect everyone who takes the time to contribute.

If you have any questions, feel free to drop an ask!