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Fashion on Film: Movie Review, Ultrasuede: In Search of Halston

Director Whitney Smith sets off in a retro Camaro ostensibly searching for Halston at the beginning of his fashion documentary. Such a conceit is an early sign that Ultrasuede: In Search of Halston is going to quickly veer off course into the land of ‘70s cheese. Really, it’s doubtful that the designer who spent $100,000 a year of orchids or who arrived at parties by yacht with an entourage of models would have stepped foot in a Camaro. But Ultrasuede is less a thoughtful portrait of the man or designer than Smith’s projection of Halston as a symbol of Studio 54 and the excesses of the ‘70s.

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Fashion on Film: Movie Review, Scatter My Ashes at Bergdorf's

Millions of people make the pilgrimage up a certain stretch of Fifth Avenue in New York City each year to see how the rich and famous spend their money. Its anchors of retail are Saks Fifth Avenue on one end and Bergdorf Goodman’s department store on the other. The documentary, Scatter My Ashes at Bergdorf’s, is made for them, the hoi polloi on the street. Like the Bergdorf’s windows at Christmas time that draw crowds each year, the film gives average joes a glimpse into a store that they probably can’t afford.

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Fashion on Film: Movie Review, Bill Cunningham New York

Bill Cunningham is the man behind the camera. He's the photographer whose column in the New York Times, Sunday Styles section has gained iconic status. His images in On The Street aren’t high fashion neatly packaged for the runway. He captures New Yorkers strutting their stuff on the pavement. Anyone can grace his page. You don’t have to have celebrity to back up your style. You don’t have to be rich enough to shop on Fifth Avenue. Maybe, one Sunday, you’ll be flipping through the paper and find you or me. His fashion picks each week give us all hope.

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Fashion on Film: Movie Review, Iris

Director Albert Maysles couldn’t have picked a grander figure to document than Iris Apfel for his eponymous film, Iris. Indeed, Maysles and Apfel are a match made in celluloid heaven. Maysles’ trademark cinema verite style gives the iconic style maven plenty of room to hold court, while the camera quietly watches. And hold court she does.

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