Whimsical, bright, opulent. Baz Luihrmann is one of the directors that in recent decades has influenced more the off-Cinema ambit. His vision,his screenplays, his photography, influenced not only movies, but, above all, society, customs, cultures and sub-cultures of the period.
Romeo + Juliet is the work most trendy both for the period in which t’s out, in ’96, but even for today. Not only because expressed terribly well, even if fabling the 90s, but also because it summed up in a film one of the trends and subculture stronger and long-lived of the past fifty years, the Vaporewave: colorful subculture that is always heated by an ideal Miami sun, dresses of bright colors and makes its own image always messy and full of shiny, a decadent opulence, of course, all in an irreverent and ironic interpretation.
An epic style, that of violent Verona Beach, told through vivid visions of Luhrmann, including neon, a parade of Prada, D&G and Versace, with a very stressfull background made of blood and love. A dystopian vision and actually closer to as millennials would have wanted the historical drama by Will Shakespeare was. Colder, sexy and colorful, where the trip of Romeo flies lightweight on Kym Mazelle notes with “Young hearts run free”, becoming one of the most famous love stories of literature, with Garbage and Radioheadin in background. Sounds that knows the MTV Gen: the pre-millennials, the generation that first brought to the fore the festivals and nights in the forests with techno and fluorescent colors to paint the body.
An intriguing imagery. A view of the costume inside the drama, so much fitted with the historical moment to be institutionalized in a subculture. Atmosphere underlined by a violent mixed between Venice Beach and Mexico City, with an overexposure of religious images, illuminated by fluorescent light sources between Hawaiian shirts. It is here that find its own space the perfect expression of a terribly immortal trend. Where the historic and endless confrontation between the Montagues and Capulets is narrated by guns, drugs, decadence.
Exactly the same trend occurred after the Moulin Rouge output. On the runways and then in the street there was the triumph of lingerie and clothes that have been traditionally in the privacy of the bedroom. Freed from prejudices, the cuteness underwear has become part of everyday life, such as Jean Paul Gaultier had strenuously tried to do all the ’90s long.
Same prophetic contribution we had a couple of years ago, through the unbridled luxury of exaltation to the tune of Del Rey and the Black Eyed Peas. The Grate Gatsby told us an increasingly excessive style, characterizing the graphic lines and trends for at least a couple of seasons.
His interest in fashion and its ability to influence the masses were made manifest in the short films “Impossible Conversations” Schiaparelli & Prada in 2012, a conversation in a rarefied atmosphere, seven chats on the beauty and the maximum systems of the fashion.
Waist Up/Waist Down (2012)
Ugly Chic (2012)
The Exotic Body (2012)
The Surreal Body (2012)
Hard Chic (2012)
Naïf Chic (2012)
The Classical Body (2012)
A table, sparkling wine of course, Elsa played by Judy Davis and Miuccia fully dressed, chatting being hardly in agreement on fashion, on people, on the aesthetics and on the adoration that fashion has for the ugly.
Luhrmann is that of a career that began as an actor and then moves behind the camera, with winning results.
One wonders whether it is a prophet of trends or an influencer?
Definitely both. His voice has always had a strong weight in influencing fashion and design. His is such a vivid imagination that you just have to take it as truth. A reality so palatable to become almost necessary.
“The film is written with the light,” said Federico Fellini and Baz Luhrmann must have understood this very well, as one of his favorite films is 8½.
In the Luhrmann filmography, the light is very important, so as to characterize the photograph and become a peculiarity of his stylistic choices. A colored photograph that prefers warm tones and luxurious scenery. You remember all the prevalence of red in the Moulin Rouge, the gold of “The Great Gatsby” and especially the yellow of the candles of “Romeo + Juliet.” Colors and intense images that sometimes earned him more gratification than the plot of the film, to which the director does not seem to give due importance. But it doesn’t matter, because it is the beauty of the images that transport us in his dreams made of light.
A cocktail so rich swinging dangerously between perfection and disaster, which until now has not happened. The youth rebellion has never been so sexy as between Luhrmann images. Masterpieces prophetic where words say little and everything else explains the intentions.
Below the videos in partnership with VOGUE with Shiapparelli + Prada protagonists.