As an act of love, I decided to reinhabit Kubrick’s films, pushing to the core this incendiary approach. I took the liberty of disassembling, blending, grafting and reassembling them. Sticking to my creative praxis, I seized those movies, resemanticizing them, populating them with my clothes. Trying to create short circuits where the Adidas gown, that had already lost its status of sportswear to become a victorian costume, appears as a new character in the script of Barry Lindon. The dress designed by Laura Whitcomb, wearing which Madonna grabbed the New York spotlight in the nineties, fits in the gothic scenes of The Shining. The mysterious darkness of the enigmatic ritual of Eyes wide Shut embraces a venus in fur, embellished with sensual bourgeois pearls. And more, the 90s shoes with a fetish flavour explode through the frames of A Clockwork Orange. Finally, the dreamiest evening dress dangled in soft tulle ruches bursts into the aseptic and dystopian space of the Discovery One in 2001: A Space Odyssey. This situationist game mixes historical plans, references, experiences. The past explodes into the present. Everything can become anything, or something else. As in that famous scene of Kubrick’s masterpiece, where the bone turns into a spaceship. As in life.