Rudolph Nureyev appears to be relatively within the air. A documentary celebrating his distinctive artwork and distinctive private bond with the equally gifted prima ballerina Margot Fonteyn known as All The World His Stage was lately launched. And The White Crow, a biopic centered on the Russian dancer’s impoverished childhood and 1961 escape from the Soviet Union directed by Ralph Fiennes is due in early 2019. Within the trend sphere, Mara inventive director Ian Griffith used Nureyev, Fonteyn, and ballet normally as leaping off factors.
“I used to be fascinated with the connection between Nureyev and Fonteyn,” Griffith stated. “It’s a dynamic relatively relevant to Max Mara, as a result of it was all about distinction: Youth and expertise, the anima and the animus, the masculine aspect of femininity and the female aspect of masculinity.”
Griffith centered on the duo’s extra intimate backstage and rehearsal moments, relatively on referencing the grand costumes and the star wattage of staged performances. Therefore his consideration to leggings layered one over the opposite, rolled-sleeve cache-coeurs and débardeurs, and tees usually knotted in entrance or on one aspect. Whereas Nureyev’s model impressed a concentrate on gentle masculine tailoring (accented by a velvet rendition of his signature trilby hat and a cashmere model of his utilitarian boots), Fonteyn’s offered the ethereal chiffons and georgettes.