The “mob wife” and in general, the ethos of the mafioso is based in rags to riches. It is the story of the American dream albeit steeped in the grit of the criminal underworld. It is this grit which makes it so much more attainable. This is not to say the “mob wife” is not fashionable. She is very fashionable but, for the longest time she has also been looked at as iconography for the term, “nouveau riche”. She is defined by the gaudy, over the top, almost tacky sense of style.

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The “mob wife” is a femme fatale extension of the mob boss. While her authority is derived from being romantically related to the boss, either as his wife or mistress, she is usually portrayed as an individual who is just as commanding. In some variations of the “mob wife” we see her taking over the role of the mob boss when he is incapacitated. Early iterations of her in popular culture, see her be relegated to “arm candy” but, what we do see later on is her dipping into her powerful sexuality, wit and charm to manipulate dynamics in her favour while playing “subservient”. The “mob wife” also plays into the trope of the dark feminine. She is power itself in six-inch heels.

She is above all, chic. She is the complete opposite of understated. She keeps her wealth where she can see it, in her wardrobe. To become her, is to adopt her attitude and that attitude reflects so closely through her style. We are going to look at iconic movie and television “mob wives” to try and break down this aesthetic.

The Sopranos

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One of the most titular mob stories to ever hit our television screens is that of the Sopranos. While we all followed along Tony Soprano as he carried out his business across New Jersey, we all fell in love with his two love interests and their distinct styles.

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Edie Falco’s portrayal of Carmela Soprano is what we see be replicated across our social media screens when we look at the established “mob wife” who is at the top of the hierarchy, the boss’ wife. She has been styled as a quintessential, Italian-American New Jersey mom complete with manicured French tips, period appropriate juicy couture velour as lounge wear while she maintains the house, a fluffy, teased-out bob and ornate stacks of jewellery. One cannot forget amidst the sea of gold chains and diamond tennis bracelets to add the diamond encrusted cross in honour of her “piety”.  There is an air of preppy suburbia she tries to imitate.

£ 89

Missoma Camail Yellow Gold Plated Bracelet

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£ 109

Missoma X Harris Reed Signet Ring

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£ 180

Matches Fashion Elena 14kt Gold Rope Chain Bracelet

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£ 140

Matches Fashion Gold Mighty Medusa Necklace

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£ 1350

Missoma Classic Large Hoop Earrings

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£ 76.05

Missoma Lucy Williams Engraveable Rising Sun Medallion Coin Necklace

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The second kind of mob wife that we see is the mistress, like Adriana La Cerva. She is young, feisty, more sexual, and more importantly holds a fickle position in the hierarchy. Therefore, to secure her position she uses her sexuality. Her style is sexier than the yuppie look trying to be emulated by the wife. She has deeper necklines, crop tops, leather pants, animal print galore, faux fur coats (preferably gifted by the boss) and even more stacks of gold jewellery. The hair gets bigger, the make-up gets bolder. The whole look is aimed at drawing eyes towards her, to stay relevant and out of reach from the rest of the world. She wants to be the top man’s wife but, is not quite there yet. The French manicure is traded in for bold red gel extensions. The hair is longer, the jewellery is far more “in your face” with thick gold hoops, gold bangles paired with contrasting bracelets.

£ 179

Whistles Relaxed Fit Faux Fur Coat

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£ 269

Wolf & Badger Loretta Faux Fur Coat

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£ 144.99

Superdry Vintage Long Faux Fur Coat

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£ 995

Matches Fashion Beige Oversized Faux Fur Maxi Coat

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Casino

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Martin Scorsese’s Casino (1995) introduces to us the character of Ginger McKenna played by Sharon Stone. While we have seen this character be iconic in her own right, she saw a revival in the zeitgeist with Euphoria’s Maddy Perez idolizing her and her relationship with low-ranking gangster “Ace”, as the epitome of wealth. This toxicity would of course mirror in Maddy’s own relationship but, what is more important is Maddy herself is a working-class heroine known for her incredible style and confidence. To mirror the characters is important in understanding why the aesthetic is gaining traction today.

