Catwalk

I love fashion and everything that goes along with it, so I expected a lot from catwalk, a documentary by Robert Leacock (Choices) that follows supermodel Christy Turlington during the Spring fashion collections in Milan, Paris, and New York. The film has its problems however, beginning with its lack of a clear time frame: What year is this? While this technique may suggest the cyclical nature of fashion collections, it ignores the yearly fluctuations of fashion designers' popularity that then influence fashion trends. Leacock's decision not to identify key players until the end of the film also proves problematic for any but the most hyper-aware, fashion-conscious viewer. Less recognizable members of the fashion industry like André Leon Talley (style editor for Vanity Fair) need to be identified so that viewers understand the impact (or lack thereof) of their observations. catwalk is about the industry, but it's also about model Christy Turlington, a seasoned veteran of the whirlwind known as “the shows.” Following Turlington in Milan as she runs from the house of Gianni Versace to the collection of Giorgio Armani suggests the grind that these models endure during a three-week period every fashion season. Obviously there are worse fates in this world, but catwalk assumes a viewer willing to suspend enough disbelief to indulge the models their lifestyles and salaries. It's no secret in the business that Turlington is one of the most professional, courteous, and grounded models. Her chirpy “thank-you's” and “you're welcome's” resound throughout the film, reminding the viewer that good manners make an impact even in the snobby world of haute couture. Unfortunately, Turlington's incessant perkiness threatens to neutralize catwalk's racier moments. Listening to the other models dish about Sharon Stone's sassy appearance in Paris designer Valentino's show is infinitely more fascinating than watching Turlington remove her makeup at the end of a long day. catwalk hits its stride when it lingers on collections such as John Galliano's theatrical, Russian-inspired stage show. Once the film reaches New York with Isaac Mizrahi's collection the film seems noticeably more fun. Whether this is due to editor Milton Moses Ginsberg's more effective pacing or the sheer exuberance of Mizrahi is difficult to say. catwalk is like a promising young model; it improves as it gains momentum. Malcolm McLaren's techno-romantic score unifies the various scenes, but catwalk's best moments occur sporadically, in tossed-off comments and sneak peeks into the personalities that fuel the fashion industry.