#Best jewelry at BAFTAs

[whoworewhatjewels]

Best Jewelry At The 2024 BAFTA Awards

Best Jewelry At The 2024 BAFTA Awards

Roll out the red carpet, because the 2024 BAFTA Awards brought a dazzling display of glamour and style to London’s prestigious event. Often hailed as the British Oscars, the BAFTAs honor outstanding performances from both British and international actors on both the silver and small screens. While the spotlight may have shone brightest on the stage, it was the stunning jewelry adorning the stars…

[justforbooks]

Catherine Fabienne Dorléac (born 22 October 1943), known professionally as Catherine Deneuve, is a French actress. She is considered one of the greatest European actresses on film. In 2020, The New York Times ranked her as one of the greatest actors of the 21st century.

Deneuve made her screen debut in 1957 at age 13, in a film shot the previous year when she was only 12. A major figure of the New Wave, she became, like Brigitte Bardot and Alain Delon, one of the best-known French artists in the world. In a career spanning nearly 70 years, she has played more than a hundred roles and is recognized in France and internationally for being one of the key faces of the musical film genre with appearances in The Umbrellas of Cherbourg, The Young Girls of Rochefort, Donkey Skin, 8 Women and The Beloved. Early in her career, she gained acclaim for her portrayals of aloof and mysterious beauties while working for well-known directors such as Luis Buñuel, François Truffaut, Jacques Demy, Roman Polanski, and Agnès Varda. She played in films attracting a total of nearly 99 million spectators in theaters, making her the working actress with the most admissions in France. In 1985, she succeeded Mireille Mathieu as the official face of Marianne, France's national symbol of liberty.

She has received numerous accolades over her career including two César Awards and the Venice Film Festival's Volpi Cup for Best Actress as well as nominations for an Academy Award and BAFTA Award. She has received honorary awards, including the Berlin International Film Festival's Golden Bear in 1998, the Cannes Film Festival's Honorary Palme d'Or in 2005, and the Venice Film Festival's Golden Lion in 2022.

In 1986, Deneuve introduced her own perfume, Deneuve. She is also a designer of glasses, shoes, jewelry and greeting cards. In 2005, she launched a limited-edition makeup collection for MAC Cosmetics. For the Catherine Deneuve eyewear line, she has had licensing agreements with Viva International (from 1989) and Marcolin (2014–2019) for the design, production and distribution of sunglasses and optical frames.

Daily inspiration. Discover more photos at Just for Books…?

[claireofluxembourg]

I think Catherine's best BAFTA outfit was the dark green dress with the matching emeralds jewelry.

My favourite is this:

[goddivalondon]

2024 Awards Season Fashion All the Stars in Red Dresses

As the 2024 awards season unfolds, the red carpet is once again ablaze with dazzling displays of fashion. This year, a striking trend has emerged, with numerous stars choosing to wear red dresses. Bold, glamorous, and unapologetically vibrant, these red dresses have captivated audiences and set the tone for one of the most memorable awards seasons in recent history. This article delves into the significance of the colour red in fashion, highlights some of the most iconic red dress moments from the 2024 awards season, and explores the impact of these sartorial choices on the broader fashion landscape.

The Power of Red in Fashion

Red is a colour that demands attention and exudes confidence. It symbolizes passion, power, and elegance, making it a perennial favorite for the red carpet. Historically, red has been associated with royalty, luxury, and high status. In fashion, it is often chosen by those who want to make a bold statement and leave a lasting impression.

The allure of red lies in its versatility. From deep burgundy to bright scarlet, the spectrum of red hues can convey a range of moods and styles. A red dress can be sultry and seductive, sophisticated and regal, or playful and daring. This chameleon-like quality makes red a powerful tool for celebrities seeking to make a memorable impact during awards season.

Iconic Red Dress Moments of 2024

Jennifer Lawrence at the Golden Globes

Jennifer Lawrence set the tone for the 2024 awards season at the Golden Globes with her breathtaking red gown by Dior. The dress featured a dramatic off-the-shoulder neckline, a fitted bodice, and a flowing train that created a sense of grandeur and elegance. The rich, deep red colour complemented Lawrence's complexion perfectly, while the minimalist design allowed her natural beauty to shine through. Her choice of subtle diamond jewelry and classic red lips completed the look, making her one of the best-dressed stars of the evening.

Zendaya at the SAG Awards

Zendaya continued her reign as a fashion icon at the SAG Awards, wearing a bold red Valentino gown that turned heads and set social media abuzz. The dress featured an intricate, asymmetrical design with a high slit and a dramatic cape that flowed behind her as she walked. The vibrant scarlet hue highlighted Zendaya's impeccable style and confidence. Paired with sleek, pulled-back hair and statement earrings, the ensemble was a perfect blend of modernity and classic glamour.

Lupita Nyong'o at the Oscars

Lupita Nyong'o has always been a red carpet favorite, and her appearance at the 2024 Oscars did not disappoint. She wore a stunning custom-made Prada gown in a striking crimson shade. The dress featured a plunging neckline, delicate beading, and a voluminous skirt that created a fairytale-like effect. Nyong'o's choice of bold red lips and intricate braided updo added a touch of sophistication and drama to her look, solidifying her status as a style icon.

Lady Gaga at the Grammy Awards

Never one to shy away from making a statement, Lady Gaga captivated audiences at the Grammy Awards with her avant-garde red dress by Alexander McQueen. The dress boasted an exaggerated silhouette with oversized shoulders, a cinched waist, and a dramatic train. The bright red colour was both daring and eye-catching, perfectly in line with Gaga's fearless approach to fashion. Her bold makeup and intricate jewelry further elevated the ensemble, making it one of the most talked-about looks of the night.

Margot Robbie at the BAFTA Awards

Margot Robbie brought old Hollywood glamour to the BAFTA Awards with her elegant red Chanel gown. The dress featured a classic A-line silhouette with a fitted bodice and a flowing skirt, adorned with delicate lace and beadwork. The deep red hue highlighted Robbie's timeless beauty, while her choice of vintage-inspired waves and minimalistic jewelry added a touch of sophistication. The overall look was a perfect blend of classic elegance and contemporary style.

The Impact of Red Dresses on the Fashion Landscape

The prominence of red dresses during the 2024 awards season has had a significant impact on the fashion industry. These stunning red carpet moments have inspired designers, fashion enthusiasts, and consumers alike, reaffirming the power and versatility of the colour red.

Designers Embrace Bold Colours

The trend of wearing red on the red carpet has encouraged designers to embrace bold colours and create statement pieces that stand out. The 2024 collections of many high-fashion brands feature a variety of red gowns, showcasing different shades, fabrics, and designs. This shift towards vibrant, eye-catching colours is likely to influence fashion trends in the coming seasons, encouraging more people to incorporate bold hues into their wardrobes.

Red as a Symbol of Empowerment

The choice of red dresses by numerous stars also carries a deeper significance. Red is often associated with strength, empowerment, and confidence. By wearing red, these celebrities are making a statement about their own empowerment and inspiring others to do the same. This aligns with the broader cultural movement towards self-expression and empowerment through fashion.

Increased Demand for Red Dresses

As a result of the red dress trend, there has been an increased demand for red gowns and dresses in the fashion market. Retailers and designers are responding to this demand by offering a wider range of red dresses, from high-end couture to more affordable options. This accessibility allows fashion enthusiasts of all budgets to embrace the trend and make their own bold statements.

Influence on Everyday Fashion

The red carpet always has a trickle-down effect on everyday fashion. The prevalence of red dresses during the 2024 awards season is likely to inspire fashion-forward individuals to incorporate red into their daily outfits. Whether it's a red dress for a special occasion or a bold red accessory, the influence of these iconic red carpet moments will be felt in everyday fashion choices.

Conclusion

The 2024 awards season has been marked by a striking trend: the prominence of red dresses on the red carpet. From Jennifer Lawrence's elegant Dior gown at the Golden Globes to Zendaya's bold Valentino dress at the SAG Awards, these iconic moments have showcased the power, versatility, and beauty of the colour red. As designers and fashion enthusiasts embrace this trend, the impact of these stunning red dresses will be felt throughout the fashion industry.

Red, with its associations of passion, power, and confidence, is more than just a colour; it is a statement. The stars of the 2024 awards season have demonstrated that a red dress can be a powerful tool for self-expression and empowerment, inspiring fashion lovers everywhere to make bold choices and embrace their own unique style. As the season continues, one thing is clear: red dresses will continue to captivate and inspire, both on and off the red carpet.

