The ‘Fashion Documentaries’ Thread

[DivineStyle]

Just watched Unzipped for the first time today and I loved it

 

[Benn98]

@Lola701 .....clear your diary, love!

New Netflix Docuseries Chronicles Chanel’s Spring Haute Couture Show
Each episode of "7 Days Out" centers around a visionary working in the realms of fashion, food, space, sports and entertainment.
By Maxine Wally on November 29, 2018

STREAMING SOON: Netflix is adding to its network of fashion-focused documentaries offered on the streaming platform.

Joining such films as “Dries” and “Manolo: The Boy Who Made Shoes for Lizards” will be a new docuseries called “7 Days Out.” The film was directed by Andrew Rossi — who helmed “The First Monday in May,” the documentary about the Met Gala’s most-attended exhibit in history, “China Through the Looking Glass.”

Each self-contained episode of the “7 Days” series centers around one week in the life of a visionary and his or her team working in the realms of fashion, food, space, sports and entertainment. The inaugural episode concerns the house of Chanel.

“Seven Days Out” documents the final preparations Karl Lagerfeld made prior to the brand’s spring 2018 haute couture show. Rossi was given full access to Lagerfeld and his crew’s activities, allowing the director to freely shoot what happened in the week before the presentation — from the studio, to Chanel’s haute couture ateliers and the ateliers of Chanel’s Métiers d’Art.

The movie will be available on Netflix Dec. 21.

WWD.com

 

[Lola701]

@Lola701 .....clear your diary, love!



WWD.com

Thank you my dear!
You know me so well already...
It’s funny, Signe Chanel was released in 7 parts the first time it aired.
And like with Signe Chanel, it’s not about my favorite collection from him.

I hope it will be available worldwide. Netflix France is kinda weak!

 

[GivenchyAddict]

I hope Karl's teeth were fixed during these docuseries .

 

[Lola701]

I’ve seen the documentary...
Seriously, it’s maybe the weakest documentary i’ve seen in a longtime. It’s not a documentary for someone who knows a little bit about the behind the scenes of a fashion house...

The fact that it’s only about the week before the show might be to fault but Loïc Prigent did a better job with his « The day before » series.

Some people would discover people from Karl’s team like the set designer, the casting director and such but apart from that...
Some important parts of Couture are missed like the clientele and such. I didn’t understand the need for brand ambassador to talk...

Nevertheless, great spirit all over. You feel a love and a real connection with the people in the house. The magic with Chanel is that it doesn’t feel « corporate ». They know and respect each others.

And I love how the Premiere rocks Chanel. They have jewellery, watches, RTW...all Chanel and they are wearing it with a refreshing nonchalance. Some of their clients should learn from them...

Signe Chanel is far more complete.
Chanel should release a DVD of their old shows. It was frustrating to see some footages of 80’s couture shows.

 

[Benn98]

Details on Chiara Ferragni’s Docufilm Revealed

A range of fashion personalities, including Donatella Versace, Diane von Furstenberg and Maria Grazia Chiuri, will appear in the documentary about the life of the Italian influencer.

By Sandra Salibian on January 2, 2019

MILAN — New year, new projects, old resolutions.

Chiara Ferragni is set to keep increasing her popularity in 2019 through the release of a documentary about her life, celebrating the 10th anniversary since the creation of her The Blonde Salad digital platform.

Directed by emerging Italian director Elisa Amoruso and produced by Memo Films Srl, the docufilm will explore the private and professional life of Ferragni, showing the role she played in the disruptive digital revolution occurred over the last decade.

Hitting the movie theaters this fall, the movie will see the contributions of a range of fashion personalities, including Donatella Versace, Diane von Furstenberg, Jeremy Scott and Maria Grazia Chiuri, among others. In addition, academic professors, sociologists and some of Ferragni’s followers will make an appearance.

As reported, the influencer and entrepreneur started filming the documentary during her wedding in Noto, Sicily, in September. The filming continued after the three-day celebrations, following the influencer during the fashion weeks in New York, Milan, Paris and while visiting her hometown of Cremona.

In addition to the docufilm, Ferragni will also launch her first beauty masterclass this year. As reported, the influencer teamed with her personal makeup artist Manuele Mameli for the initiative — dubbed Beauty Bites — which will be held in Milan’s Teatro Vetra venue on Feb. 9 to 10.

WWD.com

 

[eugenius]

I still have no clue who she is. It's probably safe to say I'm better off for this.

 

[Benn98]

Donna Karan Joins Other Designers in ‘American Style’ on CNN

The four-part docuseries examines how America’s changing style through the decades has mirrored the political, social and economic climate of the time.

By Lisa Lockwood on January 9, 2019

Donna Karan is among the designers who appear in CNN’s new original series, “American Style,” which will air Jan. 13 and Jan. 20, with back-to-back episodes at 9 p.m. and 10 p.m., ET.

The four-part docuseries features archival footage and interviews with Karan, along with Tim Gunn, Carson Kressley, Vanessa Williams, Beverly Johnson, Isaac Mizrahi, Jeffrey Banks, Christie Brinkley, John Varvatos and Diane von Furstenberg, among others.

