The Souvenir Part II Is This Era’s Great Fashion Film

Clothes, she defined, has been part of her distinctive strategy from the start. Since her first movie, Unrelated, she’s had “this behavior of placing my very own garments into my movies, and the difficulty with that’s, if I ever determine to put on them myself [again], it form of feels…actually hanging.” She laughed.

Garments aren’t the one objects of Hogg’s to seem in her movies. Hogg’s work appears to view the boundary between life and artwork as porous, and even nonexistent—for Julie and Anthony, in The Memento: Half I, dwelling life turns into one thing just like the creation of a fantastic paintings, or a extremely staged pursuit of magnificence. Half II requires the form of consideration to element often demanded of audiences for sci-fi sagas or tv present reunions. We’re anticipated to recollect characters who confirmed up for mere moments in Half I, but additionally the outlines of rooms, the import of meaningless recollections and throwaway strains, and, after all, garments. But when Hogg’s magic works the best way it’s meant to—because it appeared to for a fantastic many viewers of the primary movie, judging by the film snob contingent that hasn’t stopped discussing it—you’ll certainly bear in mind. Taken collectively, the movies are a strong case for egocentric artwork: storytelling that rewards the studious, delicate viewer, and heaps pleasure on its maker. If the primary movie was a painful exploration of dependancy, Half II is extra indulgent—plus “extra bold, and extra joyful,” as Hogg instructed me, than the primary. It’s really artwork for artwork’s sake. Or extra precisely, artwork for the artist’s sake. These should not movies for somebody who merely needs to take pleasure in a younger lady’s coming-of-age story, however for individuals who obsess over the previous, who suppose that every part that ever occurred to them issues, and who imagine each object, particularly each garment, has the ability to recreate historical past, or journey by means of time.

“We’re seeing Julie, telling the story of Julie, by means of these completely different fashion adjustments,” mentioned Hogg, of the position of garments in Half II, “in a means that appeared form of superficial on the one hand, however had been utterly basic to how she sees herself, or how her life is shifting.” Her ardour for designers like Yohji Yamamoto, Charles James, and Vivienne Westwood don’t solely outline Julie (Joanna’s surrogate) for us, but additionally reveal her inside—the movie is an exploration of the very operate and definition of vogue itself. The truth is, the movie portrays Julie making an attempt, and failing, to make an earlier model of The Memento: Half I as her graduate undertaking. Hogg’s precise graduate movie, in the meantime, was a vogue movie, a multi-episode sequence referred to as Caprice, starring childhood finest good friend Swinton as a vogue maven. “Every episode of the movie was a couple of younger lady who goes contained in the pages of a vogue journal,” mentioned Hogg. “I used to be at all times loopy about vogue magazines. Tilda performs this character who goes by means of every web page, and every web page promoted a unique dressmaker”—Manolo Blahnik, in addition to Turkish designer Rifat Ozbek and milliner Kristen Woodward.

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