[thehaimtime]

LouisVuitton: #AlanaHaim in #LouisVuitton at the 75th Annual BAFTA Awards. Nominated for Best Leading Actress for her role in “Licorice Pizza”, the star wore a custom silk dress designed by @TWNGhesquiere and pieces from the Maison’s High Jewelry Collection. #BAFTAs

[brian-in-finance]

The Best Dressed Stars at the 2022 Critics Choice Awards — People

Caitriona Balfe is sleek and chic in a strapless Dior Haute Couture gown teamed with dazzling diamond jewelry.

And the award for best dressed goes to! — Daily Mail

Outlander star Catriona Balfe, 42, chose a pale pink strapless Dior Haute Couture frock with a diamond choker, a jewelry trend that Indya Moore and Jasmin Savoy Brown also opted for.

Critics Choice Awards: All the Best Looks — Hollywood Reporter

Sunday night’s Critics Choice Awards capped a day of glamorous red-carpet style, with the event kicking off mere seconds, it seemed, after the British Academy Film Awards had wrapped in London. Perhaps most impressive, many stars — including Ariana DeBose, Caitriona Balfe and Alaina Haim — not only attended both events (with Critics Choice smartly accommodating BAFTA attendees at London’s Savoy Hotel), they also managed to do a quick wardrobe change.

THE BEST DRESSED STARS AT THE 2022 CRITICS CHOICE AWARDS RED CARPET Celebrities brought their high-fashion A-game to this year's Critics Choice Awards. See every can't-miss style moment, below — Grazia

Keeping it timeless, the Belfast star went with a beige-colored belted Dior Haute Couture strapless gown with Van Cleef & Arpels wreath necklace and drop earrings.

BEST LOOKS FROM CRITICS CHOICE AWARDS 2022 — Independent

Caitriona Balfe looked elegant in a floor-length, pale pink Haute Couture Dior dress. She accessorised the look with a silver choker necklace and matching dangling earrings.

Critics Choice Awards 2022: Catriona Balfe shows off her trim waistline in a nude strapless gown as she hits the London red carpet — Daily Mail

Catriona Balfe oozed glamour as she attended the London red carpet for the 27th Annual Critics Choice Awards at The Savoy Hotel on Sunday.

See the Best Dressed Stars at the 2022 BAFTA Awards — People

Caitriona Balfe opts for a long-sleeve black velvet custom Armani Privé gown with structured shoulders and a low-cut neckline, plus Van Cleef & Arpels jewelry.

BAFTAS 2022: BEST DRESSED STARS — Independent

The Belfast actor (and Bafta nominee) can do no wrong when it comes to red carpets and this look is no different. Balfe’s black floor-length gown is accessorised by powder pink drop earrings and a dramatic dark lip.

BAFTAs 2022: The 10 best dressed. See our favourite looks from the red carpet on British film's big night — Harper’s Bazaar

Another super chic ensemble came from Outlander actress Caitriona Balfe whose sleeved, high-necked, velvet Armani Privé dress was the epitome of elegance.

Best-dressed celebs at Critics Choice Awards 2022: Top fashion looks — Page Six

Caitriona Balfe wears Dior Haute Couture on the Critics' Choice Awards 2022 red carpet.

BAFTA Film Awards: The Best Dressed Celebrities on the Red Carpet — Popsugar

Our favorite trend of the evening? The cutout details on the gowns worn by "Belfast" star Caitriona Balfe and emerging actor Shalom Brune-Franklin.

The Best Dressed Stars at the 2022 BAFTA Awards — W Magazine

Caitriona Balfe in Armani Privé.

The Best Dressed Celebrities at the 2022 BAFTA Awards — WWD

Caitriona Balfe looked incredibly high fashion in her custom Armani Prive, which was done in black velvet (sensing a trend?). The high neck and dramatic cleavage were super chic and elegant.

BAFTAs 2022 best dressed: sombre black looks dominated the red carpet — Evening Standard

Naomi Campbell led the red carpet black-out in a ruffled Burberry velvet gown and black Burberry heels and was joined in velvet by The Witcher star Emma Appleton in a black studded long sleeved column dress by Saint Laurent and Irish actress Caitríona Balfe in a vampy puff shouldered, slash neck custom Armani Privé gown.

BAFTAs Film Awards 2022: See All The Best Dressed Stars On The Red Carpet. The best celeb looks at this year's awards. — Elle

Balfe looked sleek and stylish in a black velvet cut-out gown by Armani Privé.

The Best Gowns and Dresses at the 2022 BAFTA Awards. From velvet gowns, to punches of bright yellow—and quite a few pairs of evening gloves, here is what the stars wore to stun on the red carpet this year. — Town and Country

(Caitríona Balfe) In a velvet gown and jewels by Van Cleef & Arpels.

Vogue (brian-in-finance post)

Tom & Lorenzo (brian-in-finance post)

Remember… everyone’s a critic.

[meandmyechoes]

Trisha Biggar interviews from Star Wars Insider

FASHION FORCE (#40, OCT 1998)

Costume Designer Trisha Biggar dresses the stars. by Jamie Painter 

When Ewan McGregor and Jake Lloyd step into the shoes of classic charac-ters Obi-Wan Kenobi and Anakin Skywalker in Star Wars: Episode I next summer, fans can rest assured that those shoes were chosen and designed with care by costume designer Trisha Biggar, who had the mammoth task of dressing every single character in Episode I.

"It was completely fantastic," said Biggar, who has been working in costume design for the past 18 years. "It was a huge project, and the opportunity to be able to devise various planetary groups and make them from top to toe, from helmets and hats, right down to shoes—absolutely everything that was worn—was a wonderful challenge and it was also such good fun."

A native resident of Glasgow, Scotland, Biggar trained at the Wimbledon School of Art and went on to work with several prestigious British theater companies including the Glas-gow Citizens' Theater and Opera North in Leeds. But eight years ago, she made the transition into designing costumes for film and television, including the mini-series Moll Flanders, for which she received a British Academy of Film and Television Arts (BAFTA) Award nomination, the BBC films Saigon Baby and Truth or Dare, and the British feature films Silent Scream and Wild West, both of which garnered awards on the European film festival circuit.

It was through her experience as costume designer on The Young Indiana Jones Chronicles that Biggar was recommended by producer Rick McCallum to work on Star Wars: Episode I, for which she was given six months to create the costumes. Her first concern was to assem-ble a crew of people who would do the best work possible within a tight deadline.

"Because of the scale of Star Wars and the amount of costumes we were going to have to produce in a relatively short time," Biggar recalled, "it was important for me to assemble a group who could work well together over a period of many months in a committed way, but equally importantly would also really enjoy the job."

Fortunately, Biggar was pleased to dis-cover that many of her staff members were devoted Star Wars fans. "Some of the team were even greater fans than I was," admitted the costume designer. "Loads of people came in to work who had been life-long fans of Star Wars and who knew the name of every character in the first trilogy. So they were thrilled to be involved in it."

Working out of Leavesden Studios, just outside of London, Biggar assembled a core staff of approximately 40 people. At the busiest time during pre-production, her crew expand-ed to include 60 people specializing in textiles construction, pattern cutting, dying, printing, embroidery, headdresses, armor, jewelry, gloves, and hats. Once she had brought together her design crew, the next challenge was finding fabrics, which in some cases had to be created especially for the film.

While also difficult, one of Biggar's favorite aspects of her work on Episode I was dressing the many alien characters who appear in the prequel. "When you've got non-human bodies, it's quite challenging to make things for them to wear that will flatter and enhance their body shape without allowing the audience to be aware of the mechanics workings under-neath," said the designer.

In addition to communicating a great deal with Lucasfilm conceptual artists lain McCaig and Doug Chiang, Biggar spoke at length with director George Lucas about what he envisioned with respect to the costumes.

"George came over to the UK quite regu-larly, and we had long meetings where we looked at ideas and fabrics and various mock-ups," explained Biggar. "There were also art department meetings where he discussed either historical or ethnic references he was interested in taking bits from and giving them a twist, to turn them into something different. He had very clear ideas about how he saw the various planetary groups."

As for the "look" of the costumes, Biggar described "big areas of Episode I that are completely new, while there are some areas that link through to the original film," such as some of the inhabitants of Tatooine and certain aspects of the Jedi outfits. To link certain looks from the previous Star Wars films to Episode I, Biggar paid a visit to Lucasfilm's archives, where she studied some of the past costumes in detail.

While costume design may be an area of motion pictures often overlooked by audiences, Biggar believes that the costumes in Episode I will not go unnoticed by Star Wars fans.