In one of the episodes, Karan talks about how when she began working, clothes were suits, shirts and ties, and she created the idea of “Seven Easy Pieces,” beginning with the bodysuit. The show examines how America’s changing style through the decades has mirrored the political, social and economic climate of the time. The series, which also touts First Ladies Jacqueline Kennedy, Michelle Obama and Melania Trump, highlights the most iconic moments from fashion and pop culture.

The premiere episode explores style in the Forties and Fifties, how World War II and Hollywood helped create America’s own fashion identity, and the introduction of new trends such as the bikini, Zoot suit, shoulder pads, and the white tee as popularized by James Dean. The second episode tackles the style of the Sixties and Seventies as the youth culture comes into its own and fashion takes an extreme turn with looks such as miniskirts, the wrap dress, disco attire and all-black clothing as worn by the Black Panther Party. The remaining two episodes examine the history and style of the Eighties, Nineties and Aughts, and the rise of the supermodels with Cindy Crawford, Naomi Campbell and Kate Moss becoming household names and styles such as grunge and heroin chic. While Karan is mostly in episodes two and three, she provides commentary throughout the series.

The docuseries is produced by Vox Entertainment in collaboration with Doc Shop Productions.

WWD.com

 

[eugenius]

I watched the Kevyn Aucoin doc on Netflix last night. It was all interview with models & celebrities, plus A LOT of his own personal behind-the-scenes footage of said clients. 90s Cindy..very cool

I remember that "Making Faces" book he had back then. My mom bought it, and, I kid you not, nearly everybody who walked through our house would thumb through that book and be totally wowed by the pictures. That's a good memory to have saved in my memory-bank, no?

 

[Benn98]

Thanks for the heads up, Eugenius! Will check it out.

 

[eugenius]

Be forewarned: there is a sad element to it (he did die, after all), but, I think they handled it in such a way where you're not grabbing for the tissues necessarily. It's not heavy on the dramatic side of his life. Enjoy!

 

[Benn98]

A documentary behind the making of Dior Haute Couture S/S 2011, Look 5

 

[Benn98]

A video as short as this model's career......

 

[modelista]

new doc

 

[vogue28]

Vogue Australia documentary highlighting their 60th anniversary is set to air on Foxtel on Wednesday, November 27th:

Australia’s fashion industry has evolved into a forward-thinking one that never fails to push the envelope, and this December, Vogue Australia celebrates being a pillar of this industry for a total of 60 years now.

In those 60 years, Vogue Australia has built a rich and rather dynamic history that inspired us to produce a documentary, titled Vogue Australia: Sixty Years Through The Lens. The documentary serves to highlight Vogue Australia’s evolution as it celebrates its diamond anniversary.

While exploring where the magazine has come from and where it has been, the documentary also looks to where Vogue Australia is headed, and what it has to do in order to continue to stay true to its trailblazing roots.

“This year marks a significant milestone in the history of Vogue Australia and for our December 60th anniversary issue, we are delivering a rich program of events,” says Vogue Australia editor-in-chief Edwina McCann. “This includes a very special documentary telling Vogue’s Australian story, where we’ve come from and our focus on the future, while celebrating our real diamond, our cover star Nicole Kidman,” she adds.

A number of the stories told in the pages of Vogue Australia throughout its history have centred on the achievements of those that are at the forefront of the fashion industry, and it is those changemakers that speak to the publication’s impact in the documentary, which was produced by Alaud Productions.

Throughout the course of the film, cover stars including Margot Robbie, Elle Macpherson, Nicole Kidman, Adut Akech and Gemma Ward reflect on their shoots, while contributors Baz Luhrmann, Catherine Martin, Jenny Kee, Linda Jackson and Collette Dinnigan touch on their work with the publication and David Leser, the son of Vogue Australia founder Bernie Leser, shares a series of insights into the magazine’s history.

Condé Nast International chief operating officer and president Wolfgang Blau and Vogue Australia guest editor Emma Watson also talk to the publication’s commitment to supporting sustainable fashion, together with the support of the arts and indigenous culture, inclusivity, diversity and creativity.

Interviews and archive materials serve to give viewers a sneak peek into the inner workings of the industry, while the unique relationship between Vogue Australia and Cartier, one of the first international luxury jewellers to develop a strong presence in Australia, is explored.

The documentary follows McCann, who is joined by fashion director Christine Centenera, as they travel to Paris to select the Cartier diamonds worn by Nicole Kidman on the December cover. In addition to that, exclusive access to the Cartier workshop in Paris gives viewers the opportunity to discover the signature savoir-faire and unparalleled design of Cartier’s exceptional diamonds.

Tune in to Foxtel on Wednesday, November 27 at 8.30pm AEDT for the premiere of Vogue Australia: Sixty Years Through The Lens on Fox Showcase.

VOGUE.COM.AU

 

[MissMagAddict]

‘The Disappearance of My Mother’
Review: Son’s View of a Model Parent’

By A.O. Scott

Benedetta Barzini, couture star and cultural critic, reluctantly faces her son’s camera in a tender and harsh documentary.

