Ciak, let’s show off: when cinema talks about fashion shows

There are many books that deal with the fascinating, and polymorphic, relationship between cinema and fashion. But no one, until now, had gone so far as to tell and analyze, in particular, those films in which it is staged that magical and ritual moment that is a fashion show.

Now comes the opportunity to fill this editorial void Ciak, let’s show off – Fashion shows in thirty films (Postmedia Books) co-written by the journalist Grazia D’Annunzioprofessor at the University of Milan but based in New York, e Sarah Martinassociate professor at the University of Parma, scholar of the relationships between cinema and the other arts with a focus on costume and scenography.

A very in-depth essay, perhaps designed for scholars and professionals, which could however also win over enthusiasts of one of these two forms of art and communication. The volume is divided into two sections: in the first we find an analysis of the evolution of this subgenre and the substantial contribution given by the most important costume designers and art directors; in the second the cards of 30 films, from the silent era to the present day, in which the fashion show represents an important moment in the plot. We talk about it with the co-author Grazia D’Annunzio.

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We know many books that deal with cinema and fashion. But yours stands out for its originality. How did the idea come about?
«I have always loved this subgenre, ever since I saw it Funny Face (Cinderella in Paris). I have cultivated this magnificent obsession for many years, and in America it has become even more cemented, thanks also to many exhibitions I have seen, such as the one on the great costume designer Adrain at the Metropolitan Museum in 2002. I have written many articles on Tony Duquette, a visionary incredible. By increasingly uniting all these passions, I wanted to go deeper into this obsession. The meeting two years ago with Sara Martin was magical: recognizing our common obsessions was the spark that gave birth to this book.”

When and how were fashion weeks born?

What is the first film you talk about about a fashion show?
«The genre has been present in cinema for at least a century. The oldest of the films we have included in our book is The queen of fashion, from 1925: a silent, black and white film, which marks the debut of one of Hollywood’s most important costume designers, Travis Banton. The story is that of a French couturier who arrives in a town in the American Midwest to revive the fortunes of a somewhat dusty department store. And he tries to do just that with a fashion show!

Even among the 30 films, many are American, many are Italian… but there are none French. Why is it that, in the homeland of couture, cinema doesn’t talk about fashion shows?
«It’s true, it’s curious. In the book we talk about an absolute cult, which it is Are you here, Polly Maggoo?, a wonderful satire by an American director, William Klein. It is not true that there is no fashion in French films, just as it is not true that there is a certain contribution of French stylists in French cinematography. It’s just that the moment of the parade isn’t told…”.

Anyone who has never been to a fashion show perhaps cannot understand the atmosphere of anticipation, tension and suspense that reigns there, before and during. Which film, in your opinion, was best able to convey this atmosphere?
«For various reasons, I would say Mrs. Harris goes to Paris: he knows how to describe the protagonist’s wait for the fashion show very well. And then, certainly, by plausibility, Sex and The Cityes The devil wears Prada: a fake “Valentine’s Day” that also shows us the backstage, a true masterstroke: when Streep goes to greet Valentino and Giammetti it’s great.”

Fans of a certain “scult” cinema, like me, notice an important lack: that of Nothing under the dressby Carlo Vanzina.
«Obviously it was an idiosyncratic choice: something had to be left out. We have chosen important films, which have made the history of cinema, which have won Oscars. The priority for us was not to talk about films that showed real fashion shows, but about those that knew how to stage them.”

The liturgy of fashion shows has changed a lot in recent years: the classic model has been joined by new alternative methods that are more spectacular and scenographic, but above all surprising. Has cinema already been able to tell them?
«I found the fashion show seen as a scapegoat for our society very, very interesting Triangle of Sadness. Truly brilliant, powerful.”

The relationship between cinema and fashion is very complex and articulated. Having to summarize, in your opinion, was it fashion that gave more to cinema, or vice versa cinema to fashion?
«I believe that fashion has given more. Not only for the shining examples of designer collaborations for important films – and I immediately think of Armani, Ralph Lauren, Prada – but also for how much film costume designers draw on fashion shows for their creations. In Cruedelia, for example, costume designer Jenny Beavan clearly takes inspiration from Vivienne Westwood and John Galliano. Cruella after all it is an exquisitely fashion film: it talks about theater and transformation… what else is fashion?”.

Of all the film sequences that stage fashion shows, which in your opinion is the most beautiful, the most aesthetically satisfying?
“Most likely Girls who dream: a sumptuous, rich, opulent imagery. Definitely a delight to look at.”