Posts tagged red
That clever friend of mine’s been at it again. Lovehearts. Valentine’s Day is only round the corner, I guess. What better way than to say it with Louboutins! Any boyfriends stuck for ideas you know exactly where to go and burn some plastic. And buy a bunch of roses for your gal while you’re at it. Red roses. Louuboutin red. Christian Louboutin, Mount Street, London_
I must say, the Christmas windows have been a tad bit disappointing in the City of Lights. Galleries Lafayette: Le Shocking!! I mean, super tacky. Worth the trawl through the scrum to make it to the food hall, though! Yumm!
Anyway, I just had lunch with a darling friend of mine – my second lunch of the day; all I seem to be doing is eat, eat, eat!
Anyway, she’s done the most beautiful window artwork for Monsieur Red Soles. Simple and playful and yes, very festive. Very talented, this friend of mine. Finally! A window worth looking at. It seems to be doing the trick and pulling the punters in. Very lovely shop and the Louboutin cobblers further down in the arcade is a very sweet touch. Great to see a brand with personality.
Anyway, seems like I’m finally going to be able to leave Paris. Booked on a morning flight. Bloody Eurostar!!! Merde!
Photography_ Emma Summerton
Fashion editor_ Charlotte Stockdale
Location_ Dover, England
Pages 226 – 243
I thought this shoot was incredibly beautiful: unexpected, modern and out of this world. Shoot red clothes on the white cliffs of Dover. Simple, precise and clever. Lara Stone may rock the issue’s cover and stars in the headliner shoot by Mario Testino but this wins hand down. The editor’s letter talks of Vogue representing ” fashion, style, extreme beauty and a sense of the contemporary.” This shoot does it. The Lara Stone shoot, “Stone Age”, doesn’t. How can a faithful pastiche of a Norman Parkinson shot from 1952 of a model in a ballgown reclining on a chair read as contemporary? Even if shot on the model-du-jour, Lara Stone. Lovely? Yes. Escapist? Ditto. Old-fashioned? Un-huh. It totally misses the point. The “Red Alert” shoot, however, does extreme beauty, shows us winter in a fresh way, is achingly glamorous and yet alien at the same time. It doesn’t make sense but the strongest fashion imagery doesn’t. The red against the white, greys and cool blues is graphic. You wonder where these creatures have come from. Latter day castaway mermaids? Pale and interesting never rang truer. And the cinch? Its shot in Dover for crikes sake! HOW MUCH MORE BRITISH CAN YOU GET?
Pretty Obvious: Lara Stone shot by Mario Testino
Last night I saw the new Almodovar at the Rio Cinema in Dalston. Its probably the most apt space to view an Almodovar – the velvet chairs, vagueishly art deco interior, the layers of dust, the faint hint of cigarette smoke – all reminders of a bygone era. Recently, I’ve made it a principle to not read a review of a film until I have seen it. Perhaps a risky move but I prefer to form my own opinions. Incidentally, the reviews of said film have been so-so and I can perhaps see why. It’s your typical Amodovar – high camp and theatrics, convoluted plot – but at the same time it isn’t. It also clocks in at one and a half hours but feels longer than that.
I thought it was terrific.
Penelope Cruz was as radiant as ever. Almodovar clearly adores her. Every moment she’s on screen you can almost feel that he becomes more involved. It’s almost like he is painting her, each frame of her like an artist’s brush stroke in thick, luscious sweeps of oil.
For all the focus on Cruz and other female characters – Blanca Portillo is a joy to watch and has some hilarious scene-stealing moments – this is a film about men. The evil that men do, men in love, the relationship between father and son, homosexuality, male pride – so much so that it could have been called Men On The Verge Of A Nervous Breakdown. The only other Almodovar I can recall that deals with male relationships is Bad Education. However, it’s obvious that it’s the female perspective that truly interests Almodovar and squarley where his sympathies lay.
The cinematography is absolutely gorgeous. I can’t wait to grab some film stills of this bad boy! I’m not going to ruin any visual surprises but I’d gladly see it again, and probably will, just because of this alone. The other thing I loved about it was the way the story unfolded in slowly undulating waves, flowing from past to present, shifting focus… The recurring mantra is “film within a film”.
Usually, Almodovar films are quite chaotic affairs but Broken Embraces somehow manages to be both busy yet calm at the same time. It’s also very, very funny whilst at times it’s repels you.
Finally, Code Red. Red appears judiciously throughout the film. An Almodovar signature as we all know but the use of red in this film is so intense that its almost overpowering. I find this use of red quite interesting. It makes me think of the way the designer Valentino would always include a red dress in collections. Perhaps Pantone should create an Almodovar Red. A million obvious parallels could be drawn:
Red apple – in this case red tomatoes
It’s that Vampiric theme I was banging on about in an earlier post, or was going to, rearing its head again. The idea hasn’t quite formed yet but the pieces seem to be falling together.