Halston, Versace and Dior, Heroes of the Market

Genius under the sign of excess Halston (Netflix)

The story begins with two hats: the first is that of childhood - the boy Roy Halston Frowick made for his mother, as an antidote against the violence inflicted by his own father - and the second is nothing more and nothing lessthat the pillbox pink model that Jackie Onassis used in January 1961, in the assumption of John F.Kennedy as president of the United States.This last accessory was not only the one that gave mass recognition to Halston, but also meant his entry into the major leagues of fashion.This is reported by the five -chapter biopic starring Ewan McGregor in the designer's role.It has been produced by the prolific Ryan Murphy (with a history in other fictions with focus on fashion and costumes, such as Mad Men and Lady's Gambit, among others) and directed by Daniel Minahan.

Based on the book Simply Halston, the miniseries investigates the arrival, the plateau and the fall that the creator - American number par excellence - in two decades crosses - in two decades.The plot also has characters that were not only central in the life story of the protagonist but were also iconic of the 70's New York night.With epicenter in the glitter and exclusive Studio 54 disco, the most relevant are the roles of singer Liza Minnelli (Krysta Rodriguez), who in addition to being his confidant, was one of the first celebrities to wear his clothes, and the Italian Mannequin Elsa Elsa Elsa Elsa ElsaPeretti (Rebecca Dayan), muse, friend, and assistant of "H", as her surroundings nickname.Halston embodied the new unlimited consumption: clothing and design, as well as sex released, while cocaine crossed the sociabilad of the upper class rampant.

The story reconstructs the milestones that determined the metamorphosis of one of the main American fashion designers of the twentieth century, when you decide to join fashion and textile technology designs a shirt dress in ultrasound, the novel material that in addition to waterproof.The same with the resisted participation in the parade that was made in 1973 in the Palace of Versailles, with the purpose of raising funds to revitalize that historical place, and with the excuse of traveling to Paris to lift the piné and get American brands(Bill Blass, Stephen Burrows, Halston, Anne Klein and Oscar de la Renta) will destroy their French peers once and for all (Marc Bohan, Pierre Cardin, Givenchy, Yves Saint Laurent and Ungaro).

As shown in fiction, "The Battle of Versailles" was the event that transcended the idea of the fashion show and became a true fashion contest, also themed in the documentary Battle at Versailles: The Competition That Shook The Fashion Industry , in Youtube.That meeting represented a before and after for Halston, with the sale to the Norton Simon company, and then with the subsequent loss of its authorship.In the 80s, Halston was disabled to use his own name as a brand.That crisis was aggravated by addictions and the tragic irruption of AIDS.

Raid de la Medusa The Assassination of Gianni Versace: American Crime Story (Netflix)

Four years before Halston, already Murphy and Minahan did the same in the series about the murder of Gianni Versace, with Moureen Orth's vulgar Favors as an argument, and with the star participations of Ricky Martin in the role of the Italian model Antonio D'Amico, who was a couple of Versace (Edgar Ramírez) for fifteen years, and Penelope Cruz like Donatella, the omnipresent sister of the designer.

While this story emphasizes the bloody raid that carried the psychopath Andrew Cunanan (Darren Criss) - even before taking the creator's life at the door of his Miami mansion on the morning of July 15, 1997 - theStory does not dismiss but also explores the promotion and struggles he had in his successful career.From him, we tries to tell what the course was the Calabric boy who fluttered into his mother's sewing workshop in the man who revolutionized the fashion of the 90s.

Thus, the Versace Universe that is represented in the only nine -episodes season responds to the style that gave it international fame, characterized by references to the art of the Renaissance, the Baroque and neoclassicism, among other sources of inspiration, in addition to theSilk shirts, animal print, couture jeans, golden stridency and of course, the different versions of the medusa head logo that became the undisputed seal of the firm and in a recurring image of the miniseries.Nor are the mentions of the choice of models to parade and the famous friends of the designer (Lady Di and Elton John, among others), the same ones that appear disconsolate during their funeral.

Another central fact to take into account on this realization is that the multipremized fiction in the EMMY 2018 did not have the support or company, the family.In fact, the latter was responsible for issuing a statement in which it expressly separated from it.This means that there were no contributions to the development of the script and much less for the preparation of clothing."We will work together as if it were our last dress," Gianni tells his sister, in episode seven.And it is precisely about that moment that you have to know that the black attire, with leather, with belts crossed and interspersed from the shoulders to the waist with which Donatella dazzled on the red carpet of the 1992 Met gala, is nothing more thanA replica of the original and was one of the many garments made especially by the seasoned costume designers Lou Eyrich and Allison Leach.

Dynamit Chicfranca: Chaos and Creation (Netflix)

The implicit title of the documentary led by Francesco Carrozzini, film filmmaker and son of Franca Sozzani, the emblematic fashion editor of Vogue Italy, could well be "all about my mother".The film - which also became a tribute to Life to Sozzani, who died three months after its premiere at the Venice Festival - has the participation of figures such as designer Valentino Garavani, and his partner Giancarlo Giammetti, theFashion Historian Valerie Steele, designer Donatella Versace, even the French philosopher Bernard-Henri Lévy.In addition to the fundamental voices of photographers Bruce Weber, Peter Lindbergh and Steven Meisel (author of the Book Sex de Madonna), in charge of the memorable covers of the publication, respectively."My real talent was to find very talented people," confesses the protagonist.And that is the central fact, if one takes into account that for more than 25 years he ignored the suggestions of market studies to tell fashion in their own way, with total self -confidence.

