WEARING TIME: PAST, PRESENT, FUTURE, DREAM

Fashion in Film Festival Presents Its 10th Anniversary Season

11 – 26 March 2017 A season of film events, talks, conversations and an exhibition exploring the connections between fashion, cinema and time.

VENUES Barbican Centre Curzon Soho Curzon Bloomsbury Genesis Cinema Prince Charles Cinema Rio Cinema Picturehouse Central The Horse Hospital Central Saint Martins The Hoxton, Holborn With a film exhibition at Central Saint Martins 15 February – 15 March 2017 Curated by Tom Gunning and Marketa Uhlirova. www.fashioninfilm.com fashioninfilmfestival fashionfilmfest

This festival is a beautiful thing, a jewel in the London repertory film calendar. –Pamela Hutchinson

Fashion, measure of time. –Walter Benjamin

Bringing together film screenings, live performances, talks, panel discussions, and an exhibition, Fashion in Film Festival’s 10th anniversary season explores the fascinating connections between fashion, cinema and time.

Probing into four different (though often overlapping) conceptions of time – past, present, future, and dream – the festival programme asks what concrete manifestations of time fashion and clothing enable. What kind of chronologies and histories? What memories, echoes and ghostly shadows?

What projections, visions or premonitions? Fashion’s own relation to time may be vital and intimate, but it is far from transparent. Film, the art of time passing, helps illuminate some of its complexities.

Few things indicate history to us as immediately as styles of dress – period films are often referred to as ‘costume dramas’ due to the role fashion plays in identifying past eras. At the same time, fashion is one of the most potent visual means through which film can break away from known reality and herald new worlds of tomorrow.

But dress and fabric can also embody the passage of time.

From the earliest trick films to the dance numbers of contemporary Bollywood films, cinema can magically make clothing transform, appear, and disappear. Fashion in film has always been an important sign-posting device, deployed in multiple ways: to guide the viewer through time, to confuse, deceive, and disorient them, or even to dress the wounds of time. Examining the idea of clothing as a vehicle for representing time, Wearing Time also goes beyond this, foregrounding the sense of in-voking the past, present and future by donning their clothing.

Dress allows us to wear time, even as time wears us out.

The programme showcases a wide array of well-loved as well as neglected cinema features, experimental shorts, artist films, newsreels, industry films, documentaries and fashion films – from Alain Resnais’ enigmatic Last Year in Marienbad, to Richard Massingham’s wartime propaganda In Which We Live, to Nick Knight’s early fashion film Sleep and artists Jane and Louise Wilson’s response to Stanley Kubrick’s unmade film The Aryan Papers.

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THE PAST: RETURNS, RECALLS, RENEWALS And then if [costumes of the past] were worn and given life by intelligent actors and actresses, we shall be astonished at ever having been able to mock them so stupidly. Without losing anything of its ghostly attraction, the past will recover the light and movement of life and will become present. –Charles Baudelaire

This strand delves into fashion's contradictory impulse to return to, and suppress, the past.

It probes into film's fascination with fashion histories and mythologies, and the power of dress to bring the past back to life.

Clothing and style do not merely designate the past, they also mark the periods and stages of individual lives. Narratives of ageing and rejuvenation depend on convincing changes in fashions, hair, and make-up.

The opening of an old closet arouses nostalgia and feelings of loss for the body that inhabited the now-empty clothes. There is something uncanny about rediscovering an old familiar dress and indeed, it can awaken revenants that return to haunt the living.

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Saturday 11 March 20:30 – Curzon Soho, 35mm

Introduced by Kim Coleman.

Cassavetes’ Opening Night is one of cinema’s finest portrayals of ageing, while also being a superb exploration of acting. It has recently enjoyed renewed interest following the 2014 release of Alejandro Iñárritu’s Birdman, with which it has notable parallels.

Gena Rowlands gives a virtuoso performance as Myrtle Gordon, a successful but increasingly neurotic actress in her forties, conflicted with her next theatrical role portraying an older woman – obviously too close to the skin. Myrtle is at the same time haunted by hallucinations of an alluring teenage female fan (a symbolic image of a younger self), whose car accident she blames herself for.

As her reality starts to blur with dreams and the actress and her character begin to merge dangerously, Myrtle reveals some profoundly uncomfortable truths about ‘the gradual lessening of [her] power as a woman’ (as one character puts it) in the public eye.

OPENING NIGHT Directed by John Cassavetes.

USA 1977.

With Gena Rowlands, John Cassavetes & Ben Gazzara.

Costumes by Alexandra Corwin-Hankin.

Kim Coleman is an artist working in expanded moving image and light.

Her solo and collaborative works have been staged at Tate Britain, The Showroom, Jerwood Visual Arts, Serpentine Screen and Frieze Projects, London.

Sunday 12 March 18:00 – Genesis Cinema

LOLA MONTÈS

Introduced by Cathy Haynes, with Tony Paley.

The final film by director Max Ophüls presents the real-life story of the scandalous nineteenthcentury courtesan Lola Montès as it might have been presented by circus showman P.T. Barnum.

In breathtaking cinemascope and eye-popping colour, spectacle competes with moments of tenderness and loss as Montès’s life is replayed like an acrobatic fashion show version of Remembrance of Things Past. Peter Ustinov gives a deadpan performance as the circus master whose zeal for profits may conceal a deeper passion, as he summons up flashbacks of Montès’s affairs with Franz Liszt and the King of Bavaria.

Directed by Max Ophüls.

France 1955.

With Martine Carol, Peter Ustinov & Anton Walbrook.

Costumes by Georges Annenkov.

Cathy Haynes is an artist, curator, writer and educator. In 2014 she made Stereochron Island, a public project reimagining Victoria park as a tiny island territory campaigning to become a state without clocks.

Tony Paley is a contributor to the Guardian film blog.

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Monday 13 March 18:30 – The Hoxton, Holborn

Introduced by Alessandra Vaccari.

Jun Ichikawa’s adaptation of a short story

by Haruki Murakami is an exquisitely stylish and poignant meditation on emotional attachment and loss. Set against the background of postwar and modern-day Japan, the plot follows the life of Tony Takitani and Eiko, the young woman he marries. Eiko’s obsession with designer clothes and accessories is so powerful that it ends up consuming her and even threatens to undo her. Yet her preoccupation is never treated as evidence of moral decline or superficiality; rather, it is an opportunity to probe complex human emotions such as pleasure and fulfilment, intimacy, isolation, longing and letting go.

TONY TAKITANI Directed by Jun Ichikawa.

Japan 2004.

With Issei Ogata, Rie Miyazawa & Shinohara Takahumi.

Art direction Yoshikazu Ichida.

Alessandra Vaccari is a fashion historian and theorist based at IUAV University of Venice. Her books include Wig Wag: The Flags of Fashion (2006) and, with Mario Lupano, Fashion at the Time of Fascism: Italian Modernist Lifestyle 1922–1943 (2009).

