“People in the fashion industry have used the press a lot more than people in film industry, because you have nothing to sell except for the image. Image is everything.” – Elle MacPherson. What a brutally honest statement by a person who has literally made a career modeling for the biggest hotshots in the swimsuit business. In the past 30-40 years, we’ve seen a massive divide between what can be called fashion and what constitutes the fashion industry.
Unlike most sectors, the industry here decides the relevance of a product rather than the product influencing the industry. The biggest brands are often criticized for establishing a monopoly over the functioning of any product, that has the capability to affect the market. The industry has always been under heavy scrutiny for its shallowness and materialistic nature, and movies in particular never fail to cover any aspect of humanity. With that said, here is the list of the top fashion movies ever. You can watch some of these best fashion movies on Netflix, Hulu, or Amazon Prime.
12. Bruno (2009)
Starting off the list with ‘Bruno’, another of Sacha Baron Cohen’s incredibly improvised characters. What I love about Bruno and Cohen’s other characters is that they are quite literally a product of their environment. Bruno is a figure that must have been written on a single sheet of paper, and vehemently characterized by Cohen who understands society and its shenanigans so effortlessly.
11. The Neon Demon (2016)
Nicholas Winding Refn. He’s probably the most polarizing director at present, and I believe he’s a truly exceptional contemporary artist. I heard people blaming ‘The Neon Demon’, probably the most brutal assessment of the abyssal aspects of the fashion industry to be an exercise in “style over substance”. Many people fail to understand Refn’s filmography which relies on obscure symbolism and metaphors, and his visual style adapts to the tone of the context. In this case the film’s glitzy and shallow nature was a result of the destructive world Refn takes the audience into. His world is of extremes, with the presence of Jodorowsky, Argento, Lynch, Kubrick, Pasolini and Refn’s own lovely detestable mind in every frame.