Inside The Subversive Style Of A Godard Heroine


“Everything that embellishes life is instructive”

The filmography of Jean-Luc Godard is filled with incendiary, wildly influential work. Even if his films weren't fashionable, they'd be vital. But of course, one of the fun things about Godard is the fact that his work is filled with capital-L Looks. Just think of Jean Seberg's striped shirt (the epitome of insouciant Francophile style before it became a cliché) or New York Herald Tribune sweater in Breathless (1960), or Anna Karina's divine fur collar and primary-colored stockings in A Woman Is a Woman (1961). These looks have become perennial reference points for film snobs and fashion magazines alike, and with good reason. One of Godard's most fashionable achievements (among other things, of course), Two or Three Things I Know About Her (1967) played at New York's Metrograph theater in a sure-to-be-beautiful 35mm print earlier this month, and the auteur's new film, The Image Book, premieres at the New York Film Festival tonight.

Two or Three Things I Know About Her is a foray into experimentation that uses a philosophical whispered voiceover from the director and fragmentary imagery to follow Juliette (Marina Vlady), a bourgeois housewife who dabbles in prostitution. The film critiques capitalism and the Vietnam War and features characters directly addressing the camera. All of this seriousness, though, is presented in some of the most potent, pop art-ready colors of the '60s. Costumes exist in harmony with décor and products. An early scene of Juliette washing dishes features a frock in a psychedelic pattern, a red-and-purple Buster Keaton poster, and an array of appealingly arranged packages. What could be mundane becomes scenic.

Fashion is presented as one of many quotidian concerns. "Should I wear trompe l'oeil ankle sock designs on pantyhose designed by Louis Ferraud?" Juliette asks, flipping through a magazine. Godard probably doesn't care all that much—it's just another consumerist distraction in the modern world, after all. But part of what's fascinating about Two or Three Things I Know About Her is how the camera lingers on fashion, making colors and patterns look so pleasingly tactile. Juliette wears a truly fabulous patent striped raincoat and wanders through a store brimming with colorful apparel.

A grid of shelves offers up a tantalizing array of striped shirts. Tightly packed plaid skirts and colorful sweaters fight for our attention, and the rack of furs suggest a life of upward mobility. At one point, the film describes art as "that by which form becomes style." The shop offers its own kind of artistic palette, with brightly colored tools that might momentarily relieve the blahness of the modern world. The sartorial choices to make feel endless, and the shopping scene lasts longer than we might expect. We observe Juliette's life, and while we may not really know her, we can lose ourselves in these aisles like kids in a candy store.

In one of her interactions as a prostitute, Juliette asks her client not to watch her undress. It's a small moment, but it suggests the power of clothing to protect. Later, a client asks her to put a Pan Am flight bag, one of the best-known consumer symbols of the decade, on her head. For all the talk about Godard's often-imperfect depictions of femininity, Two or Three Things I Know About Her seems to mock the concept of objectification by making it so literal, and doesn't go out of the way to make Juliette's fashion provocative.

Juliette at one point wears a striped dress along with her striped raincoat. Are the stripes symbolic of a sort of prison? Perhaps, but they're things Juliette chose, and she looks good in them. She wears the coat while standing by a painting of Anna Karina in A Woman Is a Woman, a clever wink at the director's fashion repertoire.

Late in the film, Juliette looks at us. She is wearing the raincoat and standing in front of a building in gray and violet tones that accent it perfectly. Juliette is enigmatic, a fashionable specter of womanhood. But her clothes just might give us some clues. As the film itself says, "Everything that embellishes life is instructive."

Screenshot via YouTube

The band shared details about their new St. Vincent-produced album that will drop "you into the world of catastrophe"

Sleater-Kinney just shared more information about their St. Vincent-produced album and dropped a new single.

Per Billboard, Sleater-Kinney revealed that their new album, which they've been teasing since early this year and will be their first since No Cities To Love from 2015, will be called The Center Won't Hold. It's due out on August 16 via Mom + Pop Records. "We're always mixing the personal and the political but on this record, despite obviously thinking so much about politics, we were really thinking about the person—ourselves or versions of ourselves or iterations of depression or loneliness—in the middle of the chaos," Carrie Brownstein said in a statement. Corin Tucker further noted that the new album will "[drop] you into the world of catastrophe that touches on the election."

Janet Weiss noted that the band will "explore a different sound palette" with this album, and pointed to St. Vincent as the reason behind it. She said that St. Vincent "has a lot of experience building her own music with keyboards and synthesizers so she could be our guide to help us make sense of this new landscape and still sound like us."