DON’T LOOK NOW

A red-hooded coat – that fairy tale trope of Little Red Riding Hood – gains an ominous significance in Nicolas Roeg’s masterful thriller.

Based on a novella by Daphne du Maurier, the film tells of a married couple coming to terms with their daughter’s accidental death by drowning. The girl’s red coat and its colour (red being the colour of blood) become the principal indicators of mental time travel, which takes on the form of traumatic flashbacks and sinister premonitions. Here Roeg excels in generating multiple senses of disorientation that are temporal as well as spatial.

Thursday 16 March 18:30 – Picturehouse Central

+ CHILDHOOD STORAGE Directed by Anna-Nicole Ziesche.

UK, 2009.

With Anna-Nicole Ziesche & Fionë-Minna Ziesche.

Costumes by Anna-Nicole Ziesche.

Directed by Nicolas Roeg.

UK, Italy 1973.

With Julie Christie, Donald Sutherland & Hilary Mason.

Costumes by Marit Allen.

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Thursday 16 March 21:00 – Picturehouse Central

LAST YEAR IN MARIENBAD

With a post-screening discussion between Caroline Evans and Alexander Fury.

This masterpiece of 1960s art cinema sets its mediation on time, memory and longing within the most fashionable of locations – the Marienbad spa and its endless corridors and manicured gardens (the film was in fact shot in and around the Bavarian palaces of Nympheburg, Schleissheim and Amalienburg). Perhaps no film has so profoundly challenged the viewer with a truly ambiguous approach to time, where truth mingles with lie, and chronology blurs with fantasy. Delphine Seyrig’s costumes, designed by (the uncredited) Coco Chanel, create an image of dreamy elegance and sophistication, and, ultimately, of ungraspable desire. From pared-down black and metallic dresses to delicate chiffons, tulle and lace, to an extraordinary use of white and black plumes, Seyrig floats through the film, presenting a fashion show counterpoint to its cerebral narrative.

While Resnais wanted to evoke the allure of 1920s cinema stars, his film ironically defined a new fashionable look for the 60s, allowing past and present to come together.

Directed by Alain Resnais.

France, Italy 1961.

With Delphine Seyrig, Giorgio Albertazzi & Sacha Pitoëff.

Costumes by Bernard Evein, Seyrig’s costumes by Coco Chanel.

Caroline Evans is Professor of Fashion History and Theory at Central Saint Martins. She is the author of numerous publications on fashion, including, most recently, The Mechanical Smile: Modernism and the First Fashion Shows in France and America, 1900-1929 (2013).

Alexander Fury is a fashion journalist, author and critic. He is chief fashion correspondent of T: The New York Times Style Magazine.

Friday 17 March 18:00 – Curzon Soho

IN THE MOOD FOR LOVE Wong Kar-Wai’s meditation on the way layers of separation create a mood for love in the close confines of 1960s Hong Kong derives an erotic atmosphere from the restrictions on romance. Two characters, married to other people who they discover are having an affair, actually avoid initiating their own affair in spite of mutual attraction.

The closely tailored, formal clothes worn

by Maggie Cheung and Tony Leung seem to express this intense but controlled love by concealing any glimpses of flesh while clinging to their bodies. Muted colours begin to blossom with unfulfilled promises, but ever-present possibilities.

Directed by Wong Kar-Wai. Hong Kong 2000.

With Tony Leung Chiu-Wai, Maggie Cheung & Ping Lam Siu. Costumes by William Chang.

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Saturday 18 March 15:00 – Curzon Soho, 35mm

VERTIGO Introduced by Phoebe English.

Vertigo ranked highest in the latest Sight & Sound Greatest Films of All Time poll of film scholars and critics. Although a critical and box office flop when released, through the years, Hitchcock’s complex erotic thriller about the death of love and its possible return has gained an enthralled audience. James Stewart stars as a retired detective who attempts to re-fashion his lost love, as Kim Novak plays both the lover and her apparent double. The complexities of grasping the image of the beloved, the pain of loss, and the perils of recovering the past through control of costume have never been so stunningly visualised.

Directed by Alfred Hitchcock.

USA 1958.

With James Stewart, Kim Novak & Barbara Bel Geddes.

Costumes by Edith Head.

Phoebe English is a fashion designer renowned for her attention to precision and beauty. She uses innovative staging in her LFW presentations to infuse her work with a strong conceptual focus, and is regularly invited to take part in exhibitions internationally.

+ THE PERFECT EMBRACE 35mm Directed by Alfredo De Antoni.

Italy, 1920.

With Tullio Carminati, Rina Maggi & Brunella Brunelli.

Saturday 18 March 18:30 – The Horse Hospital

A film talk by Silvia Vacirca.

Although period dramas these days are typically criticised if ‘historically inaccurate’, costuming the past in cinema amounts to much more than merely capturing historical dress and styles in exacting detail. In showing the look of the past, films inevitably display our own relationship with it. This talk will closely examine some of cinema’s most extravagant examples of costume drama, including Francis Ford Coppola’s Bram Stoker’s Dracula (1992) with costumes by Eiko Ishioka, or Luchino Visconti’s The Leopard (1962), with costumes by Piero Tosi, and contrast them with the more historically ‘disciplined’ films such as the more recent Jackie (2016), with costumes by Madeline Fontaine, or Carol (2015), with costumes by Sandy Powell. Above all, the talk will address the sometimes conflicting demands for historical accuracy on the one hand, and engaging a contemporary audience on the other.

Silvia Vacirca is a fashion and media scholar at Sapienza University in Rome. She is a contributor to L’Officiel Italia and Rivista Studio.

DRESSING HISTORY 15

Sunday 19 March 13:00 – Rio Cinema

BEYOND THE ROCKS Introduced by Adrian Garvey, with live musical accompaniment by Stephen Horne.

A recent 2K digital restoration by EYE Filmmuseum Amsterdam.

Sam Wood’s recently rediscovered film captures two of the biggest stars of the silent screen, Gloria Swanson and Rudolph Valentino, in what remains the only film where the pair appear together. Cast as would-be lovers in a gloriously doomed romantic affair, she plays a habitual clotheshorse, showcasing numerous glamorous gowns, while he cuts a picture of elegance in a wardrobe designed by his then lover Natacha Rambova. Among the film’s sartorial highlights are its resplendent eighteenth-century sequences, devised very much in the style of Wood’s mentor Cecil B. DeMille. Here secret desires of the heart play out among a lavish atmosphere of excess and erotic permissiveness, conjuring the gallants and marquises of the past in their ‘stately games of love’.

Directed by Sam Wood.

USA 1922.

With Rudolph Valentino, Gloria Swanson & Edythe Chapman.

Valentino’s costumes by Natacha Rambova.

Adrian Garvey is a London-based film historian. His PhD on James Mason and film performance was completed in 2016. He recently contributed an essay on stardom in silent cinema for the Routledge Companion to British Cinema History (2017).

