Tilda’s Cannes

I usually don’t do red carpet coverages, but Tilda Swinton (with a pinch of Timothée Chalamet) at this year’s Cannes Festival is an exception. It was a Swinton fashion week, if you ask me. This woman doesn’t only elevate each film she stars in, but she also serves looks like no one else. Whether it’s a custom, colorful ensemble by Haider Ackermann – one of her most frequent collaborators and, privately, best friends – or a Schiaparelli haute-shirt-dress, Tilda owned Cannes. Here’s a recap of her looks!

The Haider Ackermann look from Wes Anderson’s “The French Dispatch” premiere is everything. It included a cropped, pink satin bolero blazer and top, paired with an orange floor-length skirt. Never one to skimp on theatrical flair, Swinton wore sequin green sleeves underneath the blazer. Timothée in Tom Ford was a great addition.

Another Haider Ackermann look – this time, it’s all about impeccable, electric blue tailoring. Amazing.

Tilda fell in love with Daniel Roseberry‘s Schiaparelli, and this means we can expect seeing her in the Parisian maison‘s couture soon. For Cannes, she chose Roseberry’s haute classics. This crisp, white shirt(dress) is so chic.

Swinton in Virginie Viard‘s Chanel – I love. This white gown is so functional – perfect for the Cannes red carpet, yes, but I can also see it worn to the French Riviera beaches. It’s both elegant and easy, refined, yet approachable.

“Casual” done the Tilda way is going for over-sized Loewe by Jonathan Anderson.

Another Schiaparelli, another shirt, but a totally different vibe. Here, Swinton went boy-ish, and announced global peace with that beautiful, Picasso-esque dove illustration.

Maybe I’m not entirely a fan of this Chanel look, but then, here’s the ultimate, sophisticated pirate à la Parisienne mood.

The Look – Balenciaga AW19 (Almodóvar Special!)

Pedro Almodóvar’s favourite colour is red. Colour in an Almodóvar film establishes mood and emotion, or a dramatic change in both. His most recurrent combination is red and blue, used to most striking effect in All About My Mother or Julieta. Red seems to be an important element in his upcoming The Human Voice, starring the one and only Tilda Swinton (!!!!) – set for Venice Film Festival that’s happening in a month. Also, I’m quite sure that the red knitted look worn by Swinton in the first released visual from the film is Balenciaga autumn-winter 2019 by Demna Gvasalia. Noting the production time and all, it makes sense. Now, I’m double-thrilled.

Collage by Edward Kanarecki.

Io Sono L’Amore. Zanini AW20

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Marco Zanini‘s small, name-sake label launched a year ago, and though the challenges are constant, he now finds himself with a roster of top boutiques around the world and the kind of personal satisfaction that comes from doing precisely what he wants after many years of working for other companies. This also is reflected in the garments: there’s no compromising at Zanini. Not on materials, not on the finishings on the inside of the garments, and definitely not on his silhouettes. For autumn-winter 2020, Zanini’s interest turned to traditional English wool flannels, which he cut into mannish two- and three-piece suits that he lined in white linen. Another wool jacket and matching full skirt were lightly hand-quilted. The thick cashmere knit worn with another big skirt looked just perfect, worn with a cameo necklace and a cotton poplin shirt underneath. Very, very Milanesa. This collection made me think of Luca Guadagnino’s masterpiece “I Am Love”,  starring Tilda Swinton as Emma. I can see Zanini’s delightful silk eveningwear worn around the wonderful Villa Necchi Campiglio and his daywear being Emma’s day-to-day basics. And in our reality, Marco’s brand is gradually stealing hearts of clients who don’t need logos and one-season statements, but want a garment that will forever feel luxurious and beautiful.

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Collage by Edward Kanarecki.

#InstaLOVE – November 2017

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I am an Instagram maniac and I openly confess that I spend too much time on filtering my feed. But it’s irresistible, when you have so many great accounts to follow! If you’re ready for a dose of beautifully curated walls, inspiring photos and delightful shots – see my November recommendations!