“I hate memory,” says Benedetta Barzini near the end of “The Disappearance of My Mother.” In spite of this aversion to nostalgia, the film’s director, Beniamino Barrese, who happens to be Barzini’s son, smuggles in some material from her past. The first Italian model to appear on the cover of American Vogue, Barzini, now 76, was photographed by the likes of Irving Penn and Richard Avedon. In New York in the 1960s, she hobnobbed with Salvador Dalí and Andy Warhol. Back in Italy in subsequent decades, working as a journalist and an educator, she became a leading feminist voice, a rigorous critic of the ways the media and fashion industries manipulate and commodify women’s bodies and experiences.

It’s not only Barzini’s impatience with the past that complicates her son’s desire to paint a cinematic portrait. She declares herself hostile to photography, to cinema, to images of every kind, arguing that they distort and “freeze” experience. At times her contempt seems to extend to Barrese himself. She frequently snaps at him (“petty bourgeois” is one of her tamer epithets), occasionally throws him out of her Milan apartment and even half-jokingly threatens to smash his camera.

From time to time, in the course of this mesmerizing, tender, painful documentary (Barrese’s first feature), you may find yourself sympathizing with the filmmaker, who occasionally allows himself to slip into view. He clearly adores his mother and respects her as a subject, even when his devotion ensnares them both in a paradox. Barzini’s greatest wish, as the title suggests, is to vanish, to complete the final chapter of a highly visible life in a state of obscurity. Barrese at once supports this aspiration and sets out to thwart it, showing us someone who insists that she doesn’t want anyone to see her.

The passionate clarity with which she asserts her views is persuasive, and her complicated charisma makes her an irresistible, unforgettable screen presence. Barrese shoots her at home and outdoors, in front of a classroom and in conference with students. She smokes, vapes, makes coffee and dances. At London Fashion Week, she appears on the catwalk, holding her own with much younger models. Her old friend Lauren Hutton stops by for a visit. (Barrese is banished for most of it.) In some scenes, Barzini seems heartbreakingly fragile, in others indomitable.

Growing to like her — and also, maybe, to be a little afraid of her — the viewer is trapped in a further contradiction. To embrace this movie fully means to accept the case for its nonexistence. At the very least, it’s impossible to watch “The Disappearance of My Mother” without a measure of ambivalence. Gratitude for the chance to make Barzini’s acquaintance, and for Barrese’s sensitivity in making the introduction, is accompanied by ethical queasiness.

That is very much the point. Barzini’s critique of the culture of glamour and consumption is not easily refuted, but it is nonetheless partly undermined by her own magnetism. Footage and photographs from her earlier life cast an inevitable spell, as does Barrese’s decision to “cast” young models as versions of his mother. The film opens with screen tests during which these women apply makeup to replicate the grain de beauté that is one of Barzini’s distinguishing rates. Later, they read passages from a memoir in which she recalls her unhappy, wealthy childhood and her subsequent career.

This is not “the biography of my mother.” Those unfamiliar with Barzini’s life might consult an interview conducted by one of her nieces and published earlier this decade in Document Magazine. It provides information about her family and her political views that is missing from Barrese’s film, which is more about his mother’s human presence than her history and accomplishments.

It is also, of course, about her impending absence — about a mortality that she both dreads and relishes. Her desire to go away isn’t, she says, a suicidal fantasy. It’s more like a longing to feel the contradictions of her existence resolved, to see the glare of publicity replaced by darkness, to hear the noise of the world silenced. Her son sincerely hopes she will find that peace, though maybe not quite yet.

source | nytimes

 

[dior_couture1245]

Thanks for posting, MMM.

Frankly, it all seems a bit too self-serious and indulgent...

But, my God! She really was so remarkably, almost frighteningly gorgeous! She is like a perfect through line from the Roman Empire. In that respect, I can see why her relationship with modeling, and by extension her own beauty, appears to be complicated and heavy for her.

 

[eugenius]

I watched that Ralph documentary. Nothing new, really. But I loved how they tried to show Ralph as always being oh-so-inclusive towards models of color, when we TFSers know that hasn't always been the case, and we have the threads here to prove it.

We deserve a for that one.

 

[dior_couture1245]

I watched that Ralph documentary. Nothing new, really. But I loved how they tried to show Ralph as always being oh-so-inclusive towards models of color, when we TFSers know that hasn't always been the case, and we have the threads here to prove it.

We deserve a for that one.

Who cares?

That was the cringiest, most tactless and insulting part of the documentary...poor Ralph...getting a documentary and a good chunk of it is critiquing his record on model casting by today’s ******** standards of wokeness, complete with the morally superior talking heads who all happen to know better than that old-fashioned Mr. Lifshitz.

I’m honestly so f*cking sick of those nauseating words, “Diversity and Inclusion TM” and would be happy to never hear them again.

 

[Francina]

Hi! I'm new here, so i'm sorry if there's a thread like this one already... couldn't find any!
I am in search of the Catwalk documentary from 1995.... I know it's on Youtube but I was wondering if anyone knows where can I download it or something? I'm aware it's hard to find, but perhaps someone can help me! Thank you!