Princess Diana and the exhibition in Kensigton Palace entitled “Diana: Her Fashion Story”. Tom Ford’s new movie “Nocturnal Animals”. Cate Blanchett staring in “the Present”. Annie Leibovitz’s New Portraits of women. David Lynch’s Blue Velvet  still inspiring. Grace Coddington’s Memoir. Culture stories and looks combined just for you…


Tom Ford is back in the director’s chair –reprising his role as costume designer, producer, writer, and visionary -in other words as unseen protagonist of his second film. A feature film we know beforehand that will have a spellbinding atmosphere and set, an amazing score, beautiful people, and chic wardrobe and accessories; But what about the script? When you are Tom Ford, the screenplay is very specific. After his Oscar nominated 2009 debut “A Single Man”, his latest film “Nocturnal Animals” is a dark thriller, a film noir, full of aesthetic fixations. His directorial debut was a critical and commercial success. “A Single Man” took him to the Baftas, the Golden Globes, and the Oscars; And everyone expecting to find form over substance, was surprised.

the code magazine Tom Ford Nocturnal Animals
the code magazine Princess Diana


The details for the exhibition in Kensigton Palace come with time delay. The title itself is enough:
«Diana: Her Fashion Story» (February 24, 2017).  Princess Diana in a black and white frock; in a printed shirt; in a white skirt with a black belt; wearing sunglasses and a floral dress; in a vest and shirt; in a white suit; in a black long dress and pearls…The exhibition will bring together an extraordinary collection of garments, ranging from the glamorous evening gowns worn on engagements in the 80s, to the chic Catherine Walker suits that made up Diana’s working wardrobe in the 90s.


The title by itself has written its own story. The content has been used again and again in fashion editorials featuring trends, makeup, mood and season… It has been an inspiration for Lana Del Ray to Twin Peaks.
The film of David Lynch counts 30 years since its first launch on the big screen and perhaps this incident caused the velvet booming on the catwalks for 2017 – from almost all the designers- in every variation, shade and pattern. It is difficult to properly adopt it if you haven’t first watched closely Isabella Rossellini as Dorothy Vallens with her bare shoulders, black hair and angry look. While we can’t imagine how it is possible for a movie to have such a style when Dennis Hopper has the eye of a madman, a blue velvet dress and a gun in his hand,  this is exactly the magic caused by David Lynch as the director of the film.

the code magazine Blue Velvet


We can already imagine Cate Blanchett getting ready in her dressing room. Flawless, porcelain complexion, pronounced eyes and lips, hair perfectly styled; we can almost smell her perfume. The title of the play in which Blanchett is about to make her Broadway debut, is “The Present’”. “It’s all about being present; it’s all about the nowness of theater but also the nowness of our lives”, she explains. “We’re all trying to be somewhere else, but can we actually be here now? That’s the trick, isn’t it?’”.


Or her camera. For a different portrait. Annie Leibovitz’s women are not your average women. ‘Women: New Portraits”, her latest work, has already started traveling the world; 10 global cities in twelve months. “Women” is a generic, clichéd, predictable, but also effective title of 41 portraits of powerful, inspirational, talented women. Leibovitz’s legendary photos include the photograph of a naked John Lennon embracing Yoko Ono, taken just before Lennon was shot. Other portraits are less ominous, and yet very real. Portraits, veritable works of art of real women. Tacked to the wall with pushpins, unframed and surrounded by brown string, the pictures seem casually mounted, almost amateurish, far from perfect; the exhibition seems somewhat incomplete. “It is a work in progress”, states Leibovitz. “It’s not definitive. It’s meant to look like it’s still building because it is”.

the code magazine Leibovitz
the code magazine Grace Coddington


Grace. A Memoir (Random House). 333 pages. Grace Coddington is a mythical, historical figure. The entire history of the American Vogue in person. On the cover of her autobiography she is almost unrecognizable without makeup, wearing a caftan and a flower over her right ear.
If you have seen “The September Issue”, you should feel like you already know her well. The woman with the orange hair who lives in the shade of Anna Wintour, she insists, endures, rebels, creates, flourishes. Now, in a soul lodging she is trying to keep a low profile, appear as if an inconspicuous hero, to be exposed (and glamorized) through pictures and photoshoots as a model and film director of blockbusters.


Sandy Tsantaki