In one of the more tame scenes in Anti-Christ, Charlotte Gainsbourg is lying totally naked on a forest floor in the dark frantically pleasuring herself. If you added a pair of Balenciaga heels, some judiciously placed costume jewellery and a cigarette hanging out of her mouth, it could be a shot straight out of Vogue Paris.
I suppose that summarises the film. Depraved, oddly beautiful and “EDGY” as hell. Not one to watch with the parents… within the first 30 seconds there is close-up penetration (but it’s shot in artful slow-motion black and white, so it’s NOT PORN, OK.) I can’t believe it took me so long to see this movie..
So I was just thinking about this. How exactly do PRs figure out the seating at fashion shows? Say half the seats are for buyers and half for press. Focus on press: there would be fashion media attending from the USA, UK, France, Italy, Germany, Spain, Russia, Brazil, Japan, South Korea, Australia & China (to name just the main ones). From each country there would be, what, at least 10 publications? From the UK alone there would be Vogue, Tatler, Glamour, Elle, Harpers Bazaar, Pop, Love, Grazia, Sunday Times Style, 10, ES Mag, Wonderland, Guardian, Times, Telegraph, Financial Times, Dazed, AnOther, i-D, Ponystep, Vanity Fair, Wallpaper, Marie Claire, Tank, Garage, Nowness…and then from each publication you’ll likely have an editor in chief, an editor, a style director, a fashion editor, a market editor, an accessories editor, a fashion editor at large, a fashion reporter… And now, of course, most of the publications also have online editors and writers who need tickets too. HOW DO THE NUMBERS PHYSICALLY WORK? (Especially in regard to the front row) It is honestly a mystery to me. Then there are bloggers, celebrities, agencies, freelance writers/stylists, investors, photographers…. You can see why brands like Louis Vuitton, Chanel and Prada have lately been opting for giant show spaces with square/circular runways with seats around all sides.