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Ginger McKenna is a hustler. She was her own boss much before she gets involved with Di Nero’s character and this independence is shown in the way she dresses. She is someone who uses her looks to distract men as she grifts them this means she has shorter hemlines, cut-outs, lower necklines and flashy accessories. Her make-up is overtly sexy choosing to use smokey eyes and frosted lips to attract “victims”. Her clothes, more often than not, include some form of pattern, there is colour. She is THE visual component when she is on screen, daring people to objectify her. Her hair takes on a more 60’s bouffant look. It is interesting that most of these women are emulating what was considered classy a decade prior, perhaps copying what they saw to be classy whilst growing up but not being able to afford it at the time.

£ 557

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My Theresa Kate Tulle-Panelled Silver Sequin Gown

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£ 170

Mondo Mondo Gold Monsieur Bracelet

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£ 400

Mondo Mondo Gold Jelly Earrings

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£ 630

Versace Gold Tribute Medusa Bracelet

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Debenhams Gia Knee High Boots

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£ 40

Le Specs Outta Love Tortoise Oval Frame Sunglasses

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£ 85

Missoma Gold Mini Tunnel Hoops

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Scarface

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The final epitome of “mob wife” is Michelle Pfeiffer’s 1983 role as Elvira Hancock in Scarface. She embodies the idea of the “prized possession”/ “arm candy” idea that is associated with the boss’ girl. Elvira has been established as the young, beautiful, classy woman that has stayed at the top for a while. She is a (white) status symbol that establishes the crime boss as legitimate—his wealth and class as legitimate. She is in stark contrast to other “mob wives”. Her aesthetic aligns with yuppie culture but mixed with the vice of the Miami vice scene. She wears jewel tones, big sunnies to never show her emotions to outsiders and is far more volatile on the inside than in her outward appearance. Elvira prefers structured suits, flowing silhouettes and an understated yet, glamourous aura. Elvira is an enigma and her sensuality comes from being the mysterious, unattainable wealthy woman.

£ 120

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£ 400

Mondo Mondo Silver & Blue Leroy Ring

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£ 450

Wolf & Badger Isabella Off White Hourglass Shaped Blazer

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£ 139

Hugo Boss White Pencil Skirt

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£ 405

Numbering Silver #3954 Bracelet

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_{Written By Indra Gupta}

_{Header Image By Mia Washbrook}

The post So You’re Ready To Dress Like A Mob Wife appeared first on Voir Fashion.

Eva Longoria

Eva Longoria thrilled us with two fantastic outfits. To the “Top Gun: Maverick” premier, she wears an
off-sleeve A-line dress in disco-ball style. Her metallic dress doesn’t need many accessories, so she
styled her bold look with simple earrings and simple makeup.

Tuesday night, she was killing it with a sheer dress with spaghetti straps by Alberta Ferretti. She
styled her see-through dream dress with dark eye makeup, black heels, and a black silk choker.

Leonie Hanne

The neon trend is everywhere now. So, it is no surprise that German fashion blogger Leonie Hannes
attended the Cannes Film Festivals in a custom tulle gown by Nicole + Felicia in hot pink. Her dress is
short in the front and has a longer skirt underneath that only covers the back. The deep neckline and
side cut out add sexiness to her princess outfit. This dress is every girl’s dream!

Loujain Adada

Sage Green is still one of the trendiest colours of 2022. Loujain Adada demonstrates that in her Azzi
and Osta gown. The see-through top and tulle gloves add sexiness to her puffy dress. Her slickedback ponytail and minimal makeup combined with Chopard jewellery create a super chic and
glamourous look.

Liza Koshy

At the Cannes Film Festival, Liza Koshy is in silver from head to toe. Glamorous Old Hollywood, wavy
hair and Euphoria-inspired eye-makeup reflect 2022 fashion and beauty. Her bodycon spaghetti
straps dress is covered in pearls and gems. Sexy gets it because of the head-turning plunging
neckline.

Josephine Skriver

The Danish model Josephine Skriver is wearing Tony Ward Couture. While her hair, makeup and
accessories are simple, her voluminous black and white gown is an eye-catcher.

Didi-Stone

Didi Stone looked like a goddess in her custom Roberto Cavalli. The silky skirt hugs her curves and
contrasts the gold rose, barely-there netted top.

Helly Shah

Helly Shah is shining brighter than her dress on her first red carpet experience. She stole everyone’s
show in her sparkly green outfit with a plunging neckline. A sheer cape covered in gems and
sparkling jewellery topped off her perfect look.

Pooja Hegde

The ivory Maison Geyanna Youness ball gown covered in feathers made Hegde Pooja look like a
princess! The actress kept it simple and styled her grandiose gown with a sleek ponytail that goes
down her back, and drop earrings.