"I do think that sometimes people don't realize how much work goes into making actors look great," she said, adding, "although I don't think that is going to be the case with the prequel. I think the fans of Star Wars—the people who loved the first three films—all know the costumes. I had people working with me who could describe, in detail, every costume from the first films. That's a real fan, and there are a lot of people like that out there who know absolutely every item that every character wore."

As for favorites, Biggar is hesitant to name a character that she most enjoyed dress-ing—partly because she is proud of every cos-tume and also because she is sworn to secrecy on the details of the film.

However, she did say, "The costumes for the Queen's planet were very interesting to do because we printed designs that were distinctive on to fabrics and used various dye tech-niques which allowed us to incorporate very modern fabrics with antique pieces. Also, the various creature costumes were fascinating. I feel I'm still so close to it that I don't have a favorite, really. They were all great fun and they were all different."

Variety, in fact, is the key to Biggar's career.

"One year you can be involved with something like Star Wars, which has no definite point of historical reference; it's completely imaginary, in a way. And the next you could be doing something that is 16th century or contemporary. It's just a fantastic job to have."

MATERIAL WORLD (#81, MAR 2005)

The galaxy is a much darker place in Revenge of the Sith, and the costumes certainly help set the mood. by Brett Rector

Just as important as the myriad of characters and creatures of Star Wars, the costumes that drape the mythic heroes, villains, and vermin help define who they are, whether they be good, bad, or just plain ugly (no offense to all the Weequays out there). 

During the making of the original trilogy, English-bom John Mollo had the honor of designing costumes for A New Hope (for which he won an Academy Award in 1977) and Empire Sakes Back while the tandem of Aggie Guerard Rodgers and Nilo Rodis-Jamero lent their talents to dressing up the actors in Return of the fedi. While all three helped shape the look of the Star Wars universe, it wasn't until Scottish-bom designer Trisha Biggar was hired to work on The Phantom Menace that the costumes came defining and extravagant.

Unlike in the two previous prequels, Biggar and her team had a more challenging task of linking the fashions In Episode III to those found in the first three films. In this exclusive interview. Insider discovered just how important the subtle use of fabric, color, and texture is in weaving together an alluring and believable cinematic experience.

What’s the difference between designing for a film like Star Wars and designing for a more realistic film? 

(Laughs) It's very similar but obviously very different. On something like Star Wars, you can find inspiration from any culture, any time period—there are absolutely no limitations. You can use anything from anywhere, and that's fantastic. 

How many people did you have working on costumes for Episode III?

On this film, (we had) much less than on Episode II, which had about 120 to 130 people. I think between the Costume Department and Costume Props we had about 80 people.

Was It easier this time around to get everything set up, seeing that you only worked In the Sydney location and not in both Sydney and London as with Attack of the Clones? 

It felt much less rushed, and it was much nicer to have the workshop [In Sydney] going for a longer period of time. We were able to set up, get or-ganized. and be ready to go by January of 2003. It was also nice to be in Sydney longer. 

How long before setting up the workshop did you start work on the costumes?

I began working on the project in August of 2002. At that time, I went to the Ranch to have an initial meeting with George to talk about what he was envisioning for the various environments and to see what the con-cept artists had started developing for those environments. l then returned to London to look at fabrics and to start thinking about colors and so forth. 

When you finally decided on what fables to use, where did you go to search for them?

We ended up using fabrics from everywhere. In the States, we bought fabrics in Los Angeles, San Francisco, and New York. We also sourced a lot of fabrics from a big trade show in Paris, which happens twice a year, that manufacturers from all over the world come to. From there, we ended up contact-ing agents in London from these various manufacturers and bought fabrics in Japan, China, (and) India. Really, all over [the world]. I also like to use a lot of vintage fabrics, which I sourced from WI over the place, including Scotland, America, and France. 

When going over the script with George Lucas, how do you decide when a character needs a costume change?

With a normal script, you work from a day-by-day breakdown, and in a way, we did the same thing with Revenge of the Sith. Basically, for each planet and galaxy that is seen, we break down each into story days. For instance, on Coruscant, we would work out when it was morning, afternoon, evening, or even the next day, and then decide when to make a costume change. Usually, if It's the next day, [the actor] will get a change of clothes, unless there Is a reason why they would be wearing the same costume. George has a very clear idea of what he wants—even if the script wasn't on paper, the story line is in his head. 

With so many characters, Is It feasible to change an actor’s costume for every occurrence? 

Often, we would keep [minor) characters wearing the same costume. For the major characters, we could afford to change their clothes as often as necessary. George fancies costume changes. 

The Star Wars films are heavy on action, which usually calls for stunt men and stunt costumes. What considerations are taken Into ac-count when creating those?

For one, they have to be detailed very closely to the original costumes. For example, when creating [the normal) costumes for the Neimoidian gunners, we made them out of all sorts of fiberglass; the stunt ver-sions were made out of a flexible [material]. For Palpatine's stunt costume, we used exactly the same fabric for [it] as we did for Dan McDiarmid's costumes]—they are complete copies. In that case. we allowed for extra padding to be worn underneath by the stunt man. We also made some lightweight cloaks for Obi-Wan's water scenes, which involved using metal weights to fit into different parts (of the cloaks) to keep them from becoming like a parachute and floating up. 

What about fireproofing the costumes for scenes that involve pyrotechnics?

We would give samples of the fabrics to the special effects team to be burn-tested. They would separate the costumes into sections and give them back to us to be fireproofed. We would then turn them around for a second test. In some cases, we would have to use a second coat of 'fireproofing. If you have pyrotechnics, obviously you have to make sure. 

Did you know beforehand that pyrotechnics would be involved?

When we made some of the costumes, we didn't know if there would be pyrotechnics involved or not, so we didn't know (that) we needed to use fire-proof fabrics. 

How did you make the costumes fireproof?

Using a spray. We used a special solution that's safe for skin because the [entire costume] had to be saturated. 

Did you take it personally when your costumes were burned or tom?

Not at all because they were being made for the story. If the story called for it, it never bothered me. 

In the previous films, there was certainly an emphasis on the wardrobe of Padme—Episode I was very used on her as a Queen. while Episode II focused on her more casual, romantic side. How did you design for her character in Episode III, taking Into account that she's pregnant for the whole film?

First off. George didn't want her to appear pregnant In any sort of public situation, the idea being that all the senators antl people in the outside world wouldn't know [of her conc.on]. Only her handmaidens and Anakin would be aware. The difficulty was to create a shape for her costumes that would look natural and allow for move-ment like sitting and standing so the people she's interacting with wouldn't know she's pregnant. We settled on a basic shape that worked quite well. All the costumes (in which) she Is been in public hang from the shoulder and are supported on what Is [essentially] a simplified crinoline shape underneath. [Using] steel rings in the petticoats and quilted petticoats to keep stiffness underneath let me use soft fabrics on the top, so there would still be a very soft, feminine feel to her costumes.

How do Padme’s casual costumes differ from her Senatorial costumes?

The fabrics we see her In at home, where she's more relaxed, are sort of soft, fluid, and floaty. Of course, we're all very aware that she's pregnant then, roughly seven months. All told, Padme ended up with 12 costumes in this film. 

How did you handle the bump, or baby. that you were covering up?

For the bump, we ended up making a variety of different shapes to work under different outfits—for times when Natalie would be sitting rather than standing or walking (for) example. We also made a modified bump if we wanted to see more of it or be more aware of it. In the end, they were all roughly the same sbe. 

What did you do in terms of color to give the impression that this is a darker film?

In Episode II, most of [Padme's] costumes ended up having pastel colors—soft. Pale pinks and yellows. At that time, she was falling in love and being flirtatious. In Episode III, her situation is more serious, and the colors [we used] are much darker and more muted—really. less playful. Now. there is a war going on, Anakin is away, nobody knows she's married, much less pregnant, which will create all sorts of problems when people find out. 

Did you prefer the lighter side of the Attack of the Clones designs, or did you like exploring this darker side of Episode III in terms of [Padme’s] costume designs?

It was nice to show the more somber, serious side of [her] life with slightly darker col-ors but without making them hard. I still used colors that would light beautifully and that would have richness. She is still a senator, after all. and still in a position of power, influence. and importance. so the costumes have a slight ceremonial quality [to them]. The fabrics are all very beautiful and embellished in many ways using different techniques—either with printing, embroidery, or by adding vintage pieces and various things. 

Another character that has many different costumes is Ian McDiarmid (Supreme Chancellor Palpatine). How did you approach his character when you began designing?

