When I woke up on Tuesday, February 20th and did my daily morning scroll on Twitter, I didn’t expect to be blessed with W Magazine’s latest issue on the spring fashion collections directed by three of 2017’s most talented directors–Greta Gerwig, Luca Guadagnino, and Jordan Peele. If their films didn’t show their artistry enough, Bringing insanely creative point-of-views to their respective spreads, the directors of this awards’ season’s most popular films, Lady Bird, Call Me By Your Name and Get Out, combined film and fashion’s distinct powers to create stories that seem as if only they could make it happen.
In Peele’s fittingly titled, “Noir Town,” singer and actress Janelle Monae stars as a detective who attempts to solve a murder but mysteriously finds that the suspects like exactly like her. Each photograph has a background that is intriguing but Monae’s character is still the most enticing. The way images are lined up together, particularly in the fifth image, almost seems like looking at a film strip with a magnifying glass. I don’t really think about the clothes in detective stories, but Monae is the perfect person to believably make what she’s wearing a part of the narrative. Peele explained that he wanted to do a story with a Hitchcock-type hero with someone who didn’t like the characters the iconic director always featured in his films, and after looking at what the Get Out director’s latest creation, I’d love to see a full feature film.
Gerwig’s “The Domestic Kingdom” stars Florence Welch of Florence and The Machine portraying a woman in a cute house who dresses up each day ready to go out but never makes it outside. What I think is so interesting about this is that each photograph is full of color and yet there’s still something inherently dark and sad about it. It begins with the cover photograph of Welch’s character sitting a chair in this gorgeous ruffle dress holding her pet pig, almost in a “Look at my wonderful life with this adorable pig.” type of way, and ends with the woman sitting in the corner of her bedroom next to the window, in a way saying “I’ll try again tomorrow.” Welch wears outfits that are undoubtedly fabulous but somehow seem like they only fit into that house. The photographs when she was on her way out appear to be when the character is scared, even looking caught for something, while the images where she is settled in her home, especially in the kitchen photograph, seem to be when she is most content. I’d love to know if she makes it out of the house.
Equally beautiful, Guadagnino directed “Sister my Sister,” about twin sister in an unknown deserted area in America starring models Adwoa Aboah and Rianne van Rompaey. There doesn’t appear to be as much of a story in the Call Me By Your Name director’s collection but it’s just as breathtaking. In each photograph, it looks like the haunting sisters are too good for the bland setting they are placed–and they know it. Donning delicate, blue dresses much like the creepy twins in The Shining, the sisters demand your attention in the second photo, even while in the left third of the image. The setting they are awkwardly in is vast but the sisters dare you to look into their souls. Despite the landscape not being as enticing as the sisters themselves, it’s like the twins palace and the final photograph illustrates that they won’t be separated. Please make this movie, Luca.
Of all of the great filmmakers that were praised in 2017, I’m glad W Magazine asked these three directors. Their films are all dramatically different from each other but they all share the same distinctive that’s unlike most films and these spreads are further proof of why each is the visionary the film medium needs.
Through my eyes,