Words By Maxi Pfeifer

^{Photo Credit: Gerasim Kutsarov}

The post Let’s See Who’s Slaying At The Cannes Film Festival 2022 appeared first on Voir Fashion.

Don’t Look Up

It’s not often that a Netflix original film gathers an A-list cast featuring names such as Leonardo Di Caprio and Meryl Streep, but 2021 has shown us the sky’s the limit. ‘Don’t Look Up’ follows two astronomers (Leonardo Di Caprio and Jennifer Lawrence) as they try to warn humankind of a planet-killing comet bounding towards the earth. Met with a dull response from the world’s elite, the astronomers take matters into their own hands.

Little Women

If you’re looking for a film slightly more comforting, look at Little Women. This is a film full of emotion and deeper meanings, following the lives of the March sisters and detailing the ups and downs faced as they enter womanhood. This beautiful story is brought to life by a credible cast; Florence Pugh, Saoirse Ronan, Emma Watson and Timothee Chalamet. 

The Unforgivable 

This film sees Sandra Bullock play Ruth Slater, a woman who has recently been released from prison. She walks a path of redemption, as she attempts to re-enter society and put her life back together, whilst searching for the sister she was forced to leave behind. However, things don’t go so simple, and Ruth must endeavour the harsh reality of society, as she cannot escape her past. 

Selling Sunset

Sometimes, a series can be more inviting if you’d prefer to enjoy something in segments. Selling Sunset is the latest reality TV show that has got the internet talking, as we dream about the impeccable houses being sold on the Hollywood Hills. The show follows successful (and super glamorous) realtors based in LA as they compete to win over clients and deals. With Season 4 debuting last month, you will have plenty to catch up on if you choose to watch this sassy series. 

Emily In Paris

With Season 2 dropping earlier this week, we had to include our favourite girly series ‘Emily In Paris’ in our what to watch list. Full of laughs, love and disasters, this season is bound to win you over as Emily continues to navigate her bustling life in Paris. 

Death To 2021

If you enjoyed last year’s ‘Death To 2020’, then you are bound to enjoy this year’s edition. The program looks back on the troublesome year we have all faced with a satirical point of view. It’s better to laugh than cry!

Euphoria

This series first rocked the world in 2019, as we all got hooked into the drama of season 1. With season 2 on the horizon, we only have the trailer to go off, but we can see the show is going to be as scandalous as ever. The trailer teases drug dealings, tough arguments and new romances which we can’t wait to see unfold. Season 2 will be available to stream from January 9th, so now is the time to get up to speed with all that happened in season 1!

And Just Like That… A New Chapter Of Sex And The City

If you loved Sex And The City back in the day, you need to watch this sequel to the much-loved series. Sarah Jessica Parker, Cynthia Nixon and Kristin Davis return as Carrie, Miranda and Charlotte, with the trio making their way through life in their 50s. You can watch the comedy-drama on Now TV.

Words By Nadia Clasper

_{Photo Credit: Gerasim Kutsarov}

The post What To Watch: Holidays Edition appeared first on Voir Fashion.

The stylish crime drama which follows the marriage and subsequent divorce of Gucci founder,
Maurizio Gucci, and his ex-wife, is based on a book of the same name and is a story of murder,
madness, glamour, and greed. In the film Gaga portrays Patrizia Gucci who was famously
convicted for hiring a hitman to kill her ex-husband in 1998.

Speaking on the red carpet, Gaga said;

‘I spent six months working on the accent and also delving like a journalist into her life’

Lady Gaga

“I spent six months working on the accent and also delving like a journalist into her life, and into their lives, to see what were the moments that she was hurt, not included, traumatised. And, how did this then make motivation for murder? “

Embodying the true essence of the film and the rich glamour of Gucci, Gaga stunned in a sheer
royal purple gown from Alessandro Michele’s recent collection which was debuted at last week’s
Gucci Love Parade. Boasting butterfly-esque sleeves which tumbled effortlessly into a dramatic
train behind the musician-turned-actress, the dress was a show-stopping number fit for a queen.
Alongside some dazzling Tiffany jewels, killer platform heels, seductive fish net stockings, and
makeup to match, Lady Gaga was undoubtedly the star of the red carpet, proving she knows
exactly how to dress for the occasion.