It was quite interesting this time because in Episode II, Ian had one or two costumes. In [Episode III], because of all the different situations we'll see him in—Ilke fighting, escaping from crashing spaceships, and so forth—he needed more costumes to show (that) hls powers had increased.. It was nice because we could use textures and lots of dark colors to show the audience the deterioration of his character. The first costume you see him in on the Trade Federation starship [is made of a] kind of wool with a latex-type material over the top, which gives an almost crumbling-animal sort of feel to the fabric and helps show the inner decay of his character. Some of his costumes are quite elaborate. 

What did you do to further show his transformation?

We used lots of velvets, embroidery, and printing to give [his costumes] some extra depth. The flow of color that we used allowed us to get to black, almost. The costume we ended at before he becomes the Emperor is sort of a dark elephant gray, which in some lights looks black, but (it) isn't.

And with Anakin ultimately becoming Darth Vader, did you approach his costume in a similar fashion?

Yes, we make him much darker this time, too; [although] he was quite dark already. His dark-brown costume almost ends up black-brown. 

Did you make any major changes to the Vader costume for Episode III?

Actually, we didn't make any major changes at all, except we made the costume to fit Hayden—it's completely new. There are some things that we've [corrected], however. like the helmet—the original was completely uneven, both halves were totally uneven. When it was first sculpted, it was obviously done by hand, and one side of the face is slightly at an angle. We made it so it was symmetrical. It allowed Hayden a lot of extra head movement that wasn't possible before. 

What was it like when Hayden came on the set fully decked out and ready to film the scene?

That was a fantastic moment. I think for Hayden it was huge because of the history of Darth Vader. Again, we did very little two change the design from (that in) the original trilogy, but  we smoothed things out [a bit]. But when he appeared. it was just spine tingling.

LONG AGO, FAR AWAY: GALAXY FASHION (#85, NOV 2005)

The costume display of a lifetime allows fans of the Star Wars saga to get an up-close-and-personal look at the artistry of Trisha Biggar.

By Cherie Buchheim

Photos by Brett Recgtor

Just beyond an X-wing fighter that guards a marble rotunda, two familiar droids are standing. They seem to be waiting at the entrance of a star cruiser’s corridor, which leads to a gallery arrayed with the couture of a thousand worlds.

From the somber shades of Jedi robes to the autumn colors of a picnic gown heralding the dawn of romance, the highly anticipated "Dressing a Galaxy: The Costumes of Star Wars" exhibit made its debut at the Fashion Institute of Design and Merchandising in Los Angeles on September 19. For the first time ever, the public was able to view a breathtaking display of the costumes and props from all six movies in the Star Wars saga.

More than 350 fans, many in costume, attended the exhibit on opening day. Armed with sketchbooks, cameras, and even tape measures, they were prepared to take advantage of this rare opportunity to view the fashions of a faraway galaxy. Many faithfully recorded every detail of more than 100 costumes and accoutrements of the heroes and villains of the Star Wars universe. The sheer number of costumes filling the exhibit emphasizes the fact that the epic tale envisioned by George Lucas is in part a costume drama of operatic scale, a period piece set "a long time ago" with styles gleaned from the Elizabethan, Jacobean, and Victorian eras, as well as design elements of Art Moderne, Africa, and Feudal Japan.

At a preview party held earlier in the month, Lucas, Costume Designer Trisha Biggar, and Costume Props Supervisor Ivo Coveney were on hand to introduce this unprecedented display to the press, FIDM alumni, and several fashion-industry guests. The prequel trilogy's costumes have been featured in Vogue magazine; indeed, the cultural impact and appeal of Star Wars has become so universal that 25 of the exhibition's costumes were flown to New York City for a turn on the catwalk during Olympus Fashion Week, alongside fashion collections featuring well-known designers like Vera Wang, John Varvatos, and Donna Karan. "Dressing a Galaxy" took the stage at the Ziegfeld Theatre with models strutting down the runway ranging from a cadre of Padmes and Jedi to Wookiee warriors and Utapaun ministers. While not exactly "ready to wear," the fashions of Star Wars were an unparalleled standout among the week's 200 scheduled fashion shows. FIDM's 11,000-square-foot museum features eight gallery tableaux depicting the full range of galactic haute couture. Visitors are treated to rooms filled with Jedi Knights, Senators, and Sith Lords. The transformation of Palpatine is chronicled in the shift-ing colors of his wardrobe, from stately, deep green Senate garb to a unique latex-infused wool robe that resembles the hide of an alien reptile. The crumbling texture of the gray fabric suggests Palpatine's inner decay as he embraces the dark side. The largest dis-plays in the collection are reserved for Padme Ami-dala's sartorial journey from Queen of Naboo to the fashions reflecting her forbidden marriage and clandestine maternity. The collection is showcased in the companion book "Dressing a Galaxy: The Costumes of Star Wars," which serves as a catalogue for the exhibit. The hardcover book is available in two editions, including a deluxe version protected by a linen case and featuring original fabric swatches, a DVD, and a resin-cast reproduction of a Wookiee ban-dolier buckle. The elegant volume is a delight to collectors and will be on the "must-have" list for Star Wars costumers. 

DESIGNS ON A GALAXY

In 1976, Costume Designer John Mollo had only 11 weeks and an extremely limited budget to create the costumes for A New Hope. Mollo constructed such characters as Darth Vader by scouring the various departments of London's famed Berman's and Nathans costume house. Using Ralph McQuarrie's production paintings as a model, he assembled the looks of a leather motorcycle jumpsuit and a monk's cloak with a modified World War II gas mask and a German army helmet. With his background in the history of military uniforms, Mollo was also responsible for the costumes of the Imperial officers, Rebel pilots, and Death Star stormtroopers. His efforts earned him an Academy Award.

The palette of the first trilogy was simple as Lucas points out in his preface to the book: blacks, grays, and whites used primarily to identify the villains; earth tones for its heroes. Metallic accents were gold or silver. He chose simple, straightforward wardrobes for his characters: a white gown for a princess, flowing samurai-styled robes for an exiled Knight, the homespun clothing of a young farmer, and a mercenary pilot whose attire was inspired by the U.S. Cavalry of the American West. The limited colors corresponded with the oppressive reach of the Empire, a generation of tyranny during which, according to Lucas, "fashion had gone out the window." The exhibit's selection of costumes from the first trilogy includes Luke's Rebel pilot gear, Leia's quilted Hoth snow suit, Han's familiar brushed-denim military trousers and plastron jacket, and Leia's provocative slave girl costume from Return of the Jedi.

On the other hand, early in preproduction of the prequel trilogy, Lucas had to admit that he was "walking right into a fashion statement, head on"—a daunting task indeed. Enter Trisha Biggar, a Scottish costume designer with a background in theatrical and television production (including the last season of The Young Indiana Jones Chronicles) with an eye for period attire. Biggar brought with her a vast array of colors and fabrics to adorn the new Star Wars galaxy: silk velvet ombre dyed in shifting tones of orange to yellow for Padme's handmaidens, Art Nouveau–inspired palace guards, and aliens in opulent opera gowns. A King's ransom in jewelry adorned the citizens of Coruscant, and metallic colors now included bronzes and coppers.

For Episode III, it was necessary to produce a new version of a time-honored icon of the Star Wars saga: A replica of the Darth Vader costume would be needed for Anakin's transformation into the Dark Lord. The impact of taking on the re-creation of one of the most recognizable silhouettes in film history was lost on neither Biggar nor Coveney. Knowing that the scene was a critical moment in the prequel trilogy—an event that many fans had waited for more than a quarter of a century to see—the two were well aware that they had an immense responsibility. "We knew that we could not mess this up," Coveney said. "People are going to put these things under intense scrutiny."

The design of the new Vader costume was altered only to produce a "newly minted" look for the emerging Dark Lord. Coveney supervised the resculpting of the Vader helmet to correct a symmetry problem that had long plagued the original, and the new version allowed Hayden Christensen more ease of movement when he donned the armor. Standing alone in the exhibit's "Dark Side" gallery surrounded by Palpatine and his minions, including the failed apprentice Darth Maul, one's perception of the metamorphosis of Anakin into Vader becomes chilling. Forever imprisoned in his unyielding armor, he is now a chattel of Palpatine's grand designs of Imperial rule—a half-human machine bound to execute his master's bidding.

But it is the opulent fashions begun by Star Wars Concept Artists lain McCaig, Dermot Power, and Sang Jun Lee, sumptuous confections brought to life by Biggar, that are drawing crowds from around the world.

