Dress like: Heroine Catherine Deneuve from the movie "Daytime Beauty"

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Paris of the 1960s and 70s is not the first season to inspire designers: Edie Slimane turns to the bourgeois style in Celine, Nicolas Geschierre moves away from the iconic futurism of Louis Vuitton in favor of flared trousers and blouses with bows.

“Daytime Beauty” of 1967 is a film about a pair of bourgeois with an ideal wardrobe and a rather superficial plot. It is difficult to call the drama a masterpiece of world cinema, but we have at least two reasons to watch it: Yves Saint Laurent was the costume designer, and the main role was played by his muse Catherine Deneuve.

The plot of the film tells about a young woman who has just married, but does not feel sexual attraction to her husband. In the yard – Paris and the sexual revolution of the 60s. Catherine’s thoughts are occupied with erotic fantasies, which she is in no hurry to embody in her wedding bed – and goes into a brothel. In the afternoon, she is a call girl (timid and aristocratic, as her boss describes her), and after five she returns to the role of a cold and restrained wife.

What is happening in the film is torn between two poles: the scenes of her husband’s tenderness and care are replaced by domestic violence, Catherine appears on the screen either in massive fur coats or in white lace underwear (or even without it).

Yves Saint Laurent emphasized this inconsistency with the help of details. At the beginning of the film, Catherine plays tennis in a snow-white skirt with pleats and a cashmere sweater, and comes to the brothel with carefully selected accessories and a sheath dress, the cut of which the brothel workers admire.

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She walks around Paris in the Saint Laurent vinyl trench coat and Roger Vivier boats, which were elevated to cult status after the release of the film. On the seashore, Catherine wears a large black coat with velvet flared trousers and a cap with spikes.

Saint-Laurent settled on a neutral palette: black, white, red and shades of beige.

The main character does not change her elegance, even when the situation requires it: her colleagues appear in sophisticated sets of black, and Catherine remains faithful to soft pink linen and stockings.

See also: Image and style of the movie character: Lara Flynn Boyle in the movie "Temporary Secretary"


George S. Vancamp

Most of the stories and texts published here should be taken solely as an artistic and philosophical fiction. With the photos, too, the author is interested in the impulse to creativity coming from infinity *, but not what is shown in the picture, not the photo itself, which is similar to the light of a dead star. Documentary and documentary photography is disgusting to my fictional character.

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