Gaga’s appearance on the red carpet has been praised by those in the know and fans across
social media who cannot wait to watch the film for themselves, us included! 100 years after the
fashion house was founded, House of Gucci is released on Friday 26th November 2021, so be
sure to save the date!

Words By Ella Citron-Thompkins

_{Photo Credit: House Of Gucci Movie On Instagram}

The post Lady Gaga Dominates The House Of Gucci Premiere In London appeared first on Voir Fashion.

The two musicians are some of the biggest and most fashionable stars on the planet right now so it’s no surprise that they have been selected to take part in the fashion house’s first-ever digital fashion and film festival.

Harry Styles and Billie Eilish images via Getty Images and Inside website

Specifically, they are set to feature in Overture of Something That Never Happened, a seven-part film series directed by critically acclaimed, cult filmmaker Gus Van Sant and Gucci’s creative director Alessandro Michele.

Gucci hinted at the Van Sant collaboration on Oct. 28 when it posted a drawing by the director on its Instagram with a caption reading, “Impressions of Rome” along with the hashtag . Gucci also posted a Polaroid of Van Sant and Michele sitting on a sofa together.

Gucci is keeping details of the series under wraps, although has revealed that it will feature actor and artist Silvia Calderonu walking around Rome, bumping into various musicians including Eilish and Styles. Other guests will include Jeremy O. Harris, Arlo Parks and Florence Welch.

Billie and Harry aren’t complete newcomers to the film industry with Harry Styles already starring in major blockbusters like Dunkirk as well as starring in Olivia Wilde’s new film, psychological thriller Don’t Worry Darling, which recently started shooting.

Although Billie has no prior acting experience she did write the theme song for the forthcoming James Bond film ‘No Time To Die’ earlier this year which has gained over 200 million streams on Spotify since its release.

Billie Eilish – No Time To Die

GucciFest, which will broadcast on YouTube Fashion, Weibo, Gucci’s YouTube channel and GucciFest.com, will also include fashion films featuring the work of 15 independent designers: Ahluwalia, Shanel Campbell, Stefan Cooke, Cormio, Charles De Vilmorin, Jordan Luca, Mowalola, Yueqi Qi, Rave Review, Gui Rosa, Rui, Bianca Saunders, Collina Strada, Boramy Viguier and Gareth Wrighton.

GucciFest kicks off on November 16th and will run until November 22nd.

Words by Chris Saunders

The post Hold Up, Billie Eilish and Harry Styles Will Appear in the New Gucci Fashion Film Series appeared first on Voir Fashion.

Australian-American actress, producer and Hollywood sweetheart Nicole Kidman returns once again to exhibit her versatile acting chops on the big screen as she takes on the role of Gretchen Carlson, a former television co-host at Fox News who in 2016, filed a lawsuit against then CEO and Chairman Roger Ailes on claims of sexual harassment. This timely biographical feature film titled Bombshell is the brainchild of director Jay Roach and writer Charles Randolph, and co-stars other big names such as Charlize Theron and Margot Robbie. The storyline comprises of the allegations made against Ailes by several female employees and centres on their journey in setting out to expose his figure as an authorial man swathed in media-oriented power. Although brazenly radical in subject matter and towered by a number of contradictions in political views, Bombshell does not appear to be the first project Kidman has been involved with which verges on the margins of the extreme; dealing with the stark depiction of society’s underbelly and an exploration into the nature of the vulgar.

Growing up in Sydney, Kidman was enrolled in ballet classes at the mere age of three and immediately showed a premature natural acting talent in her primary and high school years. Her interest in villainous characters was cultivated early on as she cites her experience of seeing Margaret Hamilton’s performance as the Wicked Witch of the West in The Wizard of Oz as a primary source of inspiration for pursuing a life-long career in acting. At the Australian Theatre for Young People, she took classes in drama, mime and performing throughout her teenage years and continually received praise and encouragement to embark upon becoming a full-time actress.

In 1995, Kidman landed the lead role in Gus Van Sant’s To Die For, a criminal comedy mockumentary which aided as the first step in bringing her closer to worldwide recognition. Her character, Suzanne Stone, is an aspiring broadcast journalist who will stop at nothing to attain a worldwide level of fame and recognition. Her obsession with screens and voyeuristic forms of looking soon leads her into recruiting high school subjects Jimmy, Russell and Lydia as part of her TV documentary, Teens Speak Out. Ironically, it is this self-recorded documentary that later serves as evidence for Suzanne’s plotted murder of her husband Larry through the help of the students.

