This article takes as its starting point Dior’s recent advertising campaign for its timeless classic men’s fragrance Eau sauvage, which used still and moving imagery of film star Alain Delon, particularly shots from his stylish crime drama La Piscine (Deray, 1969). Dior’s
choice of Delon as brand ambassador is interesting in the current economic conjuncture in which conglomerates like LVMH (Louis Vuitton MoHennessey) are increasingly looking backwards to write the unique histories of their specific brands in order to differentiate them from the competition
in a saturated luxury fashion sector. This article traces Delon’s distinctive role as men’s fashion icon and his impact on global consumer culture.
Film, Fashion & Consumption is a peer-reviewed journal designed to provide an arena for the discussion of research, methods and practice within and between the fields of film, fashion, design, history, art history and heritage. The journal seeks to stimulate ongoing research on these topics and to attract contributions not only from scholars researching in these areas but also from practitioners, who are traditionally excluded from academic debate. The journal thus aims to unite and enlarge a community of researchers and practitioners in film, fashion, consumption and related fields, whilst also introducing a wider audience to new work, particularly to interdisciplinary research which looks at the intersections between film, fashion and consumption.