. In a fashion week rich in righteous feminist foment , the direction chosen by Ramsay-Levi was palpably the most affecting. The Chloé show and collection aimed to tell a “multitude of female stories” partly through the breadth of Ramsey-Levi’s work, and partly via the creative voices of a chorus of female collaborators.
Fourgeaud said: “That was about a year and a half ago. Then when we were working on the music for this show we thought of Marianne and that maybe this was the moment to try and work together.”The result was Faithfull’s readings, full of both pathos and passion, of a selection of poetry chosen by her and Ramsey-Levi. These included verse by Louisa May Alcott, Byron, F. Scott Fitzgerald, Frances Ellen Watkins Harper, Christina Rossetti, and William Butler Yeats.
Faithfull’s own life story reads like an epic, in which she is buffeted by fate and prejudice but eventually surmounts it after many tribulations. It is a tale she told in her 1994 autobiography, Faithfull, and which after years in development will this October go into production as a movie starring Lucy Boynton and directed by Ian Bonhôte .
Between 1964, when she was first spotted at a Rolling Stones party by the band’s manager and 1972, when she was living homeless and heroin-addicted on the streets of London Faithfull’s life as chart-topping musician, movie star, and “muse” was played out in public via the tabloid press of a profoundly prurient age. She kindly recounts some of the key stories , but asks me not to repeat them here. They are all in the book, after all, and will very likely be in the movie too.
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