Biggar and her costume staff eventually created more than 1300 costumes with some principal characters having as many as 16 copies of a single outfit for purposes of continuity and stunt work. Still, Biggar politely insists that she has no favorite among the collection's costumes, nor will she identify any one creation as her "problem child" (although careful readers of the book might detect both).

Standing only inches away from these costumes allows one to view the intricate details that escaped the camera's lens and to appreciate the craftsmanship, which includes some techniques that are dying arts. Yards of midnight blue panne velvet required two months to hand smock; aubergine silk velvet features elaborate cutwork embroidery: tiny beads and shells decorate Padme's aqua georgette peignoir—for only two minutes of screen time in some cases.

The painstaking work of the costumer's art is showcased on the "touch wall:" a hands-on portion of the exhibit where visitors are invited to examine and feel the various embroideries, detailed embellishments, construction techniques, and fabrics that were employed in the creation of the costumes. Biggar contracted with textile mills worldwide to create cloth for the production as well as to secure one-of-a-kind vintage pieces and kimono fabrics. In a London warehouse, Biggar found several yards of brown wool that had been manufactured during World War II; it eventually became the Jedi cloak for Ewan McGregor and was a near-perfect match for the robe worn by Alec Guinness nearly 30 years before. 

FASHIONING A UNIVERSE

One of the costume designer's most vital skills is calling upon an extensive knowledge base. By blending antique and modern textile arts, Biggar was able—through a fabric's texture, drape, cut, and color—to relate a costume to the story and to a character's culture. Silks, taffetas, and vel-vets were employed in the clothing of Senators and Queens, while linens and wools became the hardscrabble outfits of the denizens of Tatooine and the elegant robes of the Knights of the Republic.

Like the trend-setting styles of Jackie Kennedy and Grace Kelly, Padme's wardrobe is an ever-changing statement. When viewed as a couture col-lection, it causes one to wonder if it was Biggar's intention that somewhere in the Star Wars galaxy, Padme sported the galactic equivalent of Prada or Chanel.

In The Phantom Menace, the Asian cultures of Mongolia and Tibet were mined for their regal influences. The young Queen of Naboo is intro-duced to audiences in a floor-length corded-silk gown, its hem illuminated by glowing ovals formed from Perspex and dyed with French enamel. The gown's vermilion tone and gold bullion embroidery have been long associ-ated with the Imperial courts of China. In her impassioned speech to the Senate and her motion for the "no confidence" vote that would spur Pal-patine's rise to power, her Senate gown and imposing Mongolian-inspired headdress repeat the cardinal and gold palette of Theed royalty. The use of Kabuki-styled makeup and the soft gray tones of the pre-Senate ensem-ble evoke the elegant floating world of a Geisha.

The ritual formality of the Queen's wardrobe in Episode I gives way to the romantic, flowing costumes of Episode II. Padme is at last able to explore her ideal of love—as well as her own femininity—with the graceful designs and pastel colors she dons for her retreat to Naboo's lake country. The old-gold tones and delicately embroidered rosebuds of the silk and tulle picnic dress (and reflected in the pearl-embellished wedding gown) suggest a medieval theme, which is prevalent in Padme's costumes during her growing romance with Anakin. Their courtship is depicted partly as chivalric love: Anakin is a Knight courting a lady, a former Queen. A generation later her daughter is indeed a princess and her son a displaced prince.

As the ensuing Clone Wars threaten the Republic in the open-ing of Episode III, Padme is seen wearing the somber colors of mourning. Constrained by her hidden marriage, her costumes now adopt a Victorian silhouette. She is shrouded in petticoats and crinolines—fashions adopted to conceal her pregnancy—but the designs also herald the oppression of the dark times on Coruscant, the coming of the Empire. Only in her private moments with Anakin is she again allowed freedom and comfort. At home, her graceful gowns are draped from the shoulder, elegant evening wear featuring cascades of pearls and steel-colored silk. Padme becomes a fashionable young matron...all the while unaware that she is wed to an architect of the Republic's doom.

Throughout the prequel trilogy's story arc, the costumes complement and enhance Lucas' grand mythic saga of good and evil. Yet they tell an intimate tale of heartbreak as well: first of the ornamentalism and constrictions placed upon Padme as a Queen and Senator, then the realiza-tion of her love for Anakin, and finally the deceptions that culminate in tragedy. In one of the collection's most visually impacting tableaux, the Naboo funeral gown. Padme finally finds rest upon her catafalque, clad in the colors of the water that witnessed the secrets of the young lovers.

No less ironic is Anakin's fashion story, which demonstrates his sub-mission to others and circumstances: first in the nondescript sandy hues of a Tatooine slave, then as he consigns himself to the Jedi for training The beige and russet robes of the Order are eventually supplanted by lay ered mahogany tones as Anakin gives in to Palpatine's whispered entrea ies—his lady lost, his remaining humanity is forever encased in the blac armor that completes his own transformation to evil.

Through December 10, "Dressing a Galaxy" will be there to remind us that Trisha Biggar, John Mollo, and their design teams did more than create the wardrobe for a galaxy. They artfully conveyed to us that no matter in which universe you may find yourself, politics and fashion are forever intertwined. 

Insider would like to give a special thanks to Shirley Wilson at the FIDM Museum and Gallery for all her invaluable help in making this feature possible. 

[angryhausfrau-writes]

I Travel Troubled Oceans - Chapter 2: The Heist

Charles was, in fact, difficult to persuade of the plan. Sure, he wants money just about as much as any of the rest of the crew. But he's also pretty fucking pissed at Eleanor Guthrie.

Although the prospect of getting one over on her – and ruining another one of the people responsible for sending him to jail and getting filthy rich in the process – is a strong incentive. And Jack's always been good with words. Persuasive, one might say. Charles is stubbly, slightly recalcitrant putty in his hands.

So they all troop down to the nearest YMCA so Charles can take a shower. And Anne shoplifts him some slightly more upscale slutty clothes, because God forbid the man ever actually wear a shirt. But he looks like a halfway respectable stripogram by the time he shows up to Eleanor's little birthday party – a fashionable two hours late so the party's in full swing and he doesn't look desperate. Though Eleanor will probably still read him that way. A pathetic sad sack crawling back to her on bended knee, ready to beg forgiveness and willing to do anything to get back in her good graces now that his former crew is a wreck and Flint's run off to America.

Eleanor thinks she's got Charles right where she wants him – under her two-thousand dollar heels. But that doesn't mean it's not a scene worthy of the fucking Baftas when she sees him come through the door.

Jack and Anne and the new guy are posted up in the kitchen, dealing to all the posh little fucks looking for a bit of white gold to get the party started right. Just killing time until Charles makes his move and he and Eleanor head to the bedroom.

And minimalist open plan living being in fashion, even in these old Victorian piles, they can hear every fucking word of the happy little reunion from a whole half a house away.

“Why Charles,” Eleanor practically purrs – and it's the purr of a Jaguar, lethal and expensive. “Whatever are you doing here.”

It's not a question.

Charles forces himself to look down at his feet. As if he's weak. As if he's ashamed.

“Eleanor.” He makes it sound anguished instead of angry. “I had a lot of time to think while I was away.”

Because Eleanor and her lot threw him away. And who knew Chaz was such a good actor? There's none of the violent, simmering fury Jack knows he feels over the betrayal. His tone is contrite and he must look suitably groveling, because Eleanor lets him continue.

“I started thinking about what was important – what was good in my life.” Namely her. And what he'd do to get her back. Though that goes unsaid, because there's such a thing as laying it on too thick, even for Eleanor fucking Guthrie.

And they – Jack, mostly Jack, who'd coached Charles through the whole interaction - must have struck just the right balance of pathetic groveling and virile masculinity with that little performance, because Eleanor says, “Why don't we discuss this somewhere more private, Charles?”

A few minutes later, Jack gets a surreptitious eggplant emoji from Charles's burner phone – the prearranged signal that he's successfully convinced Eleanor to sleep with him and that they're free to comb the house. Jack sends a winky face in response and then he, Anne, and the new guy split up to search for the cash.

Knowing Charles – and Eleanor – they'll probably be tied up for a while. Charles almost definitely literally. But that doesn't mean they can dawdle.

Anne takes to rifling through the bedrooms, disturbing several couples – and more – in the throws of passion. But she's always been good at intimidating idiots to stay out of her way – and so obviously on a mission that they don't do more than voice a few token protests. Plus, she's good enough at what she does – and they're so wrapped up in their drugged out fucking – that she's in and out before some of the participants even notice she's there. But, as Jack learns from her regular updates of terse “NO” and red “X” texts, she has no luck finding the cash.

