The creative director of Maison Valentino, Pierpaolo Piccioli, has always considered color a powerful channel of immediate and direct communication, systematically used as a means of altering perception and reevaluating form and function. First, he focused on red, inherited from Valentino, the founder of the brand, then the pink of the past seasons, and now it’s the turn for black.
For the Valentino Le Noir Fall/Winter 2024 collection, shown during Paris Fashion Week in Saint-Germain-des-Prés, Piccioli presented Valentino through the lens of black, which does not represent an absence of color, nor an exercise in monochromy or monotony, but rather the discovery of a whole spectrum of hues. Celebrities sitting front row at the show included The Bear‘s Molly Gordon, Bridgerton‘s Simone Ashley and singer Gracie Abrams.
“Baudelaire said that black is the uniform of democracy, and this phrase seems more relevant to me today than ever before.
For the Valentino Le Noir Fall/Winter 2024 collection, shown during Paris Fashion Week in Saint-Germain-des-Prés, Piccioli presented Valentino through the lens of black, which does not represent an absence of color, nor an exercise in monochromy or monotony, but rather the discovery of a whole spectrum of hues. Celebrities sitting front row at the show included The Bear‘s Molly Gordon, Bridgerton‘s Simone Ashley and singer Gracie Abrams.
“Baudelaire said that black is the uniform of democracy, and this phrase seems more relevant to me today than ever before.
- 3/5/2024
- by Pino Gagliardi
- The Hollywood Reporter - Movie News
Greenaway is being honoured at this week’s IDFA festival in Amsterdam.
Peter Greenaway is not a face to normally be found at a creative documentary festival like International Documentary Festival Amsterdam (IDFA).
However, the director of The Cook, The Thief, His Wife And Her Lover (1989) and A Zed And Two Noughts (1985), both screening at the festival as part of a Greenaway retrospective, has always blurred genre boundaries.
His work combines elements of art history, anthropology and magical realism - and he has made both documentaries and mockumentaries. Greenaway lives in the Netherlands and has strong Dutch connections. Perhaps, then,...
Peter Greenaway is not a face to normally be found at a creative documentary festival like International Documentary Festival Amsterdam (IDFA).
However, the director of The Cook, The Thief, His Wife And Her Lover (1989) and A Zed And Two Noughts (1985), both screening at the festival as part of a Greenaway retrospective, has always blurred genre boundaries.
His work combines elements of art history, anthropology and magical realism - and he has made both documentaries and mockumentaries. Greenaway lives in the Netherlands and has strong Dutch connections. Perhaps, then,...
- 11/14/2023
- by Geoffrey Macnab
- ScreenDaily
Peter Greenaway thinks cinema needs to start “thinking big, and desperately,” if it wants to start looking fundamentally different than it did in 1895. The erudite Welsh filmmaker best known for “The Cook, The Thief, His Wife, and His Lover” has always taken an ironic stance toward the state of filmmaking — though he’s not ready to declare its time of death.
In fact, as revealed in our recent interview timed to the 4K rerelease of 1982’s “The Draughtsman’s Contract” now making the theatrical rounds, he’s rather chipper about cinema’s prospects.
“The Draughtsman’s Contract was made in 1982, and a hell of a lot has happened to cinema in those times,” Greenaway said over the phone. His second film after the 1980 mockumentary “The Falls,” “Draughtsman’s” is a bawdy murder mystery set in rural England about a cocksure artist who agrees to make 12 landscape paintings for a woman...
In fact, as revealed in our recent interview timed to the 4K rerelease of 1982’s “The Draughtsman’s Contract” now making the theatrical rounds, he’s rather chipper about cinema’s prospects.
“The Draughtsman’s Contract was made in 1982, and a hell of a lot has happened to cinema in those times,” Greenaway said over the phone. His second film after the 1980 mockumentary “The Falls,” “Draughtsman’s” is a bawdy murder mystery set in rural England about a cocksure artist who agrees to make 12 landscape paintings for a woman...
- 12/5/2022
- by Ryan Lattanzio
- Indiewire
Acclaimed French producer Catherine Dussart has a full production slate including new works from veterans Amos Gitai, Rithy Panh and Peter Greenaway.
Dussart is currently at the Venice Film Festival where Indian filmmaker Aditya Vikram Sengupta’s “Once Upon a Time in Calcutta,” co-produced by her Catherine Dussart Productions, is playing in the Horizons strand. Dussart is also on board Sengupta’s next, “Birthmark,” about two women who become part of a catastrophic plan hatched by a patriarchal family, which is at the Venice gap financing market.
Gitai started a Dussart-produced trilogy about Israelis and Palestinians engaging with each other harmoniously with “A Tramway in Jerusalem,” which won the Unimed Award at Venice in 2018. The second, “Laila in Haifa” was in the reckoning for a Venice Golden Lion in 2020. “Shikun,” which completes the trilogy, is set in a massive social housing project in Beersheba, in the Negev desert. The film,...
Dussart is currently at the Venice Film Festival where Indian filmmaker Aditya Vikram Sengupta’s “Once Upon a Time in Calcutta,” co-produced by her Catherine Dussart Productions, is playing in the Horizons strand. Dussart is also on board Sengupta’s next, “Birthmark,” about two women who become part of a catastrophic plan hatched by a patriarchal family, which is at the Venice gap financing market.
Gitai started a Dussart-produced trilogy about Israelis and Palestinians engaging with each other harmoniously with “A Tramway in Jerusalem,” which won the Unimed Award at Venice in 2018. The second, “Laila in Haifa” was in the reckoning for a Venice Golden Lion in 2020. “Shikun,” which completes the trilogy, is set in a massive social housing project in Beersheba, in the Negev desert. The film,...
- 9/7/2021
- by Naman Ramachandran
- Variety Film + TV
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