Who do you dress for?

"We all dressed for Bill", said Anna Wintour referring to Mr. Bill Cunningham, amiably looking man touring streets of New York City on a bike, snapping pictures of people who caught his attention. A real pioneer of street style way before it was cool, Bill's uniform to go was always a vividly blue worker's jacket, allegedly due to its durability (and it was cheap too, ha!). The idea of fearless ruler of American Vogue, proud promoter of couldn't care less flair, actually taking into consideration someone else's opinion when reaching for her outfits comes as a real surprise.

It got me thinking about who do we get dressed for really? Besides satisfying own sartorial whims and covering what should be covered, aren't we (sub)consciously unfolding our outlooks based on everyday mini-dramas we evolve for ourselves? If Anna dressed for Bill once upon a time, who did you get dress for today?
a) mom
b) significant other
c) clerk in the bank deciding upon re-financing your mortgage
d) Adam Katz Sinding in disguise taking an adventurous round-trip around post-communist countries?

true classics

A bigger splash, latest audio-visual deed of film director Luca Guadagnino embarks on well-known territory. Remake of1969's Jacques Deray's La Piscine, it has all in - the sun, the pool, the unbearable lightness of affluent fellow citizens' being, subliminal growing tension and (wannabe) shocking conclusion. Unlike its French counterpart, straightforwardly occupied with interpersonal games of vanity, jealousy and guilt, todays Swimming pool attempts to include in wider current social context, hinting on European refugee crisis. However, strokes of handsome folks wandering in the mist of self-afflicted troubles juxtaposed with pictures of people in true despair feel rather forced and out-of-the place when compared to compact narrative of the original. 

Thanks to beautiful scenery and sultry atmosphere one can rightfully count La Piscine among cult classics. When it comes to A bigger splash, I'm afraid the only element bearing label of true classic is the wardrobe of central feature Marianne, designed by no-one else than ex-Dior artistic director, Mr. Raf Simons himself. Mesmerizing as ever Tilda Swinton performs an epitome of modern woman, and her outfits are not lagging her behind.  

The overall aesthetics gravitates around classic men's shirt revisited and worn as a dress. Décolletage moved from the front to the back, basing a statement-look of Tilda on revealing her bare back in (nearly) all its beauty. The otherworldly zip-me-in dress resembles a luxurious spacesuit. Homage to Dior's typical "New look" is not missing out either, pulling out full-circle skirt. All the garments portrayed in the film, either long and flowy or more on the tailored side, impress as subtly upscale, yet free of any stiffness, totally wearable and above all comfortable. For Mr. Simons there is no true luxury without comfort, and let me say, hallelujah! Watching Tilda Swinton graciously moving in her clothes makes me thing: "I'll have what she's having"! No complex layering, no hours spent in front of the wardrobe with not-having-anything-to wear sentiment. Just take it off the hanger and put it on mode. Easy as a jumpsuit on Sunday morning... Well done Mr. Simons!