Stephen Horne is one of the leading silent film accompanists. A house pianist at London’s BFI Southbank for thirty years, he has played at all the major UK venues and recorded music for many DVD releases of silent films.

Although principally a pianist, he often incorporates other instruments into his performances, sometimes simultaneously. His accompaniments have met with acclaim at film festivals internationally, from Pordenone and Bologna to San Francisco, Hong Kong, Telluride, and Cannes.

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OM SHANTI OM Farah Khan, one of the few mainstream female directors in contemporary Bollywood, is not the only Khan associated with Om Shanti Om. Megastar Shah Rukh Khan plays (ironically) an unknown film extra Om, in love with Shanti, a larger-than-life 1970s film star. The film’s title is a tongue-in-cheek pun that reprises a religious incantation and film song 'Om Shanti Om' from Subhash Ghai’s 1980 thriller Karz. It tells a story of revenge and reincarnation, in which Om and Shanti must find each other by decoding clues left behind by their onscreen doubles. At once a romantic costume drama, ludic period film, art deco fantasy, and film-within-a-film, Om Shanti Om offers bold and spectacular reflections on nostalgia, stardom, and cinephilia in Bombay cinema.

Directed by Farah Khan.

India 2007.

With Shah Rukh Khan, Deepika Padukone & Arjun Rampal.

Costumes by Karan Johar, Sanjeev Mulchandani & Manish Malhotra.

+ TRAVELLING LADY Directed by Jessica Mitrani.

USA, 2014.

With Rossy de Palma.

Monday 20 March 20:30 – Genesis Cinema, 35mm

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Saturday 11 March 18:30 – The Horse Hospital

Hosted by festival co-curator Tom Gunning.

Avant-garde filmmaker Jack Smith once described film stars as 'flaming creatures'. Being enveloped by light, female stars especially owe much of this aura to their costuming. This programme brings together three artist films, in which female stars from the past of cinema are re-imaged — and even re-assembled — from a later perspective. These films abstract them from their narrative context, and allow us to see them precisely as incandescent images of desire clothed in costumes of fantasy and role playing.

Total running time c. 75 min.

American artist Joseph Cornell created delicate, whimsical, sometimes disturbing box collages in which he juxtaposed everyday objects – toys, glasses, marbles, bits of wood – in dreamlike arrangements that evoke scenarios of desire and memory. In this collage film he performs a similar alchemy on a Hollywood melodrama, paying tribute to Rose Hobart, an almost forgotten diva of 1930s cinema. Cornell recut the 1929 film East of Borneo, eliminated all dialogue, overdubbed shots with irrelevant music, destroyed narrative logic, added footage from scientific films and projected it through a blue filter, thereby transforming Hollywood schlock into a surrealist reverie.

Cornell treats images of Hollywood glamour as if they were styles from the past that he re-cuts for a more contemporary look.

Directed by Joseph Cornell.

USA 1936.

With Rose Hobart.

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Artists Jane and Louise Wilson made this film following a residency in the Stanley Kubrick Archive, where they discovered extensive archival materials relating to the director’s unrealised film about the Holocaust, The Aryan Papers. The Wilsons’ focus is on the Dutch actress Johanna ter Steege, whom Kubrick cast in the early-1990s in the lead role as a beautiful PolishJewish woman – a role that was to propel her into international stardom. For their film the artists asked ter Steege to re-enact parts of the script as well as short temporal fragments based on photographs, capturing what they call her ‘process of

becoming’. And it is above all ter Steege’s original wardrobe shots that emerge as the vital ingredient here, tangible and visually compelling evidence of the actress inhabiting her role. Using the metaphor of unfolding, the film is a melancholy and perhaps even cathartic excavation of time gone by, which itself points to another, unspeakably painful moment in history.

Directed by Jane & Louise Wilson.

UK 2009.

The female jewel thief in a black body suit, Irma Vep (whose name is an anagram for Vampire), debuted in Louis Feuillade’s 1915 silent film serial Les Vampires, and was played by the legendary performer Musidora. The figure has since been a source of fascination for playwrights and filmmakers. Michelle Handelman’s 2014 film Irma Vep, the Last Breath refashions the character into a cross-dressing emblem of the contemporary fluid sense of gender and personal identity. Imagining the ageing Musidora (who in her twilight years sometimes worked as a ticket-taker at the Cinémathèque Française in Paris) confronting her fictional counterpart, Handelman creates a landscape where costume can redefine identity and where the past comes to act on the present.

Directed by Michelle Handelman.

USA 2013/2015.

With Zackary Drucker & Flawless Sabrina.

Costumes by threeASFOUR & Garo Sparo.

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THE PRESENT: FABRIC OF TIME Fashion is like a fruit.

You couldn’t eat it a day before, and you can’t eat it a day after.

–Alber Elbaz

This strand explores fashion's and cinema’s shared capacity to become manifestations of the present. How can dress or fabric embody cinematic time? How can the rituals of producing fashion, wearing or fashioning oneself make time a tangible, felt entity?

‘The Present’ tackles this perhaps most complex set of questions through events, screenings and talks which place an emphasis on aspects of performance, duration and process. It connects the legacy of artist Annabel Nicolson’s legendary performance Reel Time with the work of late-20th century artists/filmmakers, and in a unique live show celebrates the hypnotic experimental tests made in the 1960s for Henri-Georges Clouzot’s unrealised film The Inferno, in which the union between the filmic and the sartorial is made all the more striking by the unique temporality of a screen test performance.

The present is not a static moment, but one in which time rushes on, as it does in the brief passing of time as Agnès Varda’s heroine Cléo waits from 5 to 7 for crucial news, with her clothes changing according to the mood and time of day. Clothes can signal different times of day and accompanying rituals – take the surreal succession of costumed identities from dawn to deep night in Holy Motors, or the odyssey of a single dress suit through the layers of society and human drama in Tales of Manhattan. Not only can dress be a vehicle with which to travel through time, is can also measure time.

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Wednesday 15 March 18:30 – Central Saint Martins, LVMH Lecture Theatre

Film talk by Alistair O’Neill and Inga Fraser This talk explores the significance of Annabel Nicolson’s seminal 1973 performance Reel Time, which drew an explicit connection between the technologies of film and clothing, conjoining a film projector and a sewing machine through a loop of celluloid. Curators Inga Fraser and Alistair O’Neill come together to discuss the legacy of the artwork, showcasing

AFTER REEL TIME

artists’ films and photographs of the late twentieth century that notably foregrounded textiles, clothing and accessories: Tanya Syed, Alia Syed, Alexis Hunter, David Lamelas and John Maybury.

To get your FREE ticket, please email

Alistair O’Neill is Professor in Fashion History and Theory at Central Saint Martins. Recent curatorial projects include Isabella Blow: Fashion Galore! (2013), and Guy Bourdin: Image Maker (2014).

m.saurel1@arts.ac.uk. Only a limited number of tickets are available for this event.