The film and novel of the same name are based on the criminal case of Pamela Smart, a convicted American murderer who seduced a fifteen-year-old boy and conspired with him and his three friends to have her husband killed. This darkly disturbing backstory underlies the colourful, scholastic visuals of the film and poses a challenge for newcomer Kidman in balancing the image of hidden malice with a dolled-up, perky façade—a challenge which she seems to have risen remarkably well too, as Mich LaSalle of the San Francisco Chronicle critiques,

“She brings to the role layers of meaning, intention and impulse. Telling her story in close-up—as she does throughout the film—Kidman lets you see the calculation, the wheels turning, the transparent effects to charm that succeed in charming all the same.”

Not to mention also her win at the Golden Globe Awards for Best Actress. Kidman was seen to, therefore, stun audiences with her ability to intermingle a performance of charming naivety with cold-hearted ruthlessness, portraying marvellously the dangers of fame obsession in the multimedia age.

A passion for narratives of tragedy and doomed fate continues in Kidman’s depiction of English writer Virginia Woolf in The Hours (2002), a psychological drama film directed by Stephen Daldry and co-starring Meryl Streep and Julianne Moore. The storyline focuses on three women of different generations whose lives are interconnected by Woolf’s novel, Mrs Dalloway. Apart from Kidman’s drastic physical transformation (with the aid of a conspicuous prosthetic nose) and her shift in mannerisms, posture and accent appear astoundingly similar to Woolf, with Kidman herself commenting that “All you know is: Everything starts to flow, and suddenly you’re walking differently, you’re talking differently, you’re thinking differently, your whole demeanour is in relation to what you’re shooting a lot of the time, mood-wise even.”

This immersion into the physical state of her character no doubt filters into the emotional sphere as well, forcing Kidman to venture into the dark and troubled mind of the writer during her final days leading up to her suicide by drowning in the River Ouse. Drawing upon research into the psychological science of nervous breakdowns, depression and bipolar disorders, Kidman delivers a showstoppingly poignant performance, eventually earning her positive critical reaction and an Academy Award for Best Actress.

Over fifteen years later, Kidman still refuses to shy away from topics that disturb, subvert and provoke as she slips into the character of Gretchen Carlson, who alongside Megyn Kelly, strives to take on the head of Fox News and the illegal wrongdoings he has committed within the workspace. First announced in May 2017, following the death of Ailes, the film has emerged in the opportune time for its meaning to take root as we are able to look back on the pre-Me Too time of political and feminist struggle and align our present societal climate with it. In the two years since the momentous event of the Harvey Weinstein scandal, audiences have been ready for a dramatisation of the isolation, humiliation, and fear that comes with the experience of and admittance to sexual harassment.

Bombshell’s release date is set for 24th January 2020 in the UK.

Words by Shir Ariya

Graphics by Séverine Denis-Lessard

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The post Nicole Kidman’s Taste for The Vulgar appeared first on Voir Fashion.

It is not often we witness the works of female directors grace the cinema screens of Hollywood, so it is a marvel that actress, screenwriter and director Greta Gerwig has announced the release of not one, but two upcoming films, Little Women and Barbie fresh off her success from the critically acclaimed, coming-of-age indie Lady Bird (2017). Her imminent prolific career and fervent fanbase are attributed however, to more humble beginnings as an actress on the outskirts of fame, starring in a number of low-budget mumblecore films.

Mumblecore is the name given to the subgenre of indie films characterised by naturalistic acting and dialogue and a preoccupation with the intimate relationships of people in their 20s. Emerging from the early 2000s, it has resonated with young audiences across the world with its treatment of disillusionment, social awkwardness and miscommunication between strangers— themes all too familiar to the information-saturated minds of Generation Y. As a key figure of this stylistic movement, Gerwig has appeared in a number of films from Joe Swanberg, some of which she co-wrote and co-directed, including Hannah Takes the Stairs (2007) and Nights and Weekends (2008). But it was not until the release of Noah Baumbach’s Frances Ha (2012), that she started to gain mainstream recognition for her charmingly clumsy and relatable portrayal of protagonist Frances Haliday.

