It was at the Bourdelle Museum, with works inspired by Ancient Greece, the gods and its heroes as a backdrop, that Hedi Slimane’s presentation spread like a tsunami across the web. On the ground, the Rotunda and the Pleyel piano, mosaic of the room of the same name, as a focal point the hostess of the fantasy area of the 50s, another nod to Françoise Dorléac and the man, with whom my mother was secretly in love, Jean Desailly, famous literary critic in the film “The Soft Skin”, who begins an extramarital affair, a time when women did not drag men after having slept with them in court.
A leap in time, which no one will notice in the audience of uneducated bimbos, apart from a few cultured people from eternal France and fans of the films of François Truffaut and Claude Sautet who give the octagonal image of the country like a capture of screen of the 70s. A time when men are big machos, but still with sensitivity.
A classic example of French “New Wave” cinema, would Slimane want to fall into this category? With the two “Cs”, which transform strangely, close to the two “Cs” of Chanel, for a triumph, but which will only be the arc, Slimane nostalgic for an era he never knew.