We’re totally charmed by the stills for A Miniature Frolic, a visual cupcake of a film by frequent creative collaborators (and occasional WORN contributors), photographer Martin Reisch (*safesolvent), designer Lara Kaluza (Lalouka), and musician Tessa Smith (Brave Radar and Fixture Records – though you might remember her as the lady with the awesome haircut).
For your consideration, here is a two minute clip from William Klein’s fashion-centric satire, Qui êtes vous, Polly Maggoo? (1966). If you want specifics, you can find them here and here – but if all you want is a reason to see it, you won’t need more than this…
As an added treat, (and in case you’re unfamiliar with her strange and wonderful face), the girl on the far left is 60s model and mod fashion icon, Peggy Moffitt. Typing her name into your browser will produce some of the best images of that decade.
The feeling of anticipation in a darkening movie theatre is generally universal. On this occasion I was more eager than usual. A few weeks prior I had seen a superbly edited trailer featuring a rapid succession of beautiful shots from the upcoming film, A Single Man. Being a self-proclaimed cinephile, my pulse quickened with the emotional reminders of great cinematic experiences past. Unfortunately, my hopes were dashed, but not for the reasons you’d think….
A Single Man takes place in Los Angeles at the time of the Cuban Missile Crisis. Adapted (from a Christopher Isherwood novel of the same name), directed, and produced by legendary fashion lord and first time filmmaker Tom Ford, it is a solemn tale of a man coming to grips with the painful loss of the love of his life. Colin Firth’s heart-breaking performance is touching and the stuff the best dramas are made of (and just as an aside, it was nice to see Firth challenged by a role that was not a type-cast of Jane Austen’s impenetrable Mr. Darcy). Continue reading →
With Prêt-à-Porter, Robert Altman filmed a self-conscious, grotesque portrait of the fashion industry in an inaccurate, messy, but rather enjoyable manner.
In the first half of the movie, fashion is a playground for men. Olivier de la Fontaine (Jean-Pierre Cassel) runs the Chambre de la Mode. Designer Simone Lowenthal’s son (Rupert Everett) licenses the family brand to a Texan boot maker behind his mother back. Photographer Milo O’Brannigan (Stephen Rea) ascertains his power by blackmailing the holy trinity of fashion editors (ELLE, Vogue, Harper’s).
Women, however, quickly regain control. De la Fontaine dies and his statuesque wife Isabella (Sophia Loren) becomes the focal point of every front row. The editors put their publishing competition aside and team up against the golden boy of photography. Lowenthal shocks the industry by sending naked women down her runway.