‘The best fashion show is definitely on the street.’ Bill Cunningham
Set on the pulsing streets of Manhattan, this documentary follows the life of fashion photography veteran Bill Cunningham. It portrays a man passionate about his work to the point of obsession, principled in his approach to it, and humble in his recognition of it. One of the most significant characteristics this documentary portrays of Bill is his utter disdain with the glamour of the fashion industry. Celebrities and socialites are not the focus of Bill’s lens, but instead he favours photographing everyday people on the street, who he thinks are interesting. Bill himself states ‘I am not interested in celebrities and their free dresses, I’m interested in clothes.’ His outlook on the fashion industry is refreshingly simple. It doesn’t matter who you are or where you’re from, if what you’re wearing is innovative and exciting, then you are a true style icon in the eyes of Bill Cunningham.
It is clear how highly respected Bill is within the industry and amongst his peers, as being one of the most enduring fashion authorities of today, with Vogue Queen Anna Wintour herself stating that: ‘We all get dressed for Bill’. It is his stamp of approval that any fashion enthusiast would be seeking, and to be featured in his New York Times style column would be the highest honour, something most would aspire to achieve in the style careers.
One of the main things I took from this film was how vital photography, imagery and just general visual aesthetic is within the fashion industry. It captures the art of fashion as it’s happening, and in its most raw entity. With Bill Cunningham, it is not so much just about taking pictures, but telling stories, and depicting peoples lives through the medium of photography.
Despite the sea if digital equipment available to him, in the film Bill prefers the medium of good old fashioned film roles. There is something about film that is so much more raw and organic in its appearance. Digital is too perfect; it lacks the essence of what’s real, probably why Bill uses it; someone whose approach to story telling is so sincere, with all his photos dedicated to discovering something authentic and beautiful. It fits perfectly against the back drop of New York City, a concrete jungle harbouring so much life and vision within its walls, pavements and streets.
While Bill is very keen to create photo narratives of other peoples lives, he is very reserved when it comes to his own story. The film concentrates very much on his work, with very little insight into his personal life. We learn very little about his background, his family or his relationships. We get the impression that even those who have known him for years know very little about him. He is a closed book, hiding behind the disguise of a camera lens and an old, navy rain mac. His pictures alone stand as the testament to his life, the decades spent devoted to capturing, and worshiping the style of New Yorkers.
The film is a fantastic and fascinating insight into one person and their passion. Bill is a humble man whose enthusiasm and joy for his work is utterly contagious. If Bill loves it, you can’t help but love it too. It is a simple story of a simple man, but one that is funny, uplifting and ultimately inspiring.
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