Xavier Dolan in Tom À La Ferme

The first Xavier Dolan film I watched also happened to be his first. Watching J’ai Tué Ma Mère — Dolan’s directorial debut, written by and starring himself — was especially exciting for an early teenage francophile. It was full of angst and, at the time, its story of a young gay teenager’s relationship with his mother felt relatable. It was the first time I had seen non-heterosexual sex in a film, and it was the first ‘queer’ film I’d ever seen. The film was quite important, and a big influence on my youth.

After that first film, my relationship with Dolan’s work has been akin to that of a young girl with a boy band. I watched Les Amours Imaginaires, then I spent a month listening to Dalida’s version of ‘Bang Bang’. Laurence Anyways opened my eyes to the concept of transgender — something that is only really being explored by mainstream culture now. I endure some of the more drawn out scenes, because I love the director and his work, and I know that I won’t regret it come the film’s end. My fascination with Dolan and his work renders me inappropriate to accurately criticise it.

Beyond his visual style — something I reductively think of as ‘Sofia Coppola but darker’ — no two Xavier Dolan films are alike. His latest, Tom À La Ferme is a psychological thriller, and a good one at that. At some points you forget that the guy on screen also wrote and directed the film.

I won’t delve any deeper in my discussion of the film. It’s something you have to see, and I strongly recommend you do so.

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A sweater doubles as a scarf at Lemaire

Fashion isn’t keen on first names, it seems. YSL became Saint Laurent, Maison Martin Margiela dropped the Martin, and now Christophe Lemaire is simply Lemaire.

The designer left a position at Hermès to focus on his own brand, and the shift to a concise surname — like Chanel, Versace and indeed Hermès — reflects both the physical and creative growth of the brand, which go hand in hand.

The FW15 collection feels vaguely ‘retro’. Somewhere on the cusp of the sixties and seventies. Though the colours are Lemaire, through and through: black, brown, khaki, stony white, and faded navy.

The shapes are something of a mixed bag. Look six is a quite structured tweed coat.

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Whereas look 21 is clearly softer. The three-button lapel-less blazer feels a bit like womenswear from the eighties.

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So far it all looks like stuff you might find in an op shop, albeit of a much higher standard construction-wise.

What really matters is look 28: the sweater worn as a large scarf. Going by the photo, it could just be styling or it could be an actual piece intended to be worn that way, though I’m leaning towards the former.

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The look has been done a couple of times elsewhere. Not quite a trend yet, a subtle one at best, but I have a feeling we’ll be seeing more of it, perhaps in street style shots.

Come winter, I may be buying sweaters in pairs.