Inga Fraser is Assistant Curator of Modern British Art at Tate Britain. Most recently she co-curated the retrospective exhibitions of Barbara Hepworth (2015) and Paul Nash (2016-17), and contributed essays to their catalogues.

Friday 17 March 20:45 – The Hoxton, Holborn

CLÉO FROM 5 TO 7 Introduced by Rosemary Wallin.

This masterpiece of the French New Wave cinema by director Agnès Varda presents a slice of life, ninety minutes in the day of a young clothes-conscious recording star.

The film respects the unity of time unfolding and the everyday, but this passage of time also marks the drama of a young woman facing the outcome of a critical medical test, during which she meets someone who might change her life. In this relatively brief time Cléo has three costume changes, from the organdy dress of the opening; the negligee for the middle section in her loft where she sings her key song; then a black dress for the third section.

Varda has spoken of the donning of the black dress as the transitional moment of the film, from the initial section where Cléo constantly glances into mirrors and presents herself as a spectacle for the gaze of others, to becoming an observer of the world around her. Few films so elegantly intertwine time and what we wear.

Directed by Agnès Varda.

France, Italy 1962.

With Corinne Marchand, Antoine Bourseiller & Dominique Davray.

Costumes by Alyette Samazeuilh.

Rosemary Wallin is a lecturer and researcher at Central Saint Martins where she is currently researching technology for sustainable luxury.

She is also a film fanatic in her spare time.

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THE COLOUR OF POMEGRANATES Introduced by Alice Rawsthorn.

A recent 4K digital restoration by Cineteca di Bologna and The Film Foundation’s World Cinema Project.

One of the most daringly experimental films ever made (and produced in pre-Glasnost USSR, where it was quickly banned), Parajanov’s tribute to the Armenian poet Sayat Nova rethinks the very nature of cinematic space. Woven patterns and colours of traditional textiles and customs provide him with a different visual model. The way in which clothing sculpts and defines the body, creating a space neither flat nor deep but attuned to both the senses of touch and vision, inspires the discontinuous tableaux that make up this film.

Textures and colours spill across each other as space dissolves into a succession of surfaces and shapes. Figures, gestures, textiles, costumes, and architecture merge in a shallow but endlessly varied space.

Woven and embroidered textiles mould or conceal bodies and space in the rituals of birth and death that compose a film that seems to emanate from another world.

Directed by Sergei Parajanov.

Soviet Union, Armenia 1969.

With Sofiko Chiaureli, Melkon Alekyan & Vilen Galstyan.

Costumes by Elene Akhvlediani, I. Karalyan & Zh. Sarabyan.

Alice Rawsthorn is a design critic and author of Hello World: Where Design Meets Life.

She is chair of the board of trustees of Chisenhale Gallery and Michael Clark Company, and a trustee of Whitechapel Gallery.

Monday 20 March 18:30 – Curzon Bloomsbury

Watching Sergei Parajanov’s The Color of Pomegranates … is like opening a door and walking into another dimension, where time has stopped and beauty has been unleashed.

On a very basic level, it’s a biography of the Armenian poet Sayat Nova, but before all else it’s a cinematic experience, and you come away remembering images, repeated expressive movements, costumes, objects, compositions, colors.

–Martin Scorsese

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Wednesday 22 March 20:30 – Genesis Cinema

MY FANCY HIGH HEELS Featuring a post-screening panel discussion with Orsola de Castro, Kate Hills and Alice Wilby, chaired by Bel Jacobs.

My Fancy High Heels is an experimental documentary that traces fashion back to its materials, and through the production chain, revealing the troubling process that haunts the latest trends. While not pointing her finger at obvious villains,  director Chaoti Ho reveals very visible victims. From its opening delight in a pair of high heels on Manhattan sidewalks to its ambiguous animated conclusion, Ho raises issues with gentle intensity and sometimes disturbing images.

Directed by Chao-ti Ho. Taiwan 2010.

Music by Chih-hao Ke.

Orsola de Castro is an internationally recognized opinion leader in sustainable fashion. She is co-founder of Fashion Revolution, an organization dedicated to raising public awareness of the continuing social and environmental catastrophes in our global fashion supply chains.

Alice Wilby is co-founder of Novel Beings, a boutique style agency, which exclusively represents conscious creatives for the fashion, beauty and advertising industries.

Kate Hills is founder of Make it British, an initiative which promotes British craftsmanship and production. She organizes the Meet the Manufacturer trade show and regularly advises businesses of all sizes on how to find and work with UK manufacturers.

Bel Jacobs is a fashion, beauty and culture journalist whose blog beljacobs.com aims to highlight the most imaginative initiatives in fashion today.

In July 2013,she was nominated as Fashion Journalist of the Year at the inaugural Fashion Monitor journalism awards.

+ A LADY’S SHOE Directed by Elmar Klos for Baťa shoe factory; with cinematography

by Alexander Hackenschmied.

Czechoslovakia 1935.

+ COTTON COUNTS Produced by Technical & Scientific Films; sponsored by Cotton Board.

UK 1951.

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Wednesday 24 March 20:30 – Genesis Cinema

TALES OF MANHATTAN Introduced by Timothy Long.

Directed by French filmmaker Julien Duvivier during his WWII exile in Hollywood, Tales of Manhattan presents a series of individual stories with different characters and situations. In this neglected film, the link is a dress suit that seems to carry bad luck. Unlike many anthology films in which the linking device is little more than a convention, here the exchange of the suit carries an extra charge with its owners cutting across different class and social strata. An amazingly diverse cast fits into the suit as it migrates not only from wearer to wearer but also from genre to genre and through various fashionable situations (theatrical performances, weddings, concerts).

Exchanges of the tailcoat allow switches in romantic partners, social status, even as it comes apart at the seams and inspires a shirtsleeve solidarity. If the finale now seems condescending in its portrayal of black stereotypes, Paul Robeson’s passionate articulation of the Popular Front vision of social equality nonetheless has poignant resonance.

Directed by Julien Duvivier.

USA 1942.

With Charles Boyer, Rita Hayworth & Ginger Rogers.

Costumes by Irene, Bernard Newman, Dolly Tree, Gwen Wakeling & Oleg Cassini.

Timothy Long is Curator of Fashion and Decorative Arts at the Museum of London. He has worked in the world’s top collections of historic dress, including the Chicago History Museum, and New York’s Museum at the Fashion Institute of Technology.

WHICH WE LIVE: + IN BEING THE STORY OF A SUIT TOLD

BY ITSELF

35mm Directed by Richard Massingham.

UK 1944.

Produced by Public Relationship Films; sponsored by Board of Trade.

With John Carol and Rosalyn Boulter.