To satiate us until then, the band released a lyric video for new single, "The Future Is Here," which is very grungy. Bump it, below.

Sleater-Kinney - The Future Is Here (Official Lyric Video)


This is so satisfying!

Even Jon Snow knows just how unsatisfying the final season of Game of Thrones was, and he's ready to apologize. Well, a deepfake of him is at least. A heavily-edited version of Snow's speech from the fourth episode—just before the bodies of those lost in the Battle of Winterfell get burned—now features Snow apologizing for the conclusion of the show and lighting the script on fire.

"It's time for some apologies. I'm sorry we wasted your time," Snow begins. "And I know nothing made sense at the end. When the Starbucks cup is the smallest mistake, you know you fucked up! We take the blame. I'm sorry we wrote this in like six days or something," he adds, before signaling to his peers to light the script with torches and "just forget it forever." "Fuck Season 8," he says before the pages begin to crackle and burn.

If there were more lines left to alter, we would have loved to see Snow also tackle how messy Brienne of Tarth and Jaime Lannister's story line ended up, as well as Bran's kingship, Cersei's boring demise, and the water bottle appearance.

Watch the entire deepfake and try to heal the wounds left by HBO below.


Photo by Darren Craig

It premieres today, exclusively via NYLON

In LP's song "Shaken," the most recent single from her 2018 record Heart To Mouth, she tells the story of seeing her lover out with someone else—ouch. Today, exclusively on NYLON, she releases a cheeky animated music video that pokes fun at the song's heightened drama and perfectly demonstrates all the angst that comes with falling hard for someone.

"She looks at you like I used to/ And I'm just sitting in the corner sh-sh-shaken," LP sings, as the visual—with art by Maayan Priva—depicts the singer hanging out in a bar, watching the girl she likes meet up with another girl. Despite the situation's inherent drama, "Shaken" is less of a ballad and more of an upbeat bop. LP told us she loves the way "this little video captures some of the fun of the song, and its inherent comical anxiety." Sure, heartbreak isn't that funny, but our (sometimes) overly dramatic reaction to it kind of is.

"'Shaken' feels like a bit of a wild card on this record," LP says. "It's the closest I've come to writing a musical, which I hope to do one day." We heartily endorse this idea: Please, LP, give us the queer jukebox musical we crave.

Until that day comes, though, you can watch the music video for "Shaken," below.

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Photo courtesy of Sony Pictures.

This cameo has the Beyhive buzzing

I went to see Men In Black: International alone. Which would have been fine if it wasn't for the shock I received when I saw two specific characters on the screen. Unable to keep it to myself, I shared a curious look with the stranger next to me, who was obviously thinking the same thing as me. "Is that them...?" I whispered first. "I think… so," she replied. Then the two men in question started to dance, and we were both sure: "Yep, that's them."

It was Laurent and Larry Nicolas Bourgeois, better known as Les Twins. Fans of Beyoncé will recognize the duo as the talented brothers who often accompany her on tour and in music videos. In Men In Black: International, the two of them play shapeshifting entities—they're more like energy forces than aliens—who pursue Tessa Thompson's and Chris Hemsworth's characters throughout the duration of the film. The twins' ability to manipulate their bodies in ways that are graceful and otherworldly really helps sell them as extraterrestrials and is fun to watch.

So if Thompson in a suit or Hemsworth shirtless weren't enough motivation, here's another reason to go see it. If you look close, you can see them in the trailer below.


Photo by Dimitrios Kambouris/Getty Images for The Met Museum/Vogue

"I am honored to share this bonding experience with my own daughter"

In a heart-warming Instagram photo, Serena Williams shares the history of hair braiding and the importance of the tradition. The tennis player shared a photo of herself braiding her daughter Olympia Ohanian's hair and spoke about how "honored" she was to be able to "add another generation" to the tradition of the practice.

The photo shows Williams attentively braiding her daughter's hair while Olympia smiles, obviously loving the experience. Williams noted that hair braiding was created by the Himba people in Namibia, Africa, and that "we have been braiding our hair for centuries." "In many African tribes braided hairstyles were a unique way to identify each tribe," she continued.

Williams pointed out that braiding is a bonding experience. "People would often take the time to socialize," she wrote. "It began with the elders braiding their children, then the children would watch and learn from them. The tradition of bonding was carried on for generations, and quickly made its way across the world."

Williams closed her post with a sweet message about her daughter, saying that she's "honored to share this bonding experience" with her.

See the post, below.