SHOP THIS STORY

Preen's black knee-length dress goes beyond the basics with a sweet blue leopard and floral Peter Pan collar, peplum waist and slim pencil skirt. Fresh and feminine embellishments give the little black dress a new lease of life.

Make a wish. Carolina Bucci's Lucky Scarab Rainbow bracelet provides perfect playful embellishment to any outfit. With a delicate rose gold chain woven through the brightly coloured braid, this piece reflects its creator's attention to detail. Her unique jewellery combines traditional Florentine artisanship, woven as it is by loom originally designed to create Renaissance fabrics, with a hip sensibility and sense of humour.

Blank canvas. Marina London's  white silk shirt is a staple of understated luxury. Effortlessly attractive, this top can be teamed with your favourite jeans, smart work wear or a statement party skirt. Quite simply the perfect wardrobe builder.

The Jasmin Kianfar black silk jumpsuit is an easy, elegant one-stop solution for an array of occasions. Reflecting the designer's passion for contrast, this piece features both a clean silhouette and a high-waisted harem trouser; fine silk and an unexpected geometric racer-back. Wear it relaxed for a day with a jacket or knit or go bare nacked with for cocktails.

The Left Bank look gets a cool English update with Aquascutum's mesh halter polo, perfect under the BLK DNM classic smoking jacket. Channel Joana's reference-crossing look by splashing some eccentricity into your classic, tailored monochromes.

Katie Hillier’s new jewel-eyed squirrel, rabbit and snail necklaces have natural charm. Joana wears all three but with their unique aesthetic, gold bodies and kaleidoscope of treasured gem embellishments, each of these little critters has enough charisma to stand alone too.

A career in fashion, says Joana Preiss, was never an intention, but it remains a great source of enjoyment. While the fashion world can’t get enough of her long limbs, tousled hair and atypical beauty, Preiss is also a respected name on the French independent cinema scene, starring in films such as Paris, je t'aime and Ma Mère, alongside Louis Garrel and Isabelle Huppert. She is known as much for her enchanting singing voice and memorable film roles as her unique take on pared-down Parisian chic – a perfectly battered old T-shirt, relaxed slim jeans, Balenciaga biker boots and a leather or tailored jacket slung over her shoulders. At weekends, she still finds time to perform wild renditions of Hölderlin poetry to admiring audiences. By most people’s standards, Preiss has already excelled at several different careers, but she remains determined to push herself in new directions. Joana’s directorial debut, Siberia, will be released later this year. In an exclusive interview with Avenue 32, the multi-talented muse speaks about her own inspiration and unique style.

Avenue 32: Your career has many facets, but how do you see yourself primarily? 

Joana Preiss: I see myself as an actor now, although singing was my first love and I’ve been writing forever. I find that, for me, as an actor, singing and music are complementary arts, and they have always played a huge part in my life. I began my career in classical and contemporary singing, and I performed in the theatre for 10 years. Afterwards, a few directors came to see me on the stage and in concert, and they began offering me film roles. These days, I mostly work in cinema but I still do plays and concerts. I think I need to be in front of the camera and on set. I need to do both. I love singing like a wild animal, in the same way I love the deep, intense physical and emotional work of being another person for a few months.

How did you become involved in fashion?

I got into fashion by chance, as I was already beginning to establish myself as an actor and a singer. I was photographed by the artist Nan Goldin and some of the pictures were featured in Paris Vogue. Nicolas Ghesquière saw them and invited me to a casting for his runway show, in which he wanted “real people” to walk alongside traditional models. He wanted me to try out as a “real person”, so, flattered, I obliged and I guess he liked me! It was funny, because in the end I was the only non-model walking the show. He says I began inspiring him immediately after we first met.

After I did Balenciaga, I started getting calls from modelling agencies, which I found quite funny. I was an actress. I am an actress. I guess I saw it as a bit of a game – albeit a very fun game. I was photographed by Terry Richardson and Corinne Day. It was an amazing time, and it helped me promote my underground concerts.

Now I feel more like a muse than a model. I feel I have a role in helping with inspiration, but I would never see myself as someone primarily there to sell a look once it’s been created. I also feel photography has always had strong ties with actors – think of Marlene Dietrich. It’s part of being an actress, but for me, it will never take over.

Do you still sing?  

Yes, I’ve got a concert on Saturday and another one at the end of March, in which I’ll be singing Hölderlin’s poetry in my own wild way.

What’s the difference between French cinema and Anglophone cinema and why do some French actors seem to want to stay in France? 

I’m not sure it’s actually the French actors’ choice to stay in France, or whether it’s actually just very difficult to make it across the Channel! I have an English agent and I go to castings here, but it’s a completely different scene to break into. To me, the British and American cinemas seem vaster and more diversified than ours. Also, there are so many fantastic actors in England and North America, sadly, there just isn’t a huge need for us. So, beyond the challenge of becoming entirely bilingual, it’s just not as easy as people might think.

That being said, I would love to work here. I’ve made movies in Italy and Germany, and I think it’s fascinating to work in different cultures. I mostly do “films d’auteur” [films that reflect the director’s personal creative vision as the primary author]. They were invented by the French cinema, but they are actually very interesting to make abroad.

Which director would you most like to work with?  

There are too many to choose from. In France, I’d love to work with Bertrand Bonello – I have always loved his work. Also, Chantal Akerman, Jean-Luc Godard, Philippe Garrel, David Cronenberg… The list goes on.

How would you describe your personal style? 

I dress very simply. I’m not very eccentric. When I’m not in Paris, people seem to think I dress quite Parisian; but in Paris, I just think I dress like me. Being around fashion hasn’t particularly changed the way I’ve presented myself – although I’m lucky enough to have access to a range of possibilities. I still wear my old T-shirts everywhere, but I like to mix them with something fresher. I guess I just like to primarily be relaxed and comfortable, and I never like to spend hours putting things together – but I do like strong details.

What stands out as your most fulfilling achievement so far in your career? 

The film I directed, Siberia, which is soon to be released. It’s a very special and personal film for me. We shot it three years ago in Siberia. I also acted in it, alongside Bruno Dumont. I adored directing, editing and going through the entire process of making this film. Now I’ve begun directing another film in Andalusia. Far-off and extreme locations are what inspire me most to make films.

Paris or London? 

London.

Louis Garrel or Romain Duris? 

Filippo Timi.

Favourite designer? 

Nicolas Ghesquière.

Favourite novel? 

For a long time, it was The Wild Palms by William Faulkner. Also, The Journal of Albion Moonlight by Kenneth Patchen.

First thing you do when you get home? 

Hug my son.

Le Smoking or Little Black Dress? 

Ah, it depends. I need both.

Moccasins or heels? 

Again, it depends.

Greatest model in the history of fashion? 

Penelope Tree.