Hairy Mary: this season’s fur ads are a mix n’ match of rustic lambskin, wild-child goat hair, a scramble of Hollywood fox and slick mink

And it’s a veritable image-fest too. There's Fendi, whose campaign was shot by Karl Lagerfeld, drawing heavily on Oskar Schlemmer’s extraordinary Triadic Bauhaus ballet of 1920 (thank you Alex Bailey!); charming and clever and way over the heads of most people seeing the images. Maybe fur adds to the magic realism. We have Hedi Slimane’s photograph for the Saint Laurent campaign, grubby-chic to challenge all those fabulous memories of Yves Saint Laurent. More than that; it is about a pubescent girls dressing up in grown-up clothes. This costuming was perfected in Jodie Foster’s Tallulah in Alan Parker’s Bugsy Malone (1976).

Lolita in furs.  Juergen Teller has shot a cinematic narrative for the new season. Etro by Mario Testino, a glory fest of Boho that is essentially looking back to Biba. In a nostalgic mood, Willy Vanderperre shot Dior’s fox on models lying on the cliffs near Christian Dior’s country home. Harder, less romance: Juergen Teller  and Celine have used relatively unknown faces to give authenticity and 'freshness.'  Marc Jacobs had David Sims do the story for the eponymous label: the shot of Emily Ratajkowski in a black and white fox; too clean to be grunge, it is pure 1970s street style, but in essence it is a reinvention of the black and white skunk and civet fur garments, skilfully worked by furriers in a complex mapping of intarsia; hence Erwin Blumenfeld’s photograph of Schiaparelli’s Commedia delle Arte collection in Vogue,  1938.  

Mert and Marcus have re- positioned the green fur coat;  infamous after Yves Saint Laurent’s scandalous ‘BOF’ collection 1971, here by Versace it is no less scandalous, just more overtly to do with sex. Michael Kors whams it home with an outsize fox muff on one arm in fin-de-siecle style by Mario Testino; of course it falls short of Joan Crawford when it comes to mufflettes The prize this season goes to Moncler’s ‘Icelandic Adventure’  a gorgeous fantasy shot by Annie Leibovitz with the Atomics’ siblings Lucky and Pyper Smith. It is all an allegory of love, with Hans Christian Andersen’s Snow Queen thrown in for good measure: she is reminiscent of Tilda Swinton in The Chronicles of Narnia. It is moody, it is magic and memorable - and living. The making of the campaign was filmed. Clever Moncler. It is this kind of animation of a product that gives it life and relevance. You can return to it again and again.

Fendi campaign shot by Karl Lagerfeld
Oskar Schlemmer’s extraordinary Triadic Bauhaus ballet of 1920
Saint Laurent Campagin
Jodie Foster’s Tallulah in Bugsy Malone (1976)
Louis Vuitton campaign

Etro by Mario Testino, a glory fest of Boho that is essentially looking back to Biba.

Etro campaign
Dior campaign
Celine campaign by Juergen Teller
Marc Jacobs campaign
Erwin Blumenfeld’s photograph of Schiaparelli’s Commedia delle Arte collection in Vogue, 1938
Versace campaign
Yves Saint Laurent’s scandalous ‘BOF’ collection 1971
Michael Kors campaign
Joan Crawford
Moncler's 'Icelandic Adventure' campaign
Tilda Swinton in The Chronicles of Narnia

Mrs Miniver

‘Miniver’ has all the gorgeous allusions to the age of chivalry, the medieval past and the courts of the Plantagenets and Valois. Fur in fashion repeats itself over and over again, from the white fox lining the robes of ‘Salome’ in the Byzantine Ravenna Mosaics to the mink that trimmed the robes of Henry VIII.

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