Saturday 25 March 16:00 – Barbican Centre

HOLY MOTORS Carax’s fantastically bizarre drama follows its protagonist, Mr Oscar, through a single busy workday in Paris. As he is ferried around by his chauffeur from one ‘appointment’ to another, he undergoes a series of radical transformations, his white stretch limousine becoming a dressing room where new costumes and make-up are applied. A meditation on the manufacture of identity in an age of modern media, each costume triggers a different scenario, from the abject, to the sentimental, to the horrific.

Directed by Leos Carax.

France 2012.

With Denis Lavant, Edith Scob & Eva Mendes.

Costumes by Anaïs Romand.

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With live musical score by Rollo Smallcombe.

In partnership with Lobster Films and MUBI, we are proud to present a newly mastered cut of rushes created in 1964 in preparation for Henri-Georges Clouzot’s film The Inferno, which was never finished. Together with his cinematographers Andréas Winding and Armand Thirard, Clouzot staged seemingly endless kinetic and optical experiments focusing primarily on actress Romy Schneider performing simple, seductive actions in carefully composed mises-en-scène. Departing from Serge Bromberg’s critically acclaimed documentary about the making of Clouzot’s film (2009), The Inferno Unseen focuses solely on Clouzot’s intoxicating visions, allowing them to build up their own momentum as they unfurl in all their glory.

Rollo Smallcombe is a London-based music producer, composer and film maker. As one half of electronic music duo Deeds, he has recently performed alongside various contemporaries including Pantha Du Prince, The Orb and The Field.

His own sonic inspirations range from the early experiments of Musique Concrete through to modern video-game, film and horror scores such as It Follows and Utopia.

The new edit was created by Rollo Smallcombe and Marketa Uhlirova.

The event was co-produced with Kiri Inglis at MUBI, and Serge Bromberg and Maria Chiba at Lobster Films. The musical score incorporates voice recordings of Serge Bromberg by Ben Rylan, presenter of Monocle's The Cinema Show.

Sunday 26 March 16:30 - Barbican Centre

THE INFERNO UNSEEN

WORLD PREMIERE

What we have in those cans is not a completed film. It’s a film being made …

Clouzot had an unlimited budget, all the authority he wanted, the best actors, the best crew with three cameramen… And he made all those tests and asked so much of his actors. And in the end the actors began to ask, what is he trying to do?

Why is he is shooting all these scenes that are not even in the script …

-Serge Bromberg

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THE FUTURE: WHAT DOES IT WEAR? Each epoch dreams the one to follow. –Jules Michelet

This strand highlights the cinema as an important vehicle for fast-forwarding us into the future of dress, and the different approaches costume designers have taken in envisioning it. To give a concrete form to one’s idea of the future involves taking an imaginative leap that crosses the limits of the familiar. But in design terms, this also requires great resourcefulness and creativity in re-using elements that already exist, giving them a new sensibility.

For the future to speak to us, we must be able to recognise ourselves in it; it has to show itself as an unfamiliar version of the present. Thus science fiction films are principally composites of already known elements, brought together in a manner that appears not so much new as strange.

Future-ness has to be not only believable but also convincing, while holding on to the ‘out of this world’ moment of magic.

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Sunday 12 March 15:00 – Rio Cinema

SPACE IS THE PLACE

Introduced by festival co-founder Roger K. Burton.

Space is the Place is a rare, unmissable trash culture sci-fi classic. Starring the Afrofuturism jazz star Sun Ra, this loosely based biopic offers the uninitiated a tantalising glimpse into his fantastical world.

Born in 1914 as Herman Poole Blount, he had a vision in his thirties that he had somehow originated from Saturn and promptly changed his name to Sun Ra. Dressed from then on in elaborate Egyptian-inspired papal robes, and arriving in a music-powered space ship, he spent the next 50 years on a mission to enlighten the world with his unique experimental music, and save the black race from social injustice by starting an all-black colony in the sky, while recruiting a legion of fans along the way.

Directed by John Coney.

UK 1974.

With Barbara Deloney, Sun Ra, Raymond Johnson & Marshall Allen.

Costumes by William S. Jones & Jill Percival.

Roger K. Burton is an established costume designer (Quadrophenia, Vigo), founder of The Horse Hospital and The Contemporary Wardrobe collection. He is also one of the co-founders of the Fashion in Film Festival.

Wednesday 15 March 20:45 – Prince Charles Cinema

Introduced by Sir Christopher Frayling.

Although the streamline moderne style, which has come to define Things to Come in popular imagination, appears only in its final part set in 2036, it makes a profound visual impact. The ‘age of mechanical perfection’ (in H.G. Wells’ words) is overwhelmingly white in both architecture and clothing, cutting a serene image of a world cleansed of manual labour, disease and suffering. Wells, on whose 1933 book the film was based, prophesised that clothing of the enlightened future would be ‘austerely beautiful’, machine-made to measure and utterly disposable. He nevertheless elaborated more on the social and cultural conditions at the root of the new fashions than questions of style per se, allowing the film’s costume designers to do their own bit of magic. As the film travels forward through a hundred years, the costumes perfectly register social and political progress, as well as regression. The final look is an intriguing fusion of angular modernism, elements of heroic warrior wear and classical garb, as seen in the 1930s couture.

THINGS TO COME

Directed by William Cameron Menzies.

UK 1936.

With Raymond Massey, Edward Chapman & Ralph Richardson.

Costumes by John Armstrong, René Hubert, Cathleen Mann (as Marchioness of Queensbury) & Sam Williams.

Christopher Frayling is an educator and writer on the cinema, art, design and popular culture. His latest book The 2001 File: Harry Lange and the Design of the Landmark Science Fiction Film was published in 2015.

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Saturday 25 March 14:00 - Barbican Centre

BARBARELLA Introduced by Christopher Laverty.

Barbarella testifies to a time in which a profound fascination with technological possibilities of the future had permeated mass culture. Based on Jean-Claude Forest’s racy comic serial, Vadim’s film details the adventures of a beautiful, kinky ‘cosmic queen’ in the distant future of the year 40,000. Barbarella’s camp, liberated sexuality and her penchant for flaunting her body in skimpy leotards, tight suits and titillating plastic bodices, is surely one reason the film has secured cult status.

The costumes, designed by Jacques Fonteray, with ‘inspiration’ from Paco Rabanne, are comic-book gear through and through while also being remarkably in line with the ‘space age’ fashion of the time.

Directed by Roger Vadim.

USA 1968.

With Jane Fonda, John Phillip Law & Anita Pallenberg.

Costumes by Jacques Fonteray.

Christopher Laverty is a UK-based writer and costume consultant.

He is the creator of the renowned blog Clothes on Film, and in 2016 published his first book Fashion in Film.