With witty and highly quotable lines such as ‘I’m so embarrassed, I’m not a real person yet’, and ‘I like things that look like mistakes’, Gerwig charms as the 27- year old aspiring ballet dancer, traversing through friendships, romances and career struggles. As she states in an interview, ‘Some of the independent movies that make money have a very specific thing that you can tell audiences they’ll feel about it…Frances Ha will touch your deep feelings of failure and unworthiness.’ Taking the feel-good promise of commercial indies at the time and turning it on its head, Gerwig seeks instead to touch people’s hearts through the acceptance of uncertainty in the world, and as a result, carves out an intensely realistic reflection of youthful aimlessness.

Her iconic screenwriting collaboration with Baumbach on the film (who later becomes her lifelong partner) has also allowed her to move away from the spotlight in front of the camera to the manipulation of it from behind. With the advantage of experience from both sides of acting and writing, Gerwig became ready to take the world by storm with her directorial debut, Lady Bird, a coming-of-age film set in Sacramento, California about a high schooler named Christine McPherson (played by Saoirse Ronan) who makes everyone call her by the nickname of Lady Bird. The film immediately shot to fame and critical acclaim, winning Gerwig a Golden Globe for Best Motion Picture in a Musical or Comedy and a 100% rating on Rotten Tomatoes. The mesmerising element of the film, however, seems not to be rooted solely in the poignant depiction of human interactions, but also in the treatment of the female subject, with Christine shining as the fiercely original teenage character bursting simultaneously with confidence and anxiety.

Gerwig’s account of Christine’s life is revealed to be semi-autobiographical, as she states in a behind-the-scenes video ‘I tend to start with things from my own life, then pretty quickly they spin out into their own orbit.’ By taking bits of inspiration from her own past growing up in Sacramento, such as the famous scene of Christine jumping out of a moving car, Gerwig infuses the film with a personal interconnectedness and improvisational quality, accentuating the importance of female subjectivity to the storyline. As we watch the conventional coming-of-age tropes play out (a character falling in and out of love, losing her virginity, discovering intellectual passions), we become aware of the film’s realist tone, constantly rejecting the urge to romanticise the often romanticised narrative of the teenage girl. Settings are stripped of any hint of gaudiness or theatricality, with a heightened emphasis on the mundane and the monotonous rounds of school and home. Characters are vulnerable to emotional impulses and desires, reinforcing the yin-and-yang idea of both good and evil existing at the same place and time, with Gerwig herself quoted as saying in an interview with Dazed Magazine, ‘I never think about female characters as being likeable or unlikeable. With all my characters—not just with female characters—but with every single character in this film. There are no villains.’

Even the outfits worn by the girls in the film have been thoroughly researched to make sure they remain faithful to the early 2000s era in which the story is set, as Gerwig reveals that ‘The costume designer April Napier and I spent a lot of time looking at old Seventeen magazines. And, there was a catalogue called Delia’s which was something everyone in the United States bought. You always wanted to look like one of the girls from Delia’s!’ Clothing is selected therefore on grounds of narrative accuracy rather than a desired beautification of the female image.

With planted seeds from the likes of Sofia Coppola and her scrutinisation into the art of female dynamics in The Virgin Suicides (1999) and Marie Antoinette (2006), Gerwig herself has transformed into a fundamental figure for the preservation of femininity in film and for the garnering of interest in the growth and maturation of the leading woman. In her upcoming film Little Women (set to release on 27 December 2019) where four sisters come of age in the aftermath of the Civil War, she once again provides a voice for the modern independent female, telling Margaret Gardiner in an interview that ‘I’ve always felt that whether you’re writing a novel or making a film, what you choose to put 30 feet tall on a screen tells the audience it’s important and for me, making lives of girls and women important and 30 feet tall and shot on celluloid—it’s worth it and you’re saying their lives have mattered.’

It has also been confirmed that Gerwig is to pair up with Baumbach on the script for her upcoming film Barbie, starring Margot Robbie as a doll who is expelled from Barbieland for not being perfect enough and sets off on an adventure into the real world. Filming is set to begin in 2020.

Words by Shir Ariya

Graphics by Araceli Alonso

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The post The Rise of Greta Gerwig: Femininity in Film appeared first on Voir Fashion.

