That One Day: An Antidote to Fast Fashion

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Crystal Moselle / Miu Miu

More and more filmmakers, at home in all kinds of different genres (see previous article), are getting involved with fashion film. Here we have Crystal Moselle, a young filmmaker who recently debuted with her award-winning documentary The Wolfpack (2015). Like The Wolfpack, That One Day, which is the 12th film in Miu Miu’s series Women’s Tales, came about through Crystal’s intrigue of a group of young adults passing by on the streets. Why is their story worth telling through the eyes of Miu Miu?

As the younger sister of Prada, Miu Miu originated in 1993 as a private territory of expression and a creative playground, offering a counterpoint to Prada’s most minimalist period by proposing a sensual, rebellious take on dressing-up (read more). This young and daring character of the brand is lively pictured by the 18 year old Rachelle Vinberg and her skate crew, playing themselves in what would be a half-fiction-half-documentary fashion film.

The core of the film’s narrative is organized around the day Rachelle finds belonging with her fellow female skater friends, and stops to feel lonely since a long period of time. For Rachelle, this day enlightens her with a feeling of feminine strength, confidence, connection and strong affective emotion. The film then ends with an euphoric musical scene in which the female crew is skating together, wrapped in colorful jackets and free-flowing coats, making a real statement in what is initially a men’s world.

The film’s story engages the spectator on the emotional journey of a girl in a transformation stage of her life. Cinema is a powerful storyteller, and stories are always fundamentally organized by emotion (read more). That One Day‘s ultimate goal is to move us emotionally by approaching our own bodily experience with that or Rachelle through a powerful storyline, stunning cinematography and hypnotizing soundscapes. In other words, emotional engagement is promoted as being part of Miu Miu.

But what is even more interesting is that Rachelle wears the same skate-outfit during the whole film, both before and after her personal transformation. This much more implicitly communicates a very specific vision on fashion, which is that it only becomes meaningful through a long-term positive emotional connection that is created through past experiences and meaningful memories.

This sense of emotional longevity in relation to fashion is communicated in between the lines, subconsciously awakening in the spectator a mindset that is oriented towards an understanding of fashion that involves product-person emotional attachment and more sustainable consumption. It is an antidote to the alienation and meaninglessness of fast fashion, easily bought, easily discarded. In contrast, Miu Miu matters.



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