Jack hadn't really expected Eleanor or Woodes Rogers to keep the cash in a random bedroom, where any horny houseguest could stumble upon it. So that just leaves the master suite – empty, what with Eleanor having taken Charles to the room that apparently serves as her bedroom cum sex dungeon, if Max's deeply - horrifyingly deeply - detailed description is to be believed. (Privately, Jack thinks Eleanor may have gotten just a little bit too invested in the whole Fifty Shades trend. But bored horny women are bored horny women, regardless of bank account balance, apparently.)

And Woodes Rogers is otherwise occupied downstairs, courtesy of the new guy, who's apparently caught his eye and is being rather badly flirted at, if the increasingly frantic texts Jack keeps getting are any indication. Jack feels bad, he really does – ok, not that bad, he'd do the same thing on purpose if Woodes Rogers was into queens. But he likes a little bit of rough - not that Jack can blame him – and the new guy seems to be doing it for him, even if he's got a pretty boy face. And this is probably the best chance they're going to get of having the house to themselves for the search. So he tells New Guy to stick it out and if Woodes Rogers starts getting too sleezy to make a break for it. They'll all meet at the rendezvous point at the kebab shop in the West End anyway, it doesn't matter if they don't all go together.

Plus, it'll help take the heat off if they just look like regular party goers instead of co-conspirators in a heist.

But Jack doesn't have a lot of extra time or attention to spare for New Guy's plight. Because Anne's struck out in the master bedroom, except for some rather tasteless but presumably expensive jewelry. And Jack's searched the study - a big, stupidly imposing room that practically screams “compensating” - and he's come up with zilch. A fucking goose egg, outside of a moving bookcase that hides a humidor. Probably Eleanor's.

So he moves on to the library, the last place the cash could reasonably be without them having to try and search the fucking basement.

It's probably the least used room in the house. Because sure, Woodes Rogers is a lawyer of some description and Eleanor an accountant. But the paraphernalia for that kind of stuff gets kept in blinding glass and steel corporate offices. This room is for impressing the impressionable. And it's absolutely stuffed to the fucking rafters with first editions of classics and entire sets of encyclopedias that Jack would bet real money have never even been opened by their current owners.

There are also several oil paintings in heavy gilt frames – perfect for hiding a wall safe. And if that doesn't reveal anything, there's always the horrifically overbearing desk situated in pride of place in front of the enormous bay windows. Jack can just see Eleanor there, sitting in the high backed antique chair like it was a throne, dispensing her version of mercy on groveling penitents.

Jack wonders if she ever made Max fuck her in that chair. That feels like something she'd be into.

And with that lovely thought, Jack turns to search the nearest painting – a drab toned portrait of a man who is presumably one of Woodes Rogers's antecedents. Blugh. But, heinous crimes committed during his life or no, he isn't the final resting place for stolen goods.

Jack turns to the next painting and the next with no more success. The final painting – one of hounds on the hunt – doesn't reveal the cash, but it does reveal some rather racy photographs of Eleanor and one of her previous lovers (neither Max nor Charles, so Jack doesn't remove them) in what is apparently Woodes Rogers's pathetic attempts at a black mail collection on his wife. It's quite sad really, so Jack just takes a snap of it for Anne – who'll undoubtedly show it to Max, who'll get a kick out of it - and moves on to the desk.

There, he strikes gold. Or cash, really. There's a hidden compartment in the bottom of the desk drawer with a lock on it – as if that could stop Jack. Or anyone with better fine motor skills than a toddler. It only takes him a few minutes and an unbent paper clip to open the catch.

And there lays the cash.

Jack signals Anne and the new guy to come help, since there's approximately a metric fuckton of it. Someone who's not Jack is going to have to practically crawl inside the desk to get it all. But they've found it, finally.

Thank Christ.

Jack starts laying bundles of cash into the bottom of his traveling case – one of those hard-sided suitcases that businessmen so love to use. And he's honestly not sure if that's going to be enough. But fortunately, the new guy had the foresight to bring a ratty backpack along and between the two bags and the three of their pockets, they get it all stowed away.

Jack texts Charles a Jolly Roger to let him know he can wrap things up with Eleanor and all that's left now is to get away clean.

Which is almost easier done than said. They walk out the door, times staggered enough that it doesn't look like they're all leaving together, and no one notices a thing. It's all very anti-climactic, honestly. The movies always make this part seem so exciting – car chases and shoot outs and etcetera. But they just walk right out the front door, completely invisible to the partiers still inside the house.

Jack leaves last, so he's only about a half block away when Charles finishes their little distraction off with a bang. They'd planned it all out – how to make it look like Eleanor had the upper hand in the breakup this time, so she wouldn't look too hard at the evening and link the theft back to Jack or Anne. How to make sure that Eleanor was left physically and emotionally satisfied enough that she never seeks Charles out for another night of fun. How to make her feel in charge and in control and like she's throwing Charles over, instead of them conning her.

And frankly, the bits Jack can hear are a masterstroke. Charles is pathetic and groveling in a way that is genuinely unappealing – but that apparently gets Eleanor's rocks off, because she's got the most self-satisfied fucking smirk on face, the one he imagines she wore the entire time Charles was in her bed. And Eleanor stands at the top of the stairs, framed by the open doorway, lauding her everything about herself over Charles as he begs her to take him back. Which she does not deign to do at all.

All the other party goers have gathered around to witness the carnage and Eleanor's not even pretending to feel sorry about making such a scene. This – this is what she's been looking for ever since Charles gave her the boot – coincidentally right before he went away on that two stretch. And she's milking her ability to get one over him in that same way for all it's fucking worth.

“We're done, Charles.”

She says it with the cold finality of a vault door swinging shut. And she sweeps back into the house, surrounded by the ranks of simpering sycophants. Leaving Charles curled into himself on the cold pavement.

[faces-of-7th-art]

#Catherine Deneuve Portrait

Cannes 1984 

Contax RTS  Carl Zeiss T* Tessar 200mm f/3,5 Agfapan 100

Catherine Fabienne Dorléac (born 22 October 1943), known professionally as Catherine Deneuve , is a French actress as well as an occasional singer, model and producer, considered one of the best European actresses and the greatest French actress of all time.. She gained recognition for her portrayal of icy, aloof and mysterious beauties for various directors, including Luis Buñuel, François Truffaut and Roman Polanski. In 1985, she succeeded Mireille Mathieu as the official face of Marianne, France's national symbol of liberty. A 14-time César Award nominee, she won for her performances in Truffaut's The Last Metro (1980), for which she also won the David di Donatello for Best Foreign Actress, and Régis Wargnier's Indochine (1992).

Deneuve made her film debut in 1957 and first came to prominence in Jacques Demy's 1964 musical The Umbrellas of Cherbourg. She went on to star in such films as Repulsion (1965), Donkey Skin (1970), Belle de Jour (1967), Tristana (1970) and The Young Girls of Rochefort (1967) opposite her sister, the actress Françoise Dorléac. She was nominated for the BAFTA Award for Best Actress for Belle de Jour, and the Academy Award for Best Actress for Indochine. She also won the 1998 Volpi Cup for Best Actress at the Venice Film Festival for Place Vendôme. Other notable English-language films include The April Fools (1969), Hustle (1975), The Hunger (1983) and Dancer in the Dark (2000).

Deneuve was born Catherine Fabienne Dorléac in Paris, the daughter of French stage actors Maurice Dorléac (1901–1979) and Renée Simonot (b. 1911). Deneuve has two sisters, Françoise Dorléac (1942–1967) and Sylvie Dorléac (born 14 December 1946), as well as a maternal half-sister, Danielle, whom their mother had out of wedlock in 1937 with Aimé Clariond, but who was later adopted by Maurice and took his surname. Deneuve was her mother's maiden name, which she chose for her stage name, in order to differentiate herself from her sisters. Deneuve attended Catholic schools .

Deneuve made her film debut with a small role in André Hunebelle's Les Collégiennes (1957) with her younger sister Sylvie Dorléac who, like their older half-sister Danielle, was an occasional child actress. She subsequently appeared in several films for director Roger Vadim as well as in L'Homme à femmes (1960), which caught the eye of Jacques Demy, who cast Deneuve in his 1964 musical Les Parapluies de Cherbourg, the film that brought her to stardom. Deneuve played the cold but erotic persona, for which she would be nicknamed the "ice maiden", in Roman Polanski's horror classic Repulsion (1965), reinforcing it in Luis Buñuel's Belle de Jour (1967), and reaching a peak in Tristana (1970).Her work for Buñuel would be her most famous .

