The White Wedding serial comes to an incendiary climax; with the popes and the bridesmaids melting into insignificance, a ferocious Kate rocks out with a fistful of cake.
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The penultimate campaign image features no trace of the bride's original wedding garb as the finally takes control of her destiny...and the popes. Kate smoulders in the accompanying movie, as the series takes a Lynchian, erotic direction.
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Rip it up and start again: shattered dreams are manifest in a tattered wedding dress. As Kate brandishes the scissors and the gown becomes increasingly withered, so the movie screen fractures to a shuddering, industrial soundtrack.
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Enter stage left and right - the screaming popes! Jake and Dinos step up to their Bacon-esque roles as the clerics appointed to conduct the service. An extraordinary film sequence marking the arrival of some bad news and the bride's change or heart is projected onto ice, sparking a cataclysmic conclusion.
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A more pastoral scene is explored in tonight's Agent Provocateur campaign image and film, with our bride considering her vows before a pastoral, watercolour scene buzzing with wildlife and local colour. The film leads into a more adult, nocturnal passage with Kate's multilayered foundation garments seemingly emitting their own neon light, hinting at darker episodes to come.
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From Joe Corré's screenplay directions that the heroine bride -Kate Moss- should appear "romantic, pink and full of hope" on the eve of her 'White Wedding', Nick Knight's first campaign image of six addresses all the classic elements of a kitsch boudoir scene: the powder-puff palette; the love heart vignette; the handheld mirror; a sweet butterfly hovering over virgin flesh. Meanwhile the accompanying film employs the help of a naked harpist to push the footage in more poetic direction. From tonight until Wednesday 7th, each night a different film and still image will serialise "the demise of a bride's 'big day' and the unravelling of the religious organisation behind it".
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