Over the last few weeks, fashion’s new campaigns have been rolling in. We've seen rival sisters for Balmain, supermodel catfights for Proenza Schouler and even cliff-dwellers for Dior. To mark some of our favourites, we pair them with their own cult film counterparts.
ALEXANDER MCQUEEN X THE PASSION OF JOAN OF ARC (1928)
For AW15 Sarah Burton took inspiration from the idea of the English rose – but her flowers came with thorns. The campaign enlisted the talents of David Sims and model Ruth Bell, sporting a recently shaved head (presumably to help set her apart from her identical twin model sister, May). With her new look and delicately holding a long-stem, she resembled Carl Theodor Dreyer’s iconic silent heroine Joan of Arc, played by Renee Falconetti in the 1928 film.
After making her fashion world debut on the red carpet at Chanel’s New York Métiers d’Art show back in March, it was never going to be long before Lily-Rose Depp followed in mother Vanessa Paradis’ footsteps to become the face of Chanel. Just days on from gambling at the casino at the brand’s couture show, her Almost-Famous style eyewear campaign dropped, featuring the teen in round-rimmed sunglasses.
For their Surf Sounds cruise campaign, Hedi Slimane tapped Danish actress Klara Kristin, star of Gaspar Noe’s upcoming film Love. Fresh from walking in the show, she appeared in the series of campaign images with fellow actor Jack Kilmer – and channelled The Virgin Suicides’ Lux Lisbon in one grassy shot.
Ex-Crystal Castles front-woman Alice Glass and Japanese dance duo Ayabambi led the troupe of goth girls for Alexander Wang’s AW15 campaign, joined by models including Molly Bair, Binx Walton and new face Isabella Emmack. Dressed in the heavy-metal inspired collection, they recalled the witch queens of The Craft, whose style made the film one of the definitive 90s teen movies.
Although appearing on the surface to be a sugar-sweet, pastel-hued ode to femininity (debutante gloves, prom queen updos) Miuccia Prada’s AW15 collection and campaign was a more conceptual comment on our ideas of saccharine girlishness. What better match for it then than The Stepford Wives, the 1975 film about the sinister reality lurking beneath the facade of a picture perfect town with equally perfect housewives.