CB: WINGS OF PEGASUS were first commissioned by Hermès back in 2014, and are now being officially launched as a core fixture of the CHRISTOPHER BOOTS range at Melbourne Design Fair this year. What stood out to you about the WINGS OF PEGASUS and how did this influence your creative process in capturing the piece?
JS: I was immediately drawn to their sense of fantasy and knew I could create something truly magical with them. The way the soft, delicate quartz contrasted with their bold, powerful presence made for an even more compelling visual story.
CB: Each film is thematically tied, but stylistically very different. Can you speak to the narrative of the WINGS OF PEGASUS film, the second in the triptych, and how it differs from the first and third parts?
JS: Mythology has long inspired the CHRISTOPHER BOOTS studio, playing a significant role in branding, marketing, product design, and naming, so I used this project to explore how mythology and ancient beliefs in the divine shaped man’s understanding of natural phenomena.
For the METEOR film, I wanted to capture the raw and wild aesthetic of pagan rituals, where people believed meteors were messengers from the Gods. OURANOS takes a more meditative approach, exploring the significance of circles in religion, often representing eternal life, connection, and the limitless circularity of nature and time.
As for the WINGS OF PEGASUS film, I wanted to tell a dark and moving story about love, heartbreak, and loss that would resonate with the audience on a deeper emotional level while contrasting the brightness and happiness often associated with wings. Inspired by the Book of Enoch and the story of the Watchers, who were angels tasked to Earth to watch over humans. God created the great flood to destroy the earth after the Watchers began lusting and procreating with humans. So the film depicts the tragic moment when the Lovers, a man and the angel Azazel, are torn apart and Azazel is reinstated to the heavens.