Born on September 29, 1903 in Paris, France, Vreeland would go on to become a noted fashion columnist and editor for world renowned fashion magazines, Harper's Bazaar and Vogue, being the editor-in-chief of the latter, and as a special consultant at the Costume Institute of the Metropolitan Museum of Art. In 1964, she was named on the International Best Dressed List Hall of Fame.
The film is a wonderful reflection on the legacy of an individual who has lived an exceptional life. Behind the icon was a woman who has lived life to the fullest, and serves as an inspiration to everyone who watches the film. This is not a film about big people or grand issues. It is delicately, oddly, insistently trivial. Much of the fun is getting a behind-the-scenes look at how the fashion icon constructs an outfit. And then, maybe, following er lead. That necklace that was too big, too bright, too gaudy may seem just right. Especially if you add another. Full of humour and warmth, the film is a delight, and sure to pique your interest in more audacious outfits. The beautiful thing about the film is that even though there are pearls of wisdom, tender moments, heartfelt truths and sharp criticisms throughout, the film never loses focus of what is at the heart of Iris' work and life. So much more than meets Diana's looks: looking at self-determination, relentless individuality, devil-may-care creativity, romance, fame and mortality all peppered throughout with delicious humor. The film is an especially realistic portrait of human life even by the standards of an inherently realistic genre. There is, for all the frivolity of her business, a gravitas and magnetism about Diana Vreeland: she's smart and funny and sassy enough for the viewer to see past a life of privilege and walk-in wardrobes. The film offers an entertaining view into the artistic process, encroaching mortality, and societal trends. Although mostly a loose and unchallenging portrait, the film is of value to the documentary field if only for taking a stand, however casual, against drabness. The film drums home its agreeable themes - never be afraid to express yourself and never stop having fun. It's nice to be reminded of this by someone with more than six decades of experience. Even if the film doesn't get far beneath surface of its subject, it is still a pleasant, if slight, depiction of a human curio. As a snapshot of an exceptional woman, Iris is an uplifting and entertaining film; it lifts our spirits with the fuel of hers.
The film is a wonderful reflection on the legacy of an individual who has lived an exceptional life. Behind the icon was a woman who has lived life to the fullest, and serves as an inspiration to everyone who watches the film. This is not a film about big people or grand issues. It is delicately, oddly, insistently trivial. Much of the fun is getting a behind-the-scenes look at how the fashion icon constructs an outfit. And then, maybe, following er lead. That necklace that was too big, too bright, too gaudy may seem just right. Especially if you add another. Full of humour and warmth, the film is a delight, and sure to pique your interest in more audacious outfits. The beautiful thing about the film is that even though there are pearls of wisdom, tender moments, heartfelt truths and sharp criticisms throughout, the film never loses focus of what is at the heart of Iris' work and life. So much more than meets Diana's looks: looking at self-determination, relentless individuality, devil-may-care creativity, romance, fame and mortality all peppered throughout with delicious humor. The film is an especially realistic portrait of human life even by the standards of an inherently realistic genre. There is, for all the frivolity of her business, a gravitas and magnetism about Diana Vreeland: she's smart and funny and sassy enough for the viewer to see past a life of privilege and walk-in wardrobes. The film offers an entertaining view into the artistic process, encroaching mortality, and societal trends. Although mostly a loose and unchallenging portrait, the film is of value to the documentary field if only for taking a stand, however casual, against drabness. The film drums home its agreeable themes - never be afraid to express yourself and never stop having fun. It's nice to be reminded of this by someone with more than six decades of experience. Even if the film doesn't get far beneath surface of its subject, it is still a pleasant, if slight, depiction of a human curio. As a snapshot of an exceptional woman, Iris is an uplifting and entertaining film; it lifts our spirits with the fuel of hers.
Simon says Diana Vreeland: The Eye Has to Travel receives:
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