The 7th Art didn’t wait for the “House of Gucci”, to intervene in fashion. This feeds on the clothes, looks, and performances of actors on the big screens. From Marlène Dietrich in Morocco to Pierre Niney in Yves Saint Laurent, a look back at a marriage of love, free and inspired.
Mr. Gucci makes movies. We’re not talking about Ridley Scott’s film “House of Gucci”, in which Maurizio Gucci was assassinated on orders from his ex-wife. Instead, we are referring to actor Rodolfo Gucci. The son of the founder of Gucci showed his long silhouette, his thin mustache and his sexiness in forty films from 1929 to 1946 before he took over the luxury family brand’s reins. In 1944, he married Sandra Ravel and had a child with her. He named his actor Maurizio. Yes, Maurizio.
Gucci and the cinema have been a couple for many years. But this double fascination does not make them unique. Marlene Dietrich wears an elegant tuxedo when she appears in “Morocco” 1931. So shocking !Thirty five years later, Yves Saint Laurent (the young Yves Saint Laurent) took the suit made for men to his haute couture collection of autumn-winter 1966. Fashion dreams of and feeds on the cinema, as shown in “Cinémode”, the exhibition designed by Jean-Paul Gaultier at the Cinémathèque française. However, the opposite is true. Fashion is also on the minds of cinematographers.
It’s difficult to be cinematographically more beautiful than models wearing evening gowns. Cinema’s hybrid nature, art and industry, is also fascinating. Luxury can be a mirror of this. This tropism is almost immediate after the invention 7eArt, as it is recalled by the retrospective