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@hobomag / This very ‘normal’ photo of Tilda Swinton, taken by Juergen Teller, is the most striking thing I’ve seen for months on Instagram. No explanations needed!

@marrakech_brooklyn / Who doesn’t love an eternally chic mood-feed? The one curated by Paul Rowland is my latest favourite, with some great Debbie Harry S&M / Lauren Hutton in mud moments.

@robbiespencer / Robbie Spencer is Dazed & Confused Magazine’s creative director. His Instagram feed is solely dedicated to his work. He posts rarely, but when he does, you just want to ‘bookmark’ each post. Whether it’s Lily McMenamy in a Balenciaga couture gown and Robert Quinn’s houndstooth body or Junya Watanabe neo-punks, Spencer is one of the brightest minds behind London’s fashion scene.

@haleywollens / Haley Wollens is a stylist, who doesn’t necessarily want to style the editorials in the most ‘safe’ way – the looks rather disturb, than please the advertisers. Also, she works with Chloë Sevigny, dressing her in Saint Laurent and Y / Project. That’s quite a match!

AND, if you want to follow one more account on Instagram… why don’t you follow, ta-da, @designandculturebyed?

 

A Bigger Splash

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We are all OBSCENE!

I’ve been waiting for A Bigger Splash since last September, and just yesterday I had a chance to see it in the cinema. But the waiting was honestly worth it, as I can openly say that I’m obsessed with it even more than I were few months ago. Luca Guadagnino‘s sultry, Italian sun-bathed thriller, starring Tilda Swinton, Dakota Johnson, Ralph FiennesMatthias Schoenaerts and Lily McMenamy, is a masterpiece. Visually, musically, artistically.

On an idyllic island of Pantelleria, Marianne Lane, a rock-star (played by the one and only Swinton), cures herself from a temporary voice loss and is all in sensual, compassionate relationship with Paul (Schoenaerts). Lying naked on the off-beat beach all day, the couple’s fantasy escape is interrupted by a spontanous visit of chaotic, impulsive Harry (played by Fiennes), Marianne’s music producer and old, drug-fuelled love. He arrives to the island with a shocking surprise: his “newly-discovered” daughter, Penelope (Dakota Johnson), who is a reflection of a melancholic lolita-teenager. The atmosphere gets stinking hot, as jealousy, untamed love and temperamental desire start to ooze in the relations between these equally vivid characters. Dancing to Rolling Stone’s Emotional Rescue, Harry is getting on everybody’s nerves, simultaneously inducing Marianne to fall in love with him, again. On the other side of the terracotta tiled pool, we’ve got Paul, a level-headed, loyal lover to Lane; but then, there is Penelope, whose coquettish behaviour and nasty attitude towards the others will make everything even more complicated…

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A Bigger Splash is a remake of French thriller La Piscine, which is iconic due to star power of Alain Delon, Romy Schneider and Jane Birkin – however, the plot has many reinterpreted, unpredictable twists. As Guadignino believes that fashion plays a major role in his films (!), the frivolous dresses, alluring skirts and sequined jumpsuits a la Ziggy Stardust, designed by Raf Simons during his tenure at Dior, fulfill the meaningful body language of Marianne. Also, the soundtrack of A Bigger Splash was curated in the dynamic, sexy rhyme of this (already) cult film – from rock’n’roll Nevada Wild tracks to operatic Popol Vuh, the play with sound is mind-blowing in here, too.

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Lily McMenamy in "A Bigger Splash"

I rarely (almost never) write about films on my blog – but I just couldn’t hold back from sharing my excitement with Luca’s film. Although it tells about pain and misunderstanding, obscenity and looking into the past, it’s an aesthetically beautiful nod to gestures, touch, sense and unconventional love. Should I even recommend it? Go for it, without consideration.

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Photographs above: Giulio Ghirardi examines the exquisite costumes and props, which helped bulid the elusive seductiveness of A Bigger Splash.