Upcoming "Fashion on Movies"
From February 15 through March 9, the movie theater in the Biblioteca della Moda at 8 Via Alessandria will be dedicating twenty days to six movies of different periods and backgrounds in which fashion and accessories worn by female characters convey many and different iconic styles.
With a leitmotif of impressions, quotations, images and iconic shots, the stars of the movies are women, actresses and their seductive accessories. Items that were the loyal and essential body-enhancing companions in movie stories. They defined characters, emphasized vices and, sometimes, virtues, gave audience clues, deceived and seduced.
Accurately selected by the IO DONNA editorial office, these movies are open to the public free of charge: bookings for the 5 daily showings can be made by calling the Milano Fashion City dedicated number (02 83 31 12 02).
The movies in the festival are:
Vertigo
1958 – Alfred Hitchcock, with Kim Novak and James Stewart
Charlie Wilson’s War
2007 – Mike Nichols, with Tom Hanks and Julia Roberts
Lolita
1962 – Stanley Kubrick, with James Mason, Sue Lyon and Shelley Winters
Some Like it Hot
1959 – Billy Wilder, with Marilyn Monroe, Tony Curtis and Jack Lemmon
The Graduate
1967 – Mike Nichols, with Dustin Hoffman and Anne Bancroft
Marnie
1964 – Alfred Hitchcock, with Sean Connery and Tippi Hedren
From the curators
Diamante D’Alessio and Paola Piacenza:
How could the director of “Vertigo” immortalize the Hitchcock woman without the help of a severe gray suit, a chignon of blonde hair and a pair of classic black pumps with very high heels? Shoes are frequently the protagonists of iconic sequences. We’re women, aren’t we?
However, a fundamental aspect of the history of cinema and close-ups also includes expressions hidden by diva-style dark glasses, or the shortsightedness of Marilyn in “Some Like it Hot”. Although one hundred percent seductive objects, eyeglasses are also a means of concealing identity. And again, the first time Professor Humbert Humbert sees Lolita, she is lying in the sun wearing only a bikini and heart-shaped eyeglasses: isn’t it then easier to understand his self-destructive folly according to Nabokov and Stanley Kubrick?
And then there are fur coats and the way of wrapping it around oneself that is exquisitely feminine. Would Mrs. Robinson, Anne Bancroft in “The Graduate”, have had the same effect on graduate Dustin Hoffman if she had been wearing an overcoat?
