This week, I continued my partnership with Fashion x Film with another style breakdown of another beautiful film that I only recently discovered– director Pantelis Voulgaris’s “Little England”.
For me, this film brought up a lot of murky questions (as if from the bottom of the Aegean Sea. If you get where I’m going with that one!!!), like whether or not the concept of true love is a practical or even real, whether the definition of a “good relationship” is purely circumstantial, and whether or not it is appropriate to shout “opa!” when a Greek heart is shattered. Not to be biased, but the film and its costumes are visually stunning and they inspire me to continue pushing for a future in which I get my heart broken so badly that I simply lay down on an sun-bleached seaside alter and wait for death to come. After all, if we’re comparing that level of confident decisiveness to, say, permanently deleting your Tinder profile, would it not be a massive relief to know that you were that done forever?
While you ponder that (or avoid thinking about it) here’s a snippet of the breakdown:
What if the chance for true love has sailed, and we are too late?
This ultimate romantic nightmare is put to film in Pantelis Voulgaris’ “Little England.” Set against a backdrop of the Aegean Sea on the Greek island of Andros, the film spans the period between 1930 through 1950 and follows estranged sisters Orsa and Moscha, the only children of a hard-hearted mother and largely-absent seafaring father. As the plot unfolds, the relationship that Orsa and Moscha have with the sea becomes a constant reminder of the push and pull of their lives — tradition and loneliness, security and yearning, and the great unfairness of life and love, which are both uncontrollable and inescapable — as their dreams of the future are dashed against the rocks or sunk into obscurity. When these sisters fall in love with the same man (Spyros), their lives are lost in a tempest of unspoken truths and jealousy.
The intense despair of the people of Andros is only matched by the luxurious beauty of the characters’ costumes. Orsa, the more introspective of the two sisters, is seen almost exclusively in solid colors that match the island and its surroundings –peach, cream, sky blue, and Cypress green— while Moscha, more outspoken and naïve, wears trendy accessories, girlish flower prints, and bold patterns. These differences mark their clashing personalities, but the similarly delicate, organic, fluttering cuts of their clothing mirror their shared and painfully adaptable femininity.
You can read the rest and see Fashion x Film’s “Little England” inspired capsule collection here.