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July 29 2014

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Rochas’ Marco Zanini On His Favorite Flicks

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Not many in Marco Zanini’s Rochas audience last March had heard of Cactus Flower, the 1969 movie that inspired his Fall collection. But the clothes were so boldly colorful and optimistically retro, you can bet that a whole lot of us came home and promptly added it to the top of our Netflix queue. The film, which stars the improbable trio of Walter Matthau, Ingrid Bergman, and a 24-year-old Goldie Hawn, who won an Oscar for the role (can you think of a stranger love triangle?), was zanier even than Zanini’s cropped brocade flares and vertigo-inducing heels. So, who better than the Swedish-Italian designer to provide Style.com with a summer movie list? As it happens, Zanini’s upcoming Spring collection isn’t influenced by any of these films, but we wouldn’t be surprised if his recommendations prove persuasive to others. After all, on his visit to New York last week, he told us orders for his Fall Cactus Flower collection are double what they were for his Spring collection.

Fanny & Alexander, by Ingmar Bergman (1982): “Swedish noblesse…”

Together, by Lukas Moodysson (2000): “Swedish tenderness…”

Vivre Sa Vie, by Jean-Luc Godard (1962): “Paris in stylish black and white, the Nouvelle Vague, and the beautiful Anna Karina.”

An American Werewolf in London, by John Landis (1981): “The cult classic, so wicked. When the macabre gets funny.”

The Innocent, by Luchino Visconti (pictured; 1976): “My personal favorite filmmaker. An utterly lavish production with the most sumptuous costumes and interiors.”

Teorema, by Pier Paolo Pasolini (1968): “1968 upper-class discomfort and Silvana Mangano (dressed by Capucci) seduced by Terence Stamp…an ‘abstract’ film.”

Harold and Maude, by Hal Ashby (1971): “Outrageous black comedy. Just my sense of humor.”

It’s Easier for a Camel…, by Valeria Bruni Tedeschi (2003): “I love everything about her.”

Le Feu Follet, by Louis Malle (1963): “Inner turmoil, Erik Satie soundtrack, Coco Chanel outfits from the very first scene, Jeanne Moreau. A deeply penetrating movie.”

The Draughtsman’s Contract, by Peter Greenaway (1982): “Opulent and wildly extravagant! Unforgettable Michael Nyman soundtrack…”

Dans Paris, by Christophe Honoré (2006): “An intense performance by the rather handsome Romain Duris.”

Photo: Everett Collection

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Dept. of Culture