In light of the upcoming Charlie’s Angels film, we take a look back at 2019’s explosive trend of remaking, revising and rebooting familiar titles. From the supernatural horror worlds of IT Chapter Two and Child’s Play to the revisitation of childhood nostalgia in The Lion King, it is undeniable that we have entered into a prime generation for taking the old and making it new. Due to rapid development in technology and CGI capabilities as well as an eagerness to imbue well-loved, classic stories with refreshing interpretations, it is not surprising that many visionary directors have recently contributed to a proliferation of remakes and taken special interest in the form of the seriality.

This idea of reinterpretation serves as a main enticement for director Elizabeth Banks in rebooting the Charlie’s Angels flick, an action comedy that will be placed as the third installment in the theatrical film franchise of the same name. With a gap of almost 16 years since the last film, it will be interesting to witness the differences in approach to representing women onscreen, especially with the presence of a female eye behind the camera. As one member of the angel trio Naomi Scott has revealed in a Vogue interview, “you don’t see much about their personal lives or who they’re dating. It’s about the agency going global, getting into intelligence and tech, whistle-blowing. You don’t see bikini shots of their bums.” Kristen Stewart has also chimed in to this concern with the spy-action genre rather than a fetishisation of the female image as she tells Variety, “it’s kind of like a ‘woke’ version…there’s a kitsch nature to the last ones that was super fun. But nowadays, if you see a woman in combat, everything should be completely and utterly within their ability.”

Along with this new angle of representation, many more exciting twists will be incorporated into the storyline, one of them being the international expansion of the Townsend Agency—the spy operation where the angels are currently employed. They will be shown travelling around numerous locations around the globe such as Berlin, Hamburg and Istanbul, working in collaboration with a network of highly-trained women for private clients of the elusive Charlie Townsend. Elizabeth Banks herself has mentioned that one of her motives for reviving the franchise is to present to younger generations this theme of collaborative women over the glorified efforts of a single protagonist. The globalisation of the agency as a security and intelligence service is a clever way to do this, with increased job opportunities as a channel for reaching out to women across the world. The lead single of the film’s soundtrack, ’Don’t Call Me Angel’, from Ariana Grande, Miley Cyrus and Lana Del Rey also supports this theme of female collaboration.

A second modern twist is found in the characterisation of John Bosley, portrayed by Bill Murray in the original films, with 3 actors now taking on the iconic role: Sir Patrick Stewart, Elizabeth Banks and Djimon Hounsou. This offers a look at 3 different versions of the same character, taking the cinematic pleasure of viewing popular stars in familiar roles to a whole other level.

Although embellished with all these new stylisations, the film is far from being disconnected from the classic franchise. Previous angel Drew Barrymore has been announced as an executive producer, providing audiences with a touch of comfort as the star and producer of the original films has cashed in her approval for the reboot. Actress Lucy Liu has also shown support, stating that “I think there’s a comfort level in trying to relive something and also to redo something in the modern time, and I’m always curious on how that works out.”

Whether the new version will become an instant classic and garner critical praise like this year’s Spider-Man: Far From Home or receive disappointing reviews in comparison to the original franchise, we can nonetheless be sure of its contribution to discourse surrounding the nature of the remake—what tropes should be eliminated? What elements should be included? As we meet with future remakes in production, such as Little Women (27th Dec) and Mulan (27th March), these questions are bound to resurface again and again, allowing us as audiences to compare, contrast and contest this idea of cinematic renewal. One more thing to keep an eye out for in Charlie’s Angels is the film’s signature vibrant outfits, with the trailer showing sneak peeks of chic blonde wigs, sparkly party gowns and athletic ninja jumpsuits.

Charlie’s Angels is set to release in UK and US cinemas on 15th November 2019, starring Kristen Stewart, Naomi Scott and Ella Balinska.

Words by Shir Ariya

Graphics by Aamir Potrick

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The post Charlie’s Angels and the Allure of the Renewal appeared first on Voir Fashion.

The seemingly effortless direction and cinematography within the Nehera SS18 campaign is the brainchild of Michal Pudelka. The play with colour and composition is truly mesmerizing. The Juxtaposition of heavy architectural backdrops with clinical crisp fabrics makes a fashion film you can’t take your eyes off.

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Victoria Beckham AW18 in partnership with DAZED

It’s safe to say we never thought we’d see Victoria Beckham take on the role of a security guard… until now. Yes, that’s right Posh Spice might very well be working at a club near you sooner than you think. Her new Autumn Winter 18 fashion film is in partnership with Dazed and takes an edgier approach to her new line of clothes. Let’s hope we don’t get rejected for looking too happy.

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