This intriguing question lies at the heart of «Kingdom of Dreams,» a vibrant documentary series that celebrated its French premiere at A Shaded View of Fashion, the world’s pioneering fashion film festival. Produced by Ian Bonhôte and Peter Ettedgui, this four-part series is boldly dubbed the «Game of Thrones of Fashion» and takes viewers on a visually captivating journey through the annals of fashion history, particularly the dynamic 1990s.
The series deftly weaves together raw footage, insightful interviews, and clips featuring fashion insiders, historians, and iconic designers. Notably, it grants viewers access to archive interviews with four pivotal designers: John Galliano, Alexander McQueen, Marc Jacobs, and Tom Ford. However, «Kingdom of Dreams» is undeniably steeped in an Anglo-Saxon perspective, elevating the status of these designers and the influence of Anna Wintour while overlooking other significant figures like Helmut Lang, Miuccia Prada, and Rei Kawakubo.
The series takes inspiration from Dana Thomas’ thought-provoking book «Deluxe: How Luxury Lost Its Luster,» which posits that the consolidation of ownership within colossal luxury conglomerates such as LVMH (led by Arnault) and Kering (helmed by Pinault) has led to a deterioration in quality and an increase in outsourcing. It’s worth noting that this perspective isn’t universally endorsed in the fashion industry.
«Kingdom of Dreams» treats viewers to riveting footage of seminal fashion moments, from Galliano’s visionary 1994 Kimono tailoring fantasy to McQueen’s audacious runway spectacles and Jacobs’ Grunge collection for Perry Ellis. It explores the clash between a new wave of designers and tycoons entering the luxury realm through hostile takeovers.
This documentary series, backed by Fremantle Films and commissioned by Sky, is readily available in the UK and will soon grace screens in France and the US. Its debut at A Shaded View of Fashion was a significant moment for the fashion film festival, though it may undoubtedly spark debates and varying perspectives within the industry.
Surprisingly, key figures like François-Henri Pinault and Bernard Arnault, who are central to the series, have yet to offer their responses. The burning question posed by the documentary – whether Arnault perceives himself as a Black Knight or a White Knight – remains tantalizingly unanswered.
With its intrigue and visual splendor, «Kingdom of Dreams» offers a distinctive lens through which to view the transformative 1990s era in fashion and the enthralling intersection of commerce and creativity in the world of luxury.»
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