As if it were to resignify a Road Movie, although fragmented, urban and family, at the same time, the documentary is based on different interviews that Carrozzini makes to his mother, while traveling by car through Milan or New York, and through aextensive walk through the central Park Nevado.The emphasis of the story is in a parallel combination between the singular career of the editor and how her son investigates in her love relationships and in the life of both.He does not only through sharp questions, in some cases rebuilt by his mother, but also resorts to the archive material of childhood, youth and frank records in the capitals of high fashion.

The latter is foundational, because it reveals how the professional tour of the Italian was encouraged to take advantage of the usual resources of the fashion scene to break the conventions of the magazines and talk about pollution, war or death, among other problemshuman.In that line, in addition, the film proposes a racconto for the photos that scandalized beyond clothing.Among other images, it exhibits the controversial lid - in allusion to the escape of oil in the Gulf of Mexico in 2010 - with the models that evoke the inaissed animals, smeared on the sea of the sea.Also the photographic production that focused on the obsession with aesthetic surgeries;And the one that alluded to gender violence.The tribute does not prevent you from raising these ethical issues to Sozzani's decisions.Repeatedly accused of trivializing and giving a halo of glamor to current tragedies, Sozzani interpens: "Why can't a fashion magazine talk about what happens in the world?".

Records of a Tiranadiana Vreeland editor: the educated look (prime video)

"A garden in hell", that is the denomination that the very Diana Vreeland gives the living room of her house.And it is in that place, entirely dressed in red, crammed with pictures, ornaments and flowers, where much of the conversations they had with George Plimpton, journalist and author of his biography.This record must be added the television material, family photographs and the testimonies of their children and employees, which constitute the true finding of the documentary that proposes to unravel the professional history of the most influential fashion editor of the twentieth century.

Directed by Bent-Jorgen Perlmutt, Frédéric Tcheng and Lisa Immmorin Vreeland, in addition the wife of one of Vreeland's grandchildren, the story is chronologically narrated, from the memories of the protagonist own.“The first thing to do, honey, is to be born in Paris.Then, everything follows naturally, ”says who longs for the Belle Époque, the Russian cultural influence he had in his childhood, and the time he worked with Cocó Chanel.

The film, in addition, and above all, exposes the contributions of the editor through publications such as Harper’s Bazaar, first, and the American Vogue later, those who accompanied fundamental events in the history of clothing.It reaches with thinking about the consolidation of denim (cotton of the jean) and the emergence of the bikini.

In the same vein, he reveals the anticipation he had when publishing the first photo of Jackie and John F.Kennedy together."I know when something is news when I see it," he says with boasting in one of the interviews.The documentary also insists on how he made avant -garde when summon.

Remembered for his disruptive way of working and for the tyranny that imposed on his collaborators, Vreeland was not only inspiration from the character of Maggie Prescott in the film Funny Face (1957), but the same thing happened with Miss Maxwell, the editor that appears inWho are you, Polly Maggoo?In 1966.The epilogue of the work deals with the rebirth: when after they fire her from her work in Vogue, the protagonist recovers notoriety when she was summoned to direct the Costume Institute of the Metropolitan Museum of New York.Since he not only led her to be a pioneer in something as unpublished as setting out exposures on fashion in a museum;She also gave her the chance to become the new host of the renowned MET Gala, Middlera Fashion forced for the Star System for more than 70 years.

The hand that mece the maisondior and i (YouTube)

The first person in the singular in this case corresponds to RAF Simons, the designer of Belgian origin, recognized for his formation at the Academy of Antwerp and the unavoidable inheritance of the prestigious group of creators who precedes it, called, precisely, as “the six ofAntwerp ”(among them Dries van Notten, also portrayed in the documentary Dries).The film directed by Frédéric Tcheng - who did the same before in the documentary about Valentino, and also by co -direction Diana Vreeland: the educated look - is an invitation to enter, but above all to travel, the day to day in the French MaisonDior, through the gaze and sensations of his brand new creative director.

The work records the arrival, the first approach to the company and the initial collection that Simons made in a record time of just eight weeks.Although beyond the centrality of his figure and the encounter with the mystique of this Haute Couture House, we must highlight how the documentary gives wide visibility to the artisanal work that takes place in the Atelier, something for nothing less in a contemporary industrycharacterized by rapid fashion speed.

To tell it, Tcheng uses the testimonies of the workers themselves who have been in the brand's own experience in the brand's own experiences, in addition to constant flashbacks to file images and audios of the word of Monsieur Dior.The same ones that at times seem to be put in an imaginary dialogue with doubts, fear and intimidation that this character generates the designer himself throughout the film.Unmissable, in that sense, the registration of the trip that the Belgian makes to the Christian Dior Museum in Granville, the city of birth of the creator of the "New Look".

A complementary fact to put in context the film is that, one year after the premiere, and after another three work in the Maison, Simons decided to leave the adventure to devote himself to his own firm.Fact that generated speculations regarding the pressures to which he was submitted in the company, in addition to a media stir between the press and the firm's followers."Christian Dior is an extraordinary company and has been a privilege to write some pages of this magnificent book," he said in the farewell statement.