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In Giannini's four-year tenure, she's known the payoffs of taking risks.
Giannini's Gucci girl is a lover of classics with touches of flash, a boho hippie beholden to luxury.
She screeches to a halt, steps out of the car (close-up on her Gucci leather-and-croc platform stilettos), and flashes back to a pulse-pounding encounter between herself and a smoldering stranger in a bar.
“That’s the provocation for the commercial: the essence of the strong experience.
To capture a milieu of Guilty-ness—worthy of inspiring the most irresistible transgressions—Giannini didn’t want just an ad campaign; she wanted a graphic novel turned 3-D short film, an auteur’s take on fantasy in the guise of a 60-second commercial.“Frank Miller is absolutely unique,” Giannini says. I received the storyboards directly from him and could immediately see his vision.
I could smell the streets in the movie.” Action: Driving a white ’53 Jaguar, a woman clad in tight black leather speeds across a skyscraper-flanked bridge to the hauntingly remixed electropop of Depeche Mode’s “Strangelove” (“I give in to sin/ Because you have to make this life livable…”).
Graphic novelist Frank Miller is often called a “visionary”—a loaded, hot-air term for many but nearly an understatement for him.
He dreams up worlds we’ve never fathomed, like the anarchic, crime-ridden metropolis where prostitutes mobilize in his codirecting debut, Sin City, and refashions history into timeless allegory, as with the 480 b.c.
I could smell the streets in the movie." Action: Driving a white '53 Jaguar, a woman clad in tight black leather speeds across a skyscraper-flanked bridge to the hauntingly remixed electropop of Depeche Mode's "Strangelove" ("I give in to sin/ Because you have to make this life livable...").