The films from Venice 76 that most talked to us about fashion
With that catastrophe movie air, between dystopia, drought, toxic cloud and crazy reality, the Venice Film Festival he also reserved us an amused and fashionable look on the new world, and not only on the red carpet, where Timothée Chalamet’s bright red dress with a plunging neckline on the back equalized the interest spread in many films for a new fluidity, even a a little cartoonish, like the extra long points of Harry Styles’ collar.
More than ever the films have suggested to us the fashion air that pulls, and from the beginning with the “dressing” of Cate Blanchett conductor in Tarcomplete with custom-made masculine inspiration, men’s shirt and shoes, pure lines studied as a score, the perfect counterpart to the maniacal reinterpretation of the iconic dresses of Marilyn in blonde, redesigned by Jennifer Johnson and enhanced by an overexcited sense of nostalgia. How not to be moved then by the cocktail dresses in 60s stiletto heels and the pastel-colored corolla skirts worn even to pass the vacuum cleaner in Don’t worry honey by Olivia Wilde? Impeccable housewives, backcombing well-liked by Rat Pack-style boys.
At the Mostra, especially the 80s, very popular, jacket, visor, very printed shirts for Adam Driver and trousers with still a suspicion of paw in white noise and, to stay at the time, here is the personal catwalk of Luca Guadagnino, whose young cannibals, Taylor Russell and Chalamet, wander the margins of America and dress like today in, for him transparent blouses and gentle twinsets recovered from the wardrobe of moms. In horror, signs of style.
In the ranking fashion follows The immensity, with the acetate tracksuits of the 70s, the no-gender adolescent aspirations and the mother who dances transforming herself into Raffaella Carrà and Patty Pravo, whipped hair with toupé, helmet, navel, miniskirts and wraparound onesie. The black and white of TV and old movies become chic again after social drunkenness, but the bright color from the Instagram filter and Tik Tok is everywhere, on the red carpet and in the movies: in Princessone of the strong titles of the exhibition, the look changes of the (real) Nigerian prostitute Glory Kevin triumph, pigtails and pink wigs to change fantasy every time, while the transgender friends of The fabulous they throw themselves into the closet of their memories and games among lamé dresses, leopard-print furs and neon boas.
If the world is serious, cinema is fluid, a bit burlesque and ironic like fashion, which suggests playing without limits between genres and styles. Mix, recycle, transform. And finally, take off everything and put on the Franciscan habit of Santa Chiara and her sisters (in Clear by Susanna Nicchiarelli), the most appropriate note of style for the new austerity and, ultimately, the most elegant.