subscribeMissoni Fall Campaign 2010, a film by Kenneth Anger
Puce Moment (1949), a film by Kenneth Anger
by Nancy Cantwell
September is here and even though I have thoroughly combed through the collections, I still race to see how the venerable magazine fashion editors piece it all back together. So far I have found the the massive amount of pulp to be fairly prosaic (yes I capitulate there are a few economic restraints to reflect upon), and really, what could possibly compete with Fall 2009’s Grace Coddington Little Red Riding Hood spread? This year however, before I could even crack the magazine covers, my fashionista cohorts were directing me towards another venerable artiste who seems to be in vogue once more. Kenneth Anger, the octogenarian auteur, has become incredibly fashionable as of late. At Valentino, a massive montage of Anger films was utilized as a backdrop for the catwalk Fall 2010. Interviewed at the show Anger gleefully asserts “I’ve always been friends of fashion!” July previewed a more ambitious project by Missoni who recruited Anger to film their Fall 2010 campaign. I was a bit confused by commission as the Missoni’s strike me as a particularly happy clan as portayed by the Jurgen Teller Spring/Summer campaign, whereas Kenneth Anger is better known for his relationship with the dark side (see Aleister Crowley, Anton LaVey and Bobby Beausolei). In an interview with Italian Vogue, Angela Missoni, the brand’s principle designer, explains,“The images of Juergen Teller for the S/S 2010 campaign reflected and portrayed our everyday family life, Kenneth Anger’s experimental approach and his narrative style, on the other hand, transformed the new campaign into a sublimation of our world.”
Distinctly Kenneth Anger, Missoni includes all the filmmaker’s signature moves. Psychedelia, layered surreal dream sequences, mirrored camera work, the compulsory orb, hand crafted titles and a well appointed soundtrack provided by the French symphonic composer Koudlam. In keeping with the celebrated Missoni family tradition all generations are represented; Margherita, Jennifer, Angela, Rosita, Ottavio, and Ottavio Jr all play their parts. Filmed in the Sumirago countryside and utilizing part of Rosita and Ottavio’s own garden, Anger also made use of other local resources for indoor sequences, building a set in the Council Room of the Sumirago Town Hall.
Whereas I am not thoroughly convinced of the efficacy of the esoteric Missoni as an ad campaign, there is no denying that Kenneth Anger not only has an affinity for fashion, but his own familial ties lean in the sartorial direction. In Puce Moment (1949) he uses gowns handed down to him by his grandmother, a costume mistress of the 1920’s silent era. Titillated as Anger is with the tabloid of celebrity his is quick to add these glamorous gowns were worn by the likes of the suicide prone Clara Bow and the drug addicted Barbara Lamarr. In his later films, Lucifer Rising (1972), Invocation of My Demon Brother (1969) and Inauguration of the Pleasure Dome (1954), Anger did much of the costume design himself (he had a great fondness for crafting occult robes).
Puce Moment, quite simply is all about getting dressed. The six minute film stars Yvonne Marquis, as the young woman ecstatic in her selection process, features the cinematography of Curtis Harrington, who later goes onto direct Night Tide, and the soundtrack is the contribution of Jonathan Hapler whose two distinct songs, “Leaving My Old Life Behind” and “I Am A Hermit”, reflect a stirring fusion of traditional folk sensibilities and airy, psychedelic musical experimentation. The films opulent interior shots are filmed at home of Sampson DeBreer, who later figures prominently in Anger’s Inauguration of the Pleasure Dome. To evoke the camera work of the silent era Anger uses different camera speeds and Borzois, a breed favored by the fashionable in the 1920s, make an appearance almost overpowering the young woman as they lead the way to destinations unknown.
There is an playfulness in Puce Moment’s opening sequence as the shimmering gowns happily dance off the rack and are swiftly snapped up out of sight. And at last as our protagonist settles on the color puce, there is a deep sense of portent pleasures to come.