Further prominent films from this early time in her career included Jean-Paul Rappeneau's A Matter of Resistance (1966), Demy's musical Les Demoiselles de Rochefort (1967) and François Truffaut's romantic thriller Mississippi Mermaid (1969). Deneuve remained active in European films during the 1960s and 1970s, though she limited her appearances in American films of the period to The April Fools (1969), a romantic comedy with Jack Lemmon, and Hustle (1975), a crime drama with Burt Reynolds. Her starring roles at the time were featured in such films as A Slightly Pregnant Man (1973) with Marcello Mastroianni and Le Sauvage (1975) with Yves Montand.

In the 1980s, Deneuve's films included François Truffaut's Le Dernier métro (1980), for which she won the César Award for Best Actress, and Tony Scott's The Hunger (1983) as a bisexual vampire, co-starring with David Bowie and Susan Sarandon, a role which brought her a significant lesbian and cult following, mostly among the gothic subculture. She made her debut film as a producer in 1988, Drôle d'endroit pour une rencontre, alongside frequent co-star Gerard Depardieu.

In the early 1990s, Deneuve's more significant roles included 1992's Indochine opposite Vincent Perez, for which she was nominated for an Academy Award for Best Actress and won a second César Award for Best Actress; and André Téchiné's two movies, Ma saison préférée (1993) and Les Voleurs (1996). In 1997, Deneuve was the protagonist in the music video for the song N'Oubliez Jamais sung by Joe Cocker. In 1998 she won acclaim and the Volpi Cup at the Venice Film Festival for her performance in Place Vendôme. In the late 1990s, Deneuve continued to appear in a large number of films such as 1999's five films Est-Ouest, Le temps retrouvé, Pola X, Belle maman, and Le Vent de la nuit.

In 2000, Deneuve's part in Lars von Trier's musical drama Dancer in the Dark alongside Icelandic singer Björk was subject to considerable critical scrutiny. The film was selected for the Palme d'Or at the Cannes Film Festival. She made another foray into Hollywood the following year, starring in The Musketeer (2001) for Peter Hyams. In 2002, she shared the Silver Bear Award for Best Ensemble Cast at the Berlin International Film Festival for her performance in 8 Women. In 2005, Deneuve published her diary A l'ombre de moi-meme ("In My Own Shadow", published in English as Close Up and Personal: The Private Diaries of Catherine Deneuve); in it she writes about her experiences shooting the films Indochine and Dancer in the Dark. She also provided the voice role of Marjane Satrapi's mother in Satrapi's animated autobiographical film Persepolis (2007), based on the graphic novel of the same name. In 2008, she appeared in her 100th film, Un conte de Noël.

Deneuve's recent work includes Potiche (2010) with frequent co-star Depardieu, Beloved (2011), alongside former co-stars Ludivine Sagnier and Chiara Mastroianni, the popular French adventure comedy Asterix and Obelix: God Save Britannia (2012) with Gerard Depardieu and Valérie Lemercier, screenwriter and director Emmanuelle Bercot's On My Way (2013), Palme D'or winning writer/director Pierre Salvadori's comedy drama In the Courtyard (2014), and André Téchiné's drama In the Name of My Daughter (2014). In 2017, she co-starred alongside Catherine Frot, in writer/director Martin Provost's French drama The Midwife, which has been acquired by Music Box Films for a summer 2017 distribution in the United States.

Deneuve appeared nude in two Playboy pictorials in 1963 and 1965. Her image was used to represent Marianne, the national symbol of France, from 1985 to 1989.[citation needed] As the face of Chanel No. 5 in the late 1970s, she caused sales of the perfume to soar in the United States – so much so that the American press, captivated by her charm, nominated her as the world's most elegant woman. In 1983, American Home Products retained her to represent their cosmetics line and hired world-renowned photographer Richard Avedon to promote its line of Youth Garde cosmetics, for which she famously proclaimed, "Look closely. Next year I will be 40."

She is considered the muse of designer Yves Saint Laurent; he dressed her in the films, Belle de Jour, La Chamade, La sirène du Mississipi, Un flic, Liza and The Hunger. In 1992, she became a model for his skincare line. In 2001, she was chosen as the new face of L'Oréal Paris. In 2006, Deneuve became the third inspiration for the M•A•C Beauty Icon series and collaborated on the colour collection that became available at M•A•C locations worldwide in February that year. Deneuve began appearing in the new Louis Vuitton luggage advertisements in 2007. Deneuve was listed as one of the fifty best-dressed over 50s by the Guardian in March 2013. In July 2017, Deneuve appeared in a video campaign for Louis Vuitton entitled Connected Journeys, celebrating the launch of the brand's Tambour Horizon smartwatch, which also featured celebrities, including Jennifer Connelly, Bae Doona, Jaden Smith and Miranda Kerr.

In 1986, Deneuve introduced her own perfume, Deneuve. She is also a designer of glasses, shoes, jewelry and greeting cards

Deneuve speaks fluent French, Italian and English and has some knowledge of Spanish, though she does not speak the language fluently. Her hobbies and passions include gardening, drawing, photography, reading, music, cinema, fashion, antiques and decoration.

Deneuve has been married once, to photographer David Bailey from 1965 to 1972. She has lived with director Roger Vadim, actor Marcello Mastroianni,cinematographer Hugh Johnson, Spanish model and current television presenter Carlos Lozano, and Canal+ tycoon Pierre Lescure.

Deneuve has two children: actor Christian Vadim, from her relationship with Roger Vadim, and actress Chiara Mastroianni, from her relationship with Marcello Mastroianni. She has five grandchildren.

Deneuve is close friends with the artist Nall and owns some of his works.

On 6 November 2019, BBC News reported that Deneuve suffered a mild stroke and was recuperating in a Paris hospital. Despite the health scare, there was no damage to her motor functions. Five weeks later, she was released from the hospital and spent the remainder of 2019 recuperating at her Paris home.

[tabloidtoc]

Star, February 24

Cover: Jennifer Aniston and Brad Pitt adopting a baby girl but no plans to marry yet 

Page 1: Jeremy Renner and Eiza Gonzalez get their game on and raise some eyebrows during a wild night out in Miami at the Super Bowl 

Page 2: Contents, Kendall Jenner 

Page 4: After believing her cancer was in remission Shannen Doherty opened up about its recurrence and vowed to fight it 

Page 5: Kathie Lee Gifford ready to fall in love again, RHOBH alum Kim Richards’ memoir comes out April 28 and she says it’s explosive, Justin Timberlake and Jessica Biel’s vibe was chilly at the premiere of her show The Sinner three months after Justin was busted holding hands with a costar

Page 6: Khloe Kardashian is looking more and more unrecognizable these days and her family is warning her to slow down with the plastic surgery, Madonna offered Prince Harry and Meghan Markle the opportunity to sublet her Central Park West digs instead of boring Canada, Star Spots the Stars -- Cardi B, Tiffani Thiessen, Bryan Cranston and Aaron Paul, Josh Groban and Gerard Way, Megan Thee Stallion, Alec Baldwin, Ric Flair 

Page 8: Star Shots -- Alicia Keys in London, Super Bowl MVP Patrick Mahomes during a parade for the Kansas City Chiefs at Disney World, Meghan Trainor at the American Heart Association Go Red for Women Red Dress Collection fashion show 

Page 10: Demi Moore and Rumer Willis at the Hollywood Calling photo exhibition, Denise Richards and Mork, Kyle Busch and wife Samantha 

Page 12: Jude Law catches a taxi in NYC, Joey Fatone at a Super Bowl event, Gwyneth Paltrow hosted a panel discussion on entrepreneurship 

Page 13: Jordan Fisher and Lana Condor and Noah Centineo at the LA premiere of To All the Boys: P.S. I Still Love You 

Page 14: Elizabeth Banks was honored with a parade at Harvard after being named the Hasty Pudding woman of the year, Will Arnett celebrates the final episodes of Bojack Horseman 

Page 15: Olivia Culpo on the beach in Miami. Judith Light and Bette Midler film The Politician, Betty Boop and Betsey Johnson at the Red Dress Awards 

Page 16: Jay-Z and daughter Blue at the Super Bowl, Renee Zellweger won best actress at the BAFTAs, Christie Brinkley celebrated her 66th birthday

Page 18: Christina Ricci at the release event for Abracashoes, Eva Longoria and son Santiago at a park in LA, Al Pacino running errands in Beverly Hills 

Page 19: Beth Stern promoting Kitten Bowl VII, Curtis “50 Cent” Jackson and Eminem at 50′s ceremony for getting a star on Hollywood Walk of Fame 

