![]() There were the tweeds, sparkly or ribbon embroidered or adorned with ostrich feathers the chicest suits, cardigan jackets, and short coatdresses that looked as though they magically weighed next to nothing boyish knits and teeny tap shorts and exquisite evening dresses without an iota of fuss. Light, nuanced, and with a palpable sense of the here and now, it was Chanel replete with every element and fragment of the house. What most definitely doesn’t need decoding, however: As Chanel’s Virginie Viard looked at the movie while she was designing spring, it led her to create one exceptionally beautiful collection. ![]() Still, female lead Delphine Seyrig looks utterly fabulous as she exists in this semi-somnambulistic state, thanks to some of her costumes having been designed by Coco Chanel. ![]() They move through a black and white dreamscape of ornate gardens and grand staircases, where time seems to have no meaning and words don’t seem to matter a whole lot either only the occasional gnomic statement is ever uttered (as far as I remember it’s been a minute since I’ve seen it). The nouvelle vague classic features a couple who may (or may not) know each other, and who may (or may not) have been in some kind of relationship with each other. ![]() Many have tried to decode director Alain Resnais’s beguiling/perplexing 1961 movie, L’Année Dernière à Marienbad. ![]()
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