Two women of different castes, described as a pair of opposites who couldn’t be different, meet in a roundabout way and cannot get away from each other. haute couture design It’s a good looking movie with nice clothes.
In the opinion of the savior
Robbed by young thief Jade (Lena Khoudrey), soon-to-be retired Directrice Esther (Nathalie Baye) on the subway, she can’t take her eyes off her during this first encounter. When she returns a stolen handbag, a couture tailor recognizes something extraordinary in an ordinary child at second glance. Perhaps it is a part of herself that she sees in the rebellious and strong-willed Jade. Because for no apparent reason, Jade managed to conduct an internship in her home – the studio of the fashion house Dior. Thus a highly improbable bond is created between the two heroes. fictional story. The daring demeanor of the young apprentice is tolerated and so this movie realizes the illusion of the notoriously brute fashion industry. haute couture design I would like to talk about overcoming a socio-communal divide, but it does not show any solution that does not depend on great luck.
Moderate and modern fairy tale
The beauty of a gesture can promise a lot of beauty. A film that takes its place from Parisian haute couture and attempts to authentically illustrate the world of the fashion industry will likely produce images of classic beauty based on tradition. The touch of the delicate hands that surround and strike the fabrics with reverence. This romantic character of the love affair with work, with the craft also flowing haute couture design a. But there is a kind of metaphorical gesture at the heart of director Sylvie O’Hayun’s new film. It’s not about playing with your hands, it’s about the gesture of invitation, attention, and appreciation.
To the arrogance of the Samaritan character
On closer examination, it remains questionable whether this gesture of invitation is a sign of commitment to equal opportunity. Esthers personality schema refers to other self-centered ambitions. A soon-to-be retired looks back at the stigmatized lives of a workaholic and, facing young Jade, realizes the empty spaces her career has brought with her. The mercy of supporting the unknown seems to stem from a desire to perpetuate oneself. The desire to protect himself from oblivion through progeny in the corridors of the Dior Empire cannot be overlooked as the driving force behind this digestible story. In the end, we always have to wonder what this story is supposed to convey to us. In the spirit of character development and a useful lesson for all, the motivations of the film’s heroes naturally change over the course of the film. However, despite its accurate and exquisite representation by Natalie Bay and Lina Khoudrey, it lacks the serious complexity that a valuable contribution to the discourse of class requires.
Haute couture sewn into the mainstream
In French style, the story suddenly follows the legend of the princess: against all odds, the young heroine proves herself in a world alien to her. She is supported by a good-natured assistant, and an opponent challenges her and gets drunk by making contact with the beau in the workshop. The story is embellished with lavish Dior scenes, majestic clothing and a few cheeky jokes as a sophisticated décor. Of course, one can acknowledge the efforts made to adapt to the present, which can be seen in addressing mental health issues, loneliness in old age and the precarious situation of single mothers. But this is not enough haute couture design, to get it out of the mainstream. Who would have looked good in a movie about Dior. //
Text: Greta Coogler
Photos: Roger Domaine
haute couture design Theatrical release on May 20, 2022
Leasing: movie store
Guidance Sylvie Ohayun
script Sylvie Ohayun, Sylvie Fairhead
George Lechapteau’s camera
Cuts Mike Fromentin
Producer Olivier Kahn
With Natalie Bay, Lina Khoudri, Pascal Arbelo, Claude Peron, Somaye Bocume, Adam Bessa, Alexandrina Turkan, Roman Brau, Claudine Vincent, Farida Oshani