Word: fashionability
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Dates: during 1960-1969
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...heart." He met with Britain's top capitalists at the Hyde Park Hotel, mingled with the likes of Mod Designer Mary Quant, Actress Mary Ure and the dip set at Lancaster House, and addressed scarlet robed sheriffs and aldermen, ecclesiastics and industrialists at the Guildhall. Ahead in Fashion. Kosygin dined on pheasant laid out on Sèvres china at dinner for 56 in Buckingham Palace, where everyone, including Queen Elizabeth, came in informal clothes in deference to the Soviet Premier's liking for the common touch. Kosygin addressed both Houses of Parliament in the opulently decorated Royal...
...where-the-action-is London, the ultimate cool is to be a fashion photographer. Fashion photographers, after all, live in converted carriage houses, make love to the world's most exotic miniskirted women, and play with cameras, fabulous toys of the jet-set generation...
Antonioni is intensely serious about life and about art. His new film, Blow-Up, deals with the difficulty of commitment to a worthwhile life through art. Antonioni's fashion photographer hero, a 25-year-old dissipated cherub brilliantly played by David Hemmings, has learned how to ride the crest of the mod culture wave; he got rich quick, drives a Rolls, and takes sex and marijuana with the casual detachment that marks him and his kind. He seems, as Time describes, "a little fungus that is apt to grow in a decaying society...
...more basic conflict between illusion and reality. The first scene of Blow-Up introduces the photographer as he leaves a flop-house where he spent the night; we learn that he had gone to photograph the sick old men who sleep there. This personal preference for social realism over fashion proves the photographer dedicated. But in photographing the tragedy and problems of other people, the photographer in Blow-Up substitutes this for an understanding and eventual solution of his own problems. The reality of the photographs becomes the photographer's only reality. Antonioni, therefore, sets up a paradox: photography...
...narrow-mindedness of Antonioni's conception would be more tolerable were it not for his continual use of sledgehammer symbolism. The visual venom with which he passes judgment on the vapid fashion models, the glassy-eyed crowd watching the Yardbirds, and the tennis players, frequently reaches laughable proportions (two people playing tennis without a ball equals two people living in a world of illusion, get it?). This defect in Blow-Up, mostly the fault of the screenplay, greatly reduces the total effect of the film. Blow-Up, when all is said and done, is a small film dealing with large...