Ikarie XB-1 and Solaris are among the most remarkable films adapted from Polish writer Stanisław Lem’s science fiction novels (in this case, The Magellanic Cloud, 1955, never translated into English, and Solaris, 1961). Lem gained international notoriety during the early 1960s with the translations of Solaris, but well before then he had already enjoyed something of a cult status on the east side of the Iron Curtain. In fact, his novels provided perhaps the richest source of inspiration for sci-fi films produced in studios of the Eastern Bloc during the Cold War. Lem’s early novels about space travel coincided with the American-Soviet space programme, and while they initially anticipated the successes of the two superpowers, they also speculated in great depth on the sometimes troubling scientific, existential and philosophical implications of extra-terrestrial life and alien encounters. His visions of future technologies and gadgets are sometimes drawn in great detail but when it comes to costume, descriptions become surprisingly vague. Unlike Stanley Kubrick’s 2001: A Space Odyssey (1968), neither Ikarie nor Solaris coincide with the fiercely stark and geometric ‘space-age’ fashion pioneered by André Courrèges and other French designers during the mid-1960s. Instead, they propose a more subtle, civilian look.

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Tuesday 14 March 20:45 – Prince Charles Cinema Introduced by festival director Marketa Uhlirova.

Ikarie XB-1 is an ambitious science fiction space opera, possibly best known for prefiguring many visual and thematic motifs of Stanley Kubrick’s 2001: A Space Odyssey. This ‘Space Marienbad’, as one critic called it, perfectly epitomises an era defined by a raging space race and cultural competition between the East and the West. The film portrays an idealised communist civilisation circa 2163, as it embarks on a voyage beyond our solar system. Its real protagonist is a monumental discovery spaceship Ikarie, a self-contained world in miniature designed to impress an international audience with its vision of a highly advanced lifestyle, as imagined by a small socialist country. Like the rest of the film, its 22nd century costumes are steeped in the ideology of utopianism, something that is especially driven home when ‘ancient people’ of the 20th century are discovered on a derelict ship deep in space.

Directed by Jindřich Polák.

Czechoslovakia, 1963.

With Zdeněk Štěpánek, František Smolík & Dana Medřická.

Set design by Jan Zázvorka.

Costumes by Ester Krumbachová, Jan Skalický & Vladimír Synek.

BUT + EVERYTHING EVERYTHING IN BRI-NYLON

Directed by Sam Napier-Bell.

UK 1959.

Produced by Basic Films.

Sponsored by British Nylon Spinners.

With Maureen Beck, Peter Boyes & Yvonne Marsh.

Sunday 19 March 20:00 – Curzon Bloomsbury

With an introduction and readings from Nelli Fomina: Costumes for the Films of Andrei Tarkovsky (2015) by Anastasija Nikitina.

In contrast to the technotopian sci-fi productions of the 1950s and 60s,Tarkovsky’s Solaris offered to early-1970s audiences a completely fresh take on a future world of inter-stellar travel. Within the genre, the film is uncharacteristically sombre and understated in its preference for familiar, ‘human’ imagery of nature and 16th century Flemish painting over the exotically new.

Tarkovsky’s lack of reverence for technological marvels, special effects or any kind of futuristic aesthetic allows space for an extremely nuanced psychological portrayal of people affected by enigmatic, haunting phenomena that unravel on the distant planet Solaris. This is only underlined by the no-nonsense, lived-in clothes in an earthy colour palette, in which costume designer Nelli Fomina dressed the characters.

Originally Tarkovsky had wanted ‘space-age’ costumes to be used for Solaris, since the film takes place in the future. Andrei, however, was not satisfied with the plans the first costume designer had come up with: she had used ‘futuristic designs’ from the House of Models, which designers saw as pointers to fashions of the future.

In Mosfilm’s footwear workshop square-toed shoes with incredibly high platform soles had been made for the film’s main character, Kris Kelvin. They horrified Andrei.

–Nelli Fomina Directed by Andrei Tarkovsky.

Soviet Union 1972.

With Natalya Bondarchuk, Donatas Banionis & Jüri Järvet.

Costumes by Nelli Fomina.

Anastasija Nikitina is a publisher at Cygnnet where she has published and compiled books about Russian cinema, including Andrei Tarkovsky: A Photographic Chronicle of the Making of The Sacrifice (2011), as well as Nelli Fomina’s memoir.

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THE DREAM: FANTASY AND THE UNCONSCIOUS Apparell’d in celestial light, The glory and the freshness of a dream.

–William

Wordsworth

This final strand explores the relation between fashion and dreaming. If cinema itself has frequently been likened to dream, here we pursue more specifically its investment in the reverie as a realm in which fashion can truly flourish.

Slipping out of waking conscious time into the world of wish fulfilment or nightmare demands a different raiment. Not simply the sleepwear of pyjamas, or even the fantasy of nudity (Freud in his Interpretation of Dreams indicated that unusual clothing actually symbolised nakedness), the fashion of slumberland may invoke a projected fantasy of the future, or a sudden intrusion from the repressed past.

But the dream of fashion is not limited to the unconscious state. It is also a fantasy, as suggested by the title of Elizabeth Wilson’s seminal 1985 book on fashion, Adorned in Dreams. In the cinema, the popular practice of costume transformations, derived from the theatre, has always been a major source of visual spectacle – a space for pleasure and escape: indeed, Hollywood films in the studio era often announced the number of costume changes a leading lady would go through as a major marketing device. Here fashion provided the medium through which dreams and fantasies could be projected.

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Tuesday 14 March 18:30 – The Hoxton, Holborn

BLACK GIRL Introduced by Karen Alexander.

Racism, colonial oppression and injustice were recurring themes for Senegalese author Ousmane Sembène, who in the 1960s turned from literature to the cinema in order for his social message to reach a broader audience. Mbissine Thérèse Diop plays Diouna, a black nanny to a French family. Initially lured by a more glamorous life (symbolised by second-hand fashion received from her boss and a promise of a shopping trip), she is brought from Dakar to the south of France, into the alien world of an airless apartment where memories of her heritage are played out against the backdrop of a repressive world ruled by status and race.

Sembène’s first feature film, Black Girl received much critical attention and won the prestigious Grand Prix Jean Vigo.

Directed by Ousmane Sembène.

France, Senegal 1966.

With Mbissine Thérèse Diop & Anne-Marie Jelinek.

Karen Alexander is a London-based curator and writer specialising in film and artist moving image.

Most recently she has consulted the BFI on the Black Star film season.

DREAMS + AS ARE MADE OF Directed by Peter Colbourne.

UK 1965.

Produced by Courtaulds Photo Unit.

Sponsored by Courtaulds.

With Aldine Honey & Sonia Beasley.

Tuesday 21 March 21:00 – Curzon Soho, 35mm

Introduced by Jane Tynan.

Seijun Suzuki made a name for himself in the 1960s with his fast-moving gangster films, which increasingly became exercises in delirious action and colourful mise en scène. In this, his last film, he presents an unhinged fantasy in which elaborate costumes mark different levels of reality. Sachiko Itô’s dazzling costumes share the same radical mix of traditional, pop and outright surreal influences evident in the film’s plot, choreography, lighting and set design, all bathed in Suzuki’s unique spectrum of colour. They open a realm of mythology, between human and animal – a space of spectacle and confusion between two-dimensional ink painting, threedimensional theatre and a fourth dimension of metamorphosis. In a film composed of such a synthetic (un)reality, the colours and textures of the costumes provide not only a glittering spectacle, but also an anchor for Suzuki’s unique visual style.

