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Red Carpet Heroines: Alba Rohrwacher at the 71st Venice Film Festival

Today a friend of mine asked me if I was covering the 71st Venice Film Festival; I replied I wasn’t because I’m going through a hectic pre-school phase and I haven’t much interest in what is going on on the red carpet. I changed my mind after a couple of hours, when I realized Alba Rohrwacher, one of my favourite Italian actresses, was attending the festival as the protagonist of Hungry Hearts, the latest film by Saverio Costanzo (who happens to be one of my favourite Italian directors). I haven’t got any intention to cover the whole festival yet, but I couldn’t miss the chance to write about the outfits she wore at the film premiere and photocall which took place on August 31st, 2014.

Update: I’m writing on September 6th, just after learning Alba won the Best Actress award!

Alba+Rohrwacher+Closing+Ceremony+Inside+71st+2vpcEtfyRP4lI’m so glad for her and I’m so proud she’s reached such an important achievement. Let’s see what she wore for the occasion.

venicefilmfestival2014_albarohrwacher_valentinohcShe walked the closing ceremony red carpet wearing a lovely Valentino white dress from the Haute Couture spring 2012 collection. A classic evening dress would have been out-of-place, so I’m happy she opted for something elegant but not that formal. The short silk dress had a frilled collar and cuffs; the waistline, cuffs and bodice were embellished by smocked stitches. She completed the outfit with a pair of dove grey suede ankle-strap pumps.

albarohrwacher_delfinadelettrez_pearlringShe also wore two rings by Delfina Delettrez, which beautifully complemented her look. The first was a triple pearl ring.

albarohrwacher_delfinadelettrez_triangleringThe second was the Orange Triangle Piercing ring, made of 18k gold, one orange topaz, three diamonds and one pearl.

3553faff3bbd61225e0f6a706700bbc5On August 31st, Adam Driver, Rohrwacher and the director attended the film premiere and walked the red carpet. I love her minimal style and I’m always in awe of her style choices.

albarohrwacher_hungryheartspremiere_valentinocoutureShe wore a Valentino Haute Couture outfit from the fall 2014 collection, combining a white silk collarless blouse and a high-waisted long pleated skirt with black leather criss-crossed belt. She wore it with a pair of black sandals. She kept her make-up simple and styled her short hair in a messy updo. Monastic chic.


Red Carpet Heroines: Sofia Coppola At the 67th Annual Cannes Film Festival

Remember what Sofia Coppola looked like in the 90s? The hip thick-eyebrow cinema royalty embodied the spirit and the style of that decade. I really miss that phase of hers, but I guess time changes everything. The multi-award winning director is currently on the French Riviera, in Cannes, where she’s attending the 67th Film Festival as a juror. I don’t know if she’s experienced enough for such an important role, but her presence there gives me the chance to focus on her outfits. I’ve never been a fan of her plain style, but believe me when they say we are attracted to those who are totally different from us. I’d never dress like her, but I admire her consistency. Moreover, I’ve got a thing for uniforms and she seems to wear two – black in the evening, basic colours during the day, another reason to admire her.

sofiacoppola_marcjacobs_cannes2014The outfit which sealed the end of the 67th Cannes Film Festival is probably the best, a beautiful dress with an elegant leaf print. This Breadfruit gown is from Marc Jacobs spring 2014 collection: made of silk jersey gown, bordered by contrast sleeves and a gathered detail on the back, it has an Empire waist and beautifully works the contrast of dark red, white and black. It looked lovely on her.

sofiacoppola_valentino_cannes2014_closingceremonyOn May 24th Sofia attended the closing ceremony and the screening of Sergio Leone’s A Fistful of Dollars wearing a romantic blue silk dress, a custom-made piece by Valentino. She balanced the simplicity of the dress (short-sleeved, with a long skirt gathered at the waist) with a stunning necklace by Chopard, made of white gold, pear-shaped diamonds and rubies. She wore flat sandals and styled her hair in a soft half-updo. Such a perfect way to say goodbye to the Croisette and to her experience as a juror.

amfAR Cinema Against AIDS 2011 Benefit

When I first watched the pictures from the annual amfAR Gala in Cannes, I dismissed the event, because I didn’t like any (or very few) of the celebrities who treaded the red carpet of the Hotel du Cap. Today, thanks to a day off from school, I went through an extensive gallery of the guests and I realized there were some outfits I absolutely wanted to write about. It may be a coincidence, but most of these outfits are black or white; in some cases, they combine both colours, so this time I won’t divide my best-dressed list according to the colour of the outfit.

On the red carpet Kirsten Dunst can rarely do wrong, especially when she wears Chanel Haute Couture. Kirsten – who has won the Golden Palm as Best Actress for Melancholia by Lars Von Trier – wore a dress from the Spring 2011 collection. The pale peach shade of the chiffon really suited her complexion; I love the embroidered bodice and the diamond pattern on the bodice and on the sheer skirt. I’m glad she added a thin satin belt, a detail which makes the waist more defined. She accessorized the look with satin sandals and diamond jewellery, and styled her hair in a cute milk maid braid updo.

The Gentle Art of Quoting (or Copying?)

According to the Italian philosopher Giambattista Vico, the ideal eternal history is the perfect course through which all nations pass: history is presented as a cycle of rise and fall, and every nation endlessly courses and recourses through this cycle. As a fashion nerd, as a teacher and as a careful observer of the world, I think this theory can be applied to the world of fashion iconography as well. Trends and images from the past are constantly brought to the present, where they’re given new life and thus made eternal. This interesting cycle has got its downside, of course: I totally understand the charm of everything coming from the past, because I’m a total nostalgic myself, but the thin line between homage and copy nearly disappears.

This is the case of Louis Vuitton Fall/Winter 2010 campaign, shot by Steven Meisel and starring three lovely top models – Christy Turlington, Natalia Vodianova and Karen Elson. I knew about this campaign via Tavi’s Twitter and I really got excited when I first saw it. The three beautiful women are sporting an irresistible 50s look – ponytails, full-skirted dresses and all – while sitting in front of mirrors, surrounded by Vuitton boxes and shoes.

I must admit excitement was soon followed by a sort of bitterness, because I had just had one of my ‘image short-circuits’, which usually mean ‘deja-vu’ in my mind. Not exciting at all. Last night I found the time to flip through one of my favourite fashion coffee books – Chanel: Collections and Creations by Daniéle Bott – and here it is, the guilty photo.

Sorry for the quality of the picture I took, but my scan is not properly working. This photo was taken by the one and only Helmut Newton for a Vogue Paris photoshoot, in 1964, that means forty-six years old. The word genius (from the Latin genere, that is to create) is often misused, but I must use it whenever I’m writing about Newton. He was a genius, and this is clear from the absolute and modern creativity emerging from his works. It’s clear Meisel took inspiration from this picture, because its composition is the same as Vuitton’s. Mirrors with lightbulbs on the frame, old-fashioned chairs, shoes on the floor, boxes and bags on the counters, are all elements taken from Newton’s picture.

Let Louis Vuitton and Hermès Tell You a Fairy-Tale

In an utilitarian age, of all other times, it is a matter of grave importance that fairy tales should be respected.

Charles Dickens, Frauds on the Fairies, October 1st, 1853

Charles Dickens wrote Frauds on the Fairies to protest against the (former) colleague and friend George Cruikshank’s re-writing traditional fairy tales in a moral manner. Dickens thought fairy tales should be respected and not sanitized, foreseeing a sort of fanaticism in this attitude, which turned them into didactical tales at all costs. I totally agree with the Victorian novelist, adding that fairy tales are extremely powerful and meaningful universal life-telling narrations, which cover all aspects of human life and the complete range of feelings and emotions. I am strongly convinced they must be part of every childhood, because they can teach but – most of all – they can nurture the belief in the beauty and the magic of life. My two-year-old daughter loves fairy tales and I love reading fairy-tale books, because watching astonished/scared/afraid/surprised/happy expressions on her face is one of the most emotional and exciting things I’ve ever experienced.

At the moment, her favourite fairy tale is Cinderella: she loves the story and the Disney movie, especially the sequence of the magic transformation, when the Fairy Godmother turns the pumpkin into a carriage (she loves pumpkins!) and Cinderella’s torn dress into a beautiful glittering dress with glass pumps. I tell her the story almost every day, so I’ve been thinking about some old fashion images related to fairy tales.

Louis Vuitton s/s 2002 advertising campaign is one of my favourite ever, because it featured amazing leather goods and clothing in a fairy tale setting. I loved the fact that each pic paid homage to a famous fairy tale. Tasha Tilberg, for example, is Snow White, who falls in a death-like sleep after biting a poisoned apple. The contrast between the milky white skin of the model, the dress and the apple’s flesh, and the blood-red apples and bucket bag in Epi leather is sublime.

From the Valley to the Upper East Side: Lily Van der Woodsen’s Style Cross-Over (1.18 – Much “I Do” About Nothing)

After writing in detail of Lily Van der Woodsen’s style in the first season of Gossip Girl, here it comes, least but not last, the post about the season finale, Much “I Do” About Nothing [1]. This is for sure one of my favourite episodes ever, because all the sub-plots take a turn, waiting for the new season to start.

The first scene with Lily is a classic OMG moment, because she’s lying in bed with Rufus, just before getting married to Bart. She’s understandably freaked out by this, but she won’t change her mind about the upcoming wedding.

In this scene she wears her black underwear and a single jewel, Van Cleef & Arpels Alhambra pendant in white gold and mother-of-pearl, which she has already worn before.