FIRST MONDAY IN MAY
US , 2016, 90 minutes, Colour.
Andrew Bolton, Anna Wintour, Harry Koda, Baz Lurhman, John Galliano, Jean -Paul Gaultier, Karl Lagerfeld.
Directed by Andrew Rossi.
Maybe it all depends on whether you are a fashion lover or not. If you are, there is no question as to whether you will want to see this film or not. It is chock full of fashion. If fashion passes you by or you have an ideological difficulty about catwalks, models, elaborate clothes which are probably seen and worn only by celebrities, you will probably hesitate.
The reason for the title is that the Metropolitan Museum of Art in New York City has a gala show, dinner and ball on the first Monday in May. This is the background for the first Monday of 2015, something a show to end all shows.
The screenplay invites audiences to think about passion and art at the beginning of the film, showing classic pieces in galleries and suggesting that this is a 19th-century way of looking at art. In the modern world, there are all kinds of different arts which have their place in museums, including fashion. The interviewee explains that there are ideas in fashion, symbols and patterns, let alone all the expertise in craft that goes into the designing and manufacture of clothes. So, with this in mind, we go behind the scenes for this gala event.
There are quite a number of talking heads in the film, including designers John Galliano and Jean-Paul? Gaultier, with Baz Luhrman putting in his two penneth worth. There are also a number of andthe film, he wears trousers which are several centimetres above the ankles and never socks (unless he is sometimes wearing jeans and sneakers). Presumably this is a fashion statement – and on the night itself he wears the short-leg trousers, tails, shoes and, of course, no socks.
The other key character in the film is Vovue editor, Anna Wintour, with mentions of the satiric performance parodying her by Meryl Streep in The Devil Wears Prada. He has had her own documentary with The September Issue, about her work on Vogue. She’s not quite the dragon lady here, but explains herself as decisive. She has a great deal to do, making the decisions, inspecting the designs and layouts, the dresses, and the important diplomacy of places at the tables. There is also the issue of a contract with Rhiana, for her most elaborate dress on the red carpet, her speech and performance during the occasion – as well as her rather large fee.
As we go through the film, the various exhibits from China, especially the dresses, their impact, laid out, quite spectacular in their way.
And, on the night itself, the director, his camera and the audience are taken through all the exhibits by Kate Hudson, an opportunity to sit back, gaze at the extraordinary layouts, exhibits – and glimpse those celebrities and what they are wearing!
It’s one of those “who could ask for anything more!”.
1. The audience for this film? Fashion enthusiasts? The world of glamour and celebrities? A broader audience?
2. The New York Metropolitan Museum? The world of the Museum, its art and visitors? The characters working there, their jobs and responsibilities? The introduction to Alexander Mc Queen, his story, his suicide, the different styles of his creations, the decision to have an exhibition, record-breaking? The decision to have a new exhibition: China: Through the Looking Glass?
3. The preparations for the exhibition, the role of Andrew Bolton, of Anna Wintour, Harold Koda? The Vogue staff, the large African-American? designer? Explanations, seeing them in action?
4. The philosophy of exhibitions, the role of art, moving from 19th-century classic understandings of paintings and sculptures, trends in the 20th century, fashion as art, its ideas, motifs, skills?
5. The range of interviews, especially with designers, John Galliano, Jean- Paul Gaultier, Karl Lagerfeld, Baz Luhrman, and the background of Dior and Yves Saint Laurent?
6. The film demonstrating the logistics, the time, the role of the authorities, decision-making at every level? Anna Wintour and the meetings, the taste, comments about her decisiveness and her own interpretation? Andrew Bolton and his attention to detail in every way? The camera following him around? The scope of the logistics, engineers, designers? Unpacking the exhibits? Technical aspects like lighting? The table plans for the dinner? The contract with Rhianna, her rehearsals?
7. The night itself, Anna Wintour and her daughter and her address, the range of celebrities, the film stars and their being seen? The impact?
8. The exhibits, Kate Hudson and the tour, the visitors and their response? The effect of the tour for the audience and the focus on all the visuals?
9. Speeches, Rhianna and song, the photos?
10. The aftermath with Vogue, looking at the photos, decisions about the issue and the cover?
11. The film immersing its audience in this particular fashion world?
