{"id":267464,"date":"2022-03-21T19:05:43","date_gmt":"2022-03-21T18:05:43","guid":{"rendered":"https:\/\/highxtar.com\/?p=267464"},"modified":"2022-03-21T19:05:43","modified_gmt":"2022-03-21T18:05:43","slug":"fashion-and-cinema-through-the-lens-of-luca-guadagnino","status":"publish","type":"post","link":"https:\/\/highxtar.com\/en\/fashion-and-cinema-through-the-lens-of-luca-guadagnino\/","title":{"rendered":"Fashion and cinema through the lens of Luca Guadagnino"},"content":{"rendered":"

The exploration of the link between fashion and cinema is already representative in Luca Guadagnino’s work. Something that the Italian director has just corroborated with the following news: Jonathan Anderson will sign the costumes for his new film “Challengers”. From this destination, we embark on a nostalgic journey through a film career marked by a powerful aestheticization linked to the world of fashion and art.<\/strong><\/p>\n

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The collaboration between the director and the designer opens a new episode in the film history of Guadagnino and fashion. One that had its genesis in 2005 with his union with Silvia Fenturini<\/strong> for the short film “The Fist Sun” SS06 for Fendi; a creative link that materialized again in a short film directed by Guadagnino for Fendi SS20<\/strong>.<\/p>\n

Guadagnino also plunged into the depths of fashion through a series of fashion films for Armani, Cartier and Ferragamo. But it was probably his collaboration with Valentino for the film “The Staggering Girl<\/strong>” that really made the difference.<\/p>\n

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DRESSING ITALIAN ARISTOCRACY<\/strong><\/h5>\n

If we review his filmography, we can appreciate the filmmaker’s experimentation with the sartorial aesthetics of Italian upper-middle class circles. See in some of his cult films such as “Call Me By Your Name<\/strong>“, in which he teams up with costume director Piersanti<\/strong> to reimagine 80’s clothing in Italy.<\/p>\n

That vision pulsates again in the elegant and aristocratic stylings of the characters in “I Am Love<\/strong>” (2006). The director’s leading lady and muse, Tilda Swinton, wears in it a sequence of reissues from Jil Sander’s SS08 collection designed by its then creative director Raf Simons<\/strong>.<\/p>\n

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“A Bigger Splash”<\/figcaption><\/figure>\n

The Belgian member of the renegades of fashion club returned to work with Guadagnino for “A Bigger Splash<\/strong>” in 2015. Simons, who was in charge of creative direction at Dior<\/strong>, signed the film’s wardrobe, connecting his imaginary with that of Giulia Piersanti to dress a rock star on vacation in Pantelleria. All that joint sensibility declined in a series of looks configured by futuristic glasses, draped cotton dresses or kaftans in an infinite number of prints.<\/p>\n

If Guadagnino drinks from fashion to weave his sequences, in “Suspiria<\/strong>” the inspiration is reversed, and it is Jun Takahashi who transfers to Undercover FW19<\/strong> some of the images of the film.<\/p>\n