![]() Find out more about tights recycling here. ![]() We’ve created a process specifically for our tights that turns your snags into permanent industrial components. The stay put waistband is designed with both a vertical and horizontal ribbing, so there is no rolling down and is high rise to sit just below a bra line. They also have a super stretchy waist band and smaller netting on the toes so they are comfy all day. Why is this special? We use a blend of strong and stretchy fibres to knit them, which give them a lot more give than the regular kind. Making them an absolute pleasure to wear. Our fishnets are super stretchy and really do fit all sizes. Tyree USA Ginette Vincendeau France/UK Chloe Walker UK Ben Walters UK S.Why did we make this? Despite their name fishnets shouldn’t feel like you are a fish trapped in a net. Portrait of a Lady on Fire demonstrates Sciamma’s ability to make a timelessly beautiful film that also crystallises the gender politics of her era.Ĭritics Mark Adams UK Carlos Aguilar Mexico/USA Miriam Balanescu UK Jason Barker UK Ruth Barton Ireland Nikki Baughan UK Manuel Betancourt USA Lillian Crawford UK Jenny Darling Australia Maria Delgado UK Rhianna Dhillon UK Karoline Eriksson Sweden Gemma Files Canada Lizzie Francke UK Karlo Funk Estonia Hannah Gatward UK Anne Gjelsvik Norway Gemma Gracewood New Zealand Emma Gray Munthe Sweden Malte Hagener Germany Peter Hames UK Briony Hanson UK Scott Jordan Harris UK Rebecca Harrison UK John Hill UK El Hunt UK Sheila Johnston UK Jordan King UK Maria Kuvshinova Russia Occitane Lacurie France Matthias Lerf Switzerland Helena Lindblad Sweden Rebecca Liu UK Roger Luckhurst UK Geoffrey Macnab UK Emily Maskell UK Demetrios Matheou UK Isabelle McNeill UK Wendy Mitchell UK Whitney Monaghan Australia Nathalie Morris UK/USA John Nugent UK Arike Oke UK Ashanti Omkar UK Savina Petkova Bulgaria/UK Pia Reiser Austria Maria San Filippo USA Kimberley Sheehan UK Leigh Singer UK Emma Smart UK Anna Smith UK Dana Stevens USA Sarah Tomasin Fonseca USA Tricia Tuttle UK J. When it came out in France in the autumn of 2019, Portrait appeared as the perfect illustration of the female gaze, a concept newly ‘discovered’ in a country that was still coming to terms, only slowly, with the aftermath of the #MeToo movement, about which both Sciamma and Haenel (formerly a couple) spoke out in various contexts. But the film resonated with the ambient culture in other ways. Portrait’s egalitarian ethos evidently echoes Sciamma’s own commitment – among other things she is deeply involved in the Collectif 50/50, which fights for gender equality in the French film industry. The film thus rejects a hierarchical vision of desire and in the process updates the relationship between artist and model and the fetishised figure of the ‘muse’. More fundamentally, the relationship between the two women develops as one of reciprocity and equality. In Portrait, Sciamma fights patriarchal oppression first of all by creating a utopian, if temporary, all-women’s world. After initial resistance on both women’s parts, the painting becomes the conductor for their love for each other. Héloïse is to be married against her will to a rich man on the strength of the portrait. Her first costume film, set on a remote Breton island in the late 18th century, charts in a series of exquisite tableaux the intense passion between two women, a painter, Marianne (Noémie Merlant), and her model Héloïse (Adèle Haenel). Portrait of a Lady on Fire brought Sciamma’s work and status to another level. Unusually in the French context, she adroitly coordinated this cinephile pedigree with her lesbian identity and strongly articulated political – including feminist – positions. ![]() As a result, Sciamma, an alumna of the prestigious Paris film school La Fémis, swiftly rose to the pantheon of French auteur cinema (she scripts all her films). Her first three films, Water Lilies (2007), Tomboy (2011) and Girlhood (2014), did much to redefine coming-of-age narratives, opening new horizons on youth and queer desire while manifesting a coherent stylistic vision, characterised notably by pareddown visuals. ![]() The eruption of Céline Sciamma’s Portrait of a Lady on Fire at 30th place, the highest new entry in the poll, mirrors the meteoric rise of a director who had just begun her career at the time of the last poll.
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