“I am back, bastards”. Con questo monito tutto tarantiniano, Myrtle "Tilly" Dunnage returns from Dior and Balenciaga deep in the Australian outback. Per farlo, choose an outfit that will earn a place of honor on the original poster of the film - "The Dressmaker", dell’australiana Jocelyn Moorhouse.


Very black suit jacket and skirt with staggered with three-quarter sleeves. Very white hat and gloves. Of all the looks that flow in the film - many, e stre-pi- to-you - that complete all-black enclosed by total white end is the voice with which the seamstress, marked in the past by injustice, declares the intent to settle accounts and to resume its place in the native country. In mezzo alla polvere del deserto, al nulla estetico ― ed etico, in some ways - that the country is Dungatar, tick here in its essential black&white, Tilly, alias Kate Winslet, Junoesque whose features have never been so exalted as in this film. Come a dire, non ho bisogno di fronzoli e colori, I. Basto so. Tremate pure. obviously, paesani e paesane stramazzano al suo cospetto. And even an entire rugby team, when Tilly looks on the sideline with cleavage wrung out in a black dress - style Ekberg in "The sweet life" - leaving players and audience breathless. Ourselves, spettatori e spettatrici, we end up lying at his feet. That fatal combination of white-black, e questo effetto knock-down, bring me to 2010, quando il regista Baz Luhrmann ― australiano pure lui ― firmò quel micro – masterpiece of cinema advertising which was the commercial for Chanel No. 5.

Protagonista, Nicole Kidman - Australian her as well - in a state of pre-botox grace. In quel sogno d’amore di due minuti che era, and reiterating the trope of "fleeing princess" - as the noble Audrey in "Roman Holiday" - I still have to decide whether Kidman was more powerful in white shirt on jacket and shorts blacks, an unmade tie around the neck, ABSOLUTE or long black gown in the final scene, la colonna di diamanti con pendaglio “Chanel N. 5"To embellish the bare back look. But it does not matter. What matters is to give thanks to all these talented big mother's sons Australia - including Winslet - and recognize that there is nothing, alla fine, so evocative and full, di così antiteticamente seducente, Black when he meets the white on the body of a woman.

A presto, la Fru !!

a cura di Sara Fruner