Page 20: Normal or Not? Justin Bieber at the premiere of his YouTube series Seasons, Karlie Kloss at the Jean Paul Gaultier fashion show 

Page 21: Natalie Portman and daughter Amalia in LA, Billy Porter flossing his teeth, Peter Facinelli supported a street musician in LA 

Page 22: Fashion -- Best of the Week -- BAFTA Awards edition -- Vick Hope, Charlize Theron 

Page 23: Laura Dern, Ella Balinska 

Page 26: Reese Witherspoon and Jim Toth’s marriage is hanging by a thread after they’re caught in a public spat 

Page 27: Lady Gaga’s new man in Michael Polansky, Blake Lively is in no hurry to lose her baby weight because she loves her bombshell curves and so does husband Ryan Reynolds, Love Bites -- Sienna Miller and Lucas Zwirner engaged, Maury Sterling and Alexis Boozer expecting, Kailyn Lowry and Chris Lopez expecting, Jourdan Dunn engaged to Dion Hamilton, David Beador and Lesley Cook engaged 

Page 28: Matt LeBlanc loves his girlfriend Aurora Mulligan but he’s been turned off of marriage, Princess Beatrice’s wedding details, Pamela Anderson and Jon Peters -- what went wrong

Page 29: Pete Davidson is hoping for another chance at romance with Kaia Gerber after his time at rehab, Justin Beiber using the Hillsong Church to control wife Hailey Baldwin -- the church’s anti-feminist doctrine is that women belong in a separate group and should have babies and stay home and let the man be in charge 

Page 30: Cover Story -- Brad Pitt and Jennifer Aniston are adopting a baby girl 

Page 34: Meghan and Harry Who? With Megxit a done deal Prince William and Duchess Kate Middleton are filling the vacuum left by Meghan Markle and Prince Harry and restoring some badly needed luster to the House of Windsor

Page 36: Selfie-Obsessed -- these celebs can’t stop snapping and posting ego-boosting pics -- Snoop Dogg, Kate Beckinsale 

Page 37: Kendall Jenner, Paris Hilton, Justin Bieber

Page 38: Kim Kardashian, Derek Hough, Jenna Dewan

Page 39: Alex Rodriguez, Ariana Grande, Nicki Minaj, Vanessa Hudgens

Page 42: Double Takes -- Ellie Goulding vs. Jasmine Sanders

Page 43: Hannah Brown vs. Lucy Hale

Page 44: Style -- chain link jewelry -- Olivia Wilde

Page 48: Entertainment

Page 49: Q&A with Alyson Hannigan 

Page 50: Books 

Page 60: Parting Shot -- Jennifer Lopez and Shakira at the Super Bown halftime show

[whoworewhatjewels]

The Best Jewelry At The 2023 SAG Awards

The Best Jewelry At The 2023 SAG Awards

With the NAACP Image Awards and the PGA Awards both on last Saturday night, awards season is in full swing and with that brings more glamour and dramatic jewels. From ‘Euphoria’ star Zendaya’s not one but two Bulgari high jewelry looks to Emily Blunt’s divine Serpenti ruby and diamond-adorned necklace, scroll down to see our picks for the best celebrity jewelry at the 2023 SAG Awards. You can…

[critic-corner]

Cate Blanchett at BAFTAs 2019 : Cate opted for a Christopher Kane dress featuring a gemstone embedded neckline and mid-slit. Matching Sergio Rossi shoes and Pomellato jewelry completed her look. It’s not Cate’s personal best, but I still like it quite a lot.

[pinercuba]

Mad max cast

#MAD MAX CAST MOVIE#

#MAD MAX CAST DRIVERS#

You can take a look at cast photos and even find out more info about the upcoming film by checking out this incredible infographic by .uk. Furiosa is undoubtedly one of the greatest gifts to modern cinema and Mad Max: Fury Road is one of the best movies ever made, and thats the hill were going to die on. He also stated that the film is guaranteed to get the adrenaline pumping with tension-packed action, emotional turmoil, and epic story twists & turns throughout. Son of Immortan Joe, Rictus Erectus is brought to life by Nathan Jones, who was said to be extremely excited and very proud & grateful to have been part of the new Mad Max: Fury Road. Another British actor to join the crew, his previous works include leading roles in the BAFTA nominated film A Single Man and the teen drama show watched by everyone in the UK above the age of 13 Skins. Nux is a main member of Joe’s gang, but later, we see a switch in sides as he allies himself with Max. You can check out this interview with him here to listen to what it’s like playing such an iconic antagonist. The main villain of the Mad Max films is back, and thanks to the return of the originator in the role – Keays-Bryne – he’s as evil as ever. You can check out more information on that here. She’s set to be so important to the plot and the films as a whole, that she will even be centre stage of one of the upcoming sequels mentioned above – Mad Max: Furiosa. Whilst Hardy has taken over a well-loved character, Charlize Theron is playing a whole new one – a badass commander named Imperator Furiosa. Whilst some die-hard fans of the franchise have expressed some doubt on his abilities to live up to his predecessor, it’s fair to say that the production team behind him have every faith he’ll please the fans, and have signed him up to three Mad Max sequels. So the lead role has gone to British actor Tom Hardy, who made the announcement of his role in June 2010 on Friday Night with Jonathon Ross. So, with a whole new cast to look forward too, we thought we’d take a look at just who some of them are, as it’s fair to say, it’s a pretty exciting line up! Max – Tom Hardy In 2009, the film’s director George Miller ended speculation with his announcement that was looking for a ‘different route’, a ‘renaissance’ of the franchise, and therefore Gibson would not be in the cast. Perhaps the question burning hardest on everyone’s lips was whether Mel Gibson would return to the role that was his – the title character and hero of Max.

#MAD MAX CAST DRIVERS#

He rode alongside Gibson in one of the film’s climactic action scenes, secretly strapped into the broken car as the film’s title character helped the stunt drivers switch the gears in the middle of the high speed chase.One of the most highly anticipated films of the year is finally coming to our screens – the 4th instalment of the Mad Max franchise and it’s fair to say there’s been a lot of buzz and speculation about a number of its components. The Feral Kid did more than just survive he became a crucial combatant in the war against a bunch of oil-hungry bandits. “My mother left to go find my father and she also never returned, which left me to fend for myself.” “My story was that my mum, dad and I were flying, we ran out of fuel and landed my father went to go find fuel, and did not return,” he said in an interview with Yahoo Movies. He looks back fondly on his wild child days, even recalling how he won the job: After a competitive audition process, he beat out the other kids by coming up with his own backstory for the mysterious character. The role was played by a precocious 8-year-old actor named Emil Minty, who is now 43-year-old married father of two, working in Sydney as the manager of a jewelry store. He looked like Bam Bam Rubble brought to life, and had an even smaller vocabulary than the club-swinging Flintstones tot.

#MAD MAX CAST MOVIE#

The original Mad Max movie catapulted Mel Gibson from the Australian desert to international fame, but in the film’s first sequel, 1981′s The Road Warrior, the actor was upstaged by a grunting little kid with a mullet and deadly aim with a razor-sharp boomerang. The Feral Kid is all grown up - and now has two kids of his own. Emil Minty as The Feral Kid in ‘The Road Warrior’ and Minty now (Everett Collection/Facebook)

[keepingupwithlinmanuel]

Why Celebrities Are Wearing Orange American Flag Pins to the Oscars

It’s been a banner year for red carpet statements that transcend the usual signifiers of taste or trend or personal style. Stars are well aware of how to use their various platforms to draw attention to the causes that they believe in, and in 2018, many of those causes have taken on an entirely new sense of urgency. An all-black dress code at the Golden Globes and BAFTAs saluted the Time’s Up movement; white roses at the Grammys and the Brit Awards emphasized a united front for change in the days of #MeToo. These days, the most popular accessory in Hollywood isn’t a Birkin bag or a pair of shapely sunglasses—it’s a Time’s Up pin.

All this is to say that the best-shod stars at the Academy Awards tonight won’t just be the ones tripping down the red carpet in the newest creations from Paris, or those with the best-tailored tuxedos, or with the sparkliest jewelry in tow. This year, many of the most-watched attendees will be standing out for signifying their commitment to one of the most serious issues facing Americans today: gun control. A little over two weeks after 17 teenagers were killed at the school shooting at Marjory Stoneman Douglas High School in Parkland, Florida—as President Trump continues to oscillate on how he feels about gun control legislation, with even the most meager efforts (like raising the purchasing age for firearms to 21), continuing to prove to be too divisive for lawmakers to