The voices of one big family echo through
a house packed with children and teenagers. This is the home of the natural joy of an actress who has never sought the celebrity label and so can make Women are back her own. This motto suggests how much fashion can be part of the vivacious, genuine lifestyle. Whether she’s wearing an iconic, timeless garment like a cashmere coat, a super-feminine suit hugging her figure, or a seductive red carpet gown, Arquette reminds women never to give in to stereotypes or compromises, and always to take pleasure in your curves and know you are beautiful. Authenticity is manifest in total acceptance. Patricia Arquette knows how to do this brilliantly, without being complacent. And her mere presence reaffirms in the silence
of a photograph what she has been saying over the last few years: that she loves being a woman, that she feels she is both a hunter and a survivor, that spirituality and humanity must live together, that “we all want love”.

Contributing to the dialogue between cinema and reality, Weber doesn’t miss the opportunity to portray Arquette in the arms
of New York artist Eric White, the actress’s real-life companion, who overcame his shyness to proclaim how important his love for this woman is. Moving outside, Weber’s photograph shows them with lowered eyelids. “exterior – day” one could say, to borrow the scriptwriting term. For Marina Rinaldi, woman is narrated as a union of form and substance that gives life to perfect elegance, a creation born of the power to express oneself through constant dialogue with what one chooses to wear. So Patricia Arquette does not simply wear Marina Rinaldi; she embodies it. Even in the commercial reality of a fashion campaign she manages to suggest the intricate fabric that is life, a variety of layers, brush strokes, other worlds, other rooms.