The zero stage: a prelude that uses light to set the tone, the iconic title We were so very much in love, a word to the city, an appeal to the world. Then the fugue, as at the opera, with a curtain rising in the middle of the atrium. The drama of our affections, from transparency to opacity, will play out on that curtain.
Stage two: lacrimosa, a time for tears of comfort for the loss of a loved one; a distress that will simultaneously unfold in reflections stretching to infinity, like a mirror ball whose facets are a day of joy and a night of grief.
Stage three: black, a projection into sadness, sombreness, distress, like an impossible, dead-end inventory. One last time, the fabrics are there to remind us of the sensuality of beings and a last breath.
Stage four: remnants, the archaeology of our passions, the high points of vertigo, textiles projected among fashion dresses and, at the same time, windless Madagascan shrouds, the dead tree of my new life saying that we are not all dead.
Stage five: the promise. A long, tender piece of music marks the time of our heartbeats: boom; boom and again boom. Yes, we are alive, and even at four in the morning by the light of a smoked cigarette, desire will always be present.

Other acts will have their place in this project of timeless chapters, such as a scrap of shroud at the Musée Bargoin or textile scenes engaging the permanent collection of the MARQ in conversations. And to conclude, like a consolation, the public will be invited to acquire a few ‘sentimental products’ at the museum’s gift shop – souvenirs of that lost love or the wonderful romance to come.

To our finest emotions, long live love.”