PRINCESS RACCOON Directed by Seijun Suzuki.

Japan 2005.

With Zhang Ziyi, Joe Odagiri & Hiroko Yakushimaru.

Costumes by Sachiko Itô.

Jane Tynan leads the MA Fashion Critical Studies at Central Saint Martins. She has published on aspects of art, design, fashion and the body in books and journals including Thinking Through Fashion (2015) and Journal of Design History.

+ TRANSFORMATIONS Directed by Segundo De Chomón, Pathé frères. France 1907.

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Tuesday 21 March 20:30 – Genesis Cinema

AELITA

With a live musical accompaniment by Stephen Horne, featuring a theremin (a musical instrument invented in Russia during the 1920s), plus a post-screening discussion with Ian Christie and Djurdja Bartlett.

Aelita remains one of the most ambitious endeavours of Soviet Russia’s silent cinema, and a bold showcase of its avant-garde design.

The film is perhaps best known for its wild cubo-futurist aesthetic flaunted in its otherworld sequences on Mars. Here the angular geometric costumes and sets, designed by constructivist artists and designers including Isaac Rabinovich and Alexandra Exter, foreground hard, industrial materials such as metal sheets, celluloid and plexiglass.

Complementing each other in a total look, both the costumes and sets form striking three-dimensional compositions of converging geometrical forms and material textures.

As in many science fiction films after it, Aelita’s deliberate contrast between the Earth and an alien civilisation conceals a political message. The film is, in fact, less interesting as a science fiction fantasy than as a loaded ideological portrayal of the tumultuous reality of post-revolutionary Russia, with its nostalgia for the past and dreams of the future colliding in the uncertain present.

Directed by Yakov Protazanov.

Soviet Union 1924.

With Yuliya Solntseva, Igor Ilyinsky & Nikolai Tsereteli.

Costumes by Alexandra Exter.

Ian Christie is Professor of Film and Media History at Birbeck College, University of London. His books include studies on Michael Powell and Emeric Pressburger (Arrows of Desire, 1994), Martin Scorsese (2003) and the development of cinema.

Djurdja Bartlett is Reader in Histories and Cultures of Fashion at the London College of Fashion. She is the author and editor of numerous articles and books on fashion, including Fashion East: The Spectre that Haunted Socialism (2010).

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FASHION IN THE PASSAGE OF TIME FILM EXHIBITION It could be argued that time is cinema’s very substance, it makes itself felt even where movement ceases to exist.

As the Russian film director Andrei Tarkovsky once put it, ‘one cannot conceive of a cinematic work with no sense of time passing through the shot, but one can easily imagine a film with no actors, music, décor, or even editing’.

For fashion too, time is essential – without time, fashion would lose its meaning. With its fleeting temporality, fashion has become the most powerful emblem of novelty and zeitgeist while also being a vital marker of history.

The exhibition presents a selection of films offering contrasting perspectives on fashion, time and the moving image – from recordings of the manufacturing process to explorations of chronology, metamorphosis and fantasy, to moments when dress and artifice come to embody the texture of time.

The exhibition is curated by Marketa Uhlirova and Tom Gunning, with exhibition design by Caitlin Storrie and Marion Saurel.

Musical accompaniment by Daniel Pemberton.

With grateful thanks to all lenders: British Artists’ Film & Video Study Collection, Cinémathèque Suisse, Gaumont Pathé Archives, Jody Mack, John Maybury, Lernert & Sander, Cindy Sherman / Metro Pictures, Svenska Filminstitutet, SHOWstudio and Vexed Design.

Thanks also to Andrew Baker, Craig Barnes, Stephen Beddoe, Daniel Copley, Arya Fathi and Alex Schady.

Animated Fan Directed by Émile Cohl / Gaumont.

France, 1909.

Costume Through The Ages Pathé frères.

France, 1911.

Beautiful Ladies’ Hats Directed by Émile Cohl / Gaumont.

France, 1909.

A Retrospective Look At Corsets Pathé frères.

France, c. 1920.

Of Spinning And Weaving Directed by Werner Dressler.

Switzerland, 1939.

Doll Clothes Directed by Cindy Sherman.

USA, 1975.

‘Leigh Bowery Dancing’, excerpt from Read Only Memory Directed by John Maybury.

UK, 1998.

Wrap Liberation Directed by Thomas Napper for Vexed Generation.

UK, 1999.

Sleep Directed by Nick Knight.

UK, 2001.

Styled by Simon Foxton & Jonathan Kaye.

Point De Gaze Directed by Jodie Mack.

UK, 2012.

Last Season Directed by Lernert & Sander.

Netherlands, 2013.

15 February – 15 March 2017 Window Gallery, Central Saint Martins Free

THANK YOU Our partners: MUBI (Kiri Inglis and Chiara Marañón), Lobster Films (Serge Bromberg and Maria Chiba), London College of Fashion (Frances Corner), Hang (Henry Dowding and Alex Broadley), Supakino (Ranjit S. Ruprai), Bal Harbour Shops Miami (Cathy Leff), Eley Kishimoto (Wakako Kishimoto and Mark Eley), Czech Centre London (Renata Clark and Tereza Porybná), William Grant & Sons UK Ltd / Monkey Shoulder (Conor Neville), aca live (James Inston), Five Points Brewing (Edward Mason).

Our supporters: We thank the following for their generous support of this year's festival: Rebecca Arnold, Leah Byrne, Jarvis Cocker, Aisling Conboy, Oriole Cullen, Shelley Fox, Stephanie Joy, Ales Kernjak (Gut Instinkt), Dana Malá and Michal Malý, Margaret_ (Katy Louis), Penny Martin, Niall McInerney, Cindy Palmano, Cindy Sherman, Anne Smith, Sarah and Simon Waterfall.

Our venues: Barbican Centre (Robert Rider, Tamara Anderson, Yasmin Elsworth and Daniela Fetta), Central Saint Martins (Jessica King), Curzon Cinemas (Kate Gerova, Damian Spandley, Michael Garrad and Ben Lyndon), The Horse Hospital (Roger K. Burton), Genesis Cinema (Tyrone Walker-Hebborn, Bobbie Hughes and Diane Pricop), The Hoxton, Holborn (Annabelle Morell-Coll, Maria Sihaloho and Hannah Cheston), Picturehouse Cinemas (Paul Ridd), Prince Charles Cinema (Paul Vickery), Rio Cinema (Oliver Meek and Andrew Woodyatt).

Film archives, distribution companies and artist studios: Rod Rhule, Hannah Prouse, Annabelle Shaw and Steve Tollervey (British Film Institute), Agnès Bertola (Gaumont Pathé Archives), Elif Rongen and Ronny Temme (EYE Film Institute Netherlands), Carmen Accaputo and Andrea Meneghelli (Cineteca di Bologna), Joe Kreczak (Curzon Artificial Eye), Rosemary Hanes and Zoran Sinbad (The Library of Congress), John Klacksmann and Sean Smalley (Anthology Film Archives), Cristina Meisner and Steve L. Wilson (Harry Ransom Center), Todd Weiner (UCLA), Marion Hewitt and Will McTaggart (North West Film Archive), Diana Versteeg (AkzoNobel), Margaret Zwilling and Pericles Kolias (Metro Pictures), Annette W (Studio Michelle Handelman), Laurence Berbon (Tamasa Distribution), Dennis Doros and Amy Heller (Milestone Films), Bhavna Mistry (Eros Films), Anne-France Mournet (Les Films du Jeudi), Jim Newman (North American Star System), Lyndsey Smith and Mark Truesdale (Park Circus), Lynn Wu (Public Television Service).

Very special thanks to: Jamie Anley, Caroline Archer, Benoit Aveline, Steven Ball, Stephen Beddoe, Madeleine Buckley, Ian Butler, Judith Clark, Peter Close, Hywel Davies, Janet McDonnell, Keith Gray, Alessandra Grignashi, Clifford Harris, Monica Hundal, Steve Hill, Joe Hunter, Amanda Jobbins, Anupama Kapse, Stevie King, Mariann Lewinsky, Teleri Lloyd-Jones, Cyana Madsen, Eleanor Mathieson, Aya Noel, Willy Ndatila, Ben Rylan, Jeremy Till, and Christel Tsilibaris.

Thank you: Melanie Ashley, Lara Barbier, Donatella Barbieri, Mary Barone, Beatrice Behlen, Jaime Bishop, Pete Blake, Ian Bowman, Matt Bramford, Eddie Brannan, Christiane Brittain, Colin Buttimer, Alice Cary, Anna Castleton Simmons, Imogen Crosby, Jacqui Davies, Susan van Dijk, Anna Edwards-McConway, Julia Eisner, Stuart Elliot, Agathe Finney, Asa Frankenberg, Beth Ann Gallagher, Daniel Gaja, Mila Ganeva, Thea Garbut, Ruairi Gilmore, Dionne Griffith, Heidi Hammond, Donna Hill, John and Jill Hunter, Pamela Hutchinson, Susan Jean, Mina Jugovich, Debi Kenny, Sabita Kumari-dass, Lisa Markwell, Yann Mathias, Ged Matthews, Laura McNamara, Alison Moloney, Ivana Nohel, Rachel Owen, Elisa Palomino, Mark Rigamonti, Agnes Rocamora, Jill Robinson, Sara Rumens, Martin Scully, Stefan Sloneczny, Sara Skillen, Lenna Stam, Lenna Stamatopoulou, Renate Stauss, Calum Storrie, Drake Stutesman, Sascha Thorpe, Romy Tirel, Roger Tredre, Jan Uhlíř, Judith Watt, Lucie Wenigerová, Katie Westlake, Jacki Wilson and Emily Young.

Brochure Design: Eugene Tan of Studio Hyte

Fashion in Film is an exhibition, research and education project based at Central Saint Martins, University of the Arts London.

THE CURATORS: Tom Gunning is Edwin A. and Betty L. Bergman Distinguished Service Professor of Art History, Cinema and Media Studies, and the College Classics at University of Chicago and recipient of the Distinguished Achievement Award from the Andrew W. Mellon Foundation. He has written extensively on problems of early and silent film, American avant-garde cinema and Hollywood film.

Marketa Uhlirova is co-founder, director, and curator of the Fashion in Film Festival based at Central Saint Martins, University of the Arts London. She is the editor of Fashion in Film’s publications, including Birds of Paradise: Costume as Cinematic Spectacle (2013), and has contributed writing to Fashion Theory, Aperture and AnOther among others.

Curatorial Assistants: Caitlin Storrie, Anna Jacobs and Kate Sinclair.

Production Assistant: Marion Saurel.

Please book your tickets with individual venues: Barbican Centre Silk Street London EC2Y 8DS barbican.org.uk/film Curzon Soho 99 Shaftesbury Avenue London W1D 5DY curzoncinemas.com/soho Curzon Bloomsbury Brunswick Shopping Centre, The Brunswick, London WC1N 1AW curzoncinemas.com/bloomsbury Picturehouse Central Corner of Shaftesbury Avenue and Great Windmill Street, Piccadilly, London W1D 7DH picturehouses.com Genesis Cinema 93 - 95 Mile End Road London E1 4UJ genesiscinema.co.uk The Horse Hospital Colonnade, Bloomsbury London WC1N 1JD thehorsehospital.com The Hoxton, Holborn 199 - 206 High Holborn London WC1V 7BD thehoxton.com/hoxtown/events Prince Charles Cinema 7 Leicester Pl London WC2H 7BY princecharlescinema.com Rio Cinema 107 Kingsland High Street London E8 2PB riocinema.org.uk

FESTIVAL SCHEDULE 15 FEBRUARY - 15 MARCH Exhibition: Fashion in the Passage of Time SATURDAY 11 MARCH 18:30 – Resurrecting and Re-Editing the Cinema Diva 20:30 – Opening Night SUNDAY 12 MARCH 15:00 – Space is the Place 18:00 – Lola Montès MONDAY 13 MARCH 18:30 – Tony Takitani TUESDAY 18:30 – + 20:45 – +

14 MARCH Black Girl As Dreams Are Made of Ikarie XB-1 Everything But Everything in Bri-nylon

WEDNESDAY 15 MARCH 18:30 – After Reel Time 20:45 – Things to Come THURSDAY 16 MARCH 18:30 – Don’t Look Now + Childhood Storage 21:00 – Last Year in Marienbad FRIDAY 17 MARCH 18:00 – In the Mood For Love 20:45 – Cléo from 5 to 7

SATURDAY 18 MARCH 15:00 – Vertigo + The Perfect Embrace 18:30 – Dressing History SUNDAY 19 MARCH 13:00 – Beyond the Rocks 20:00 – Solaris MONDAY 20 MARCH 18:30 – The Colour of Pomegranates 20:30 – Om Shanti Om + Travelling Lady TUESDAY 20:30 – 21:00 – +

21 MARCH Aelita Princess Raccoon Transformations

WEDNESDAY 22 MARCH 20:30 – My Fancy High Heels + A Lady’s Shoe + Cotton Counts FRIDAY 24 MARCH 20:30 – Tales of Manhattan + In Which We Live: Being the Life Story of a Suit Told by Itself SATURDAY 25 MARCH 14:00 – Barbarella 16:00 – Holy Motors SUNDAY 26 MARCH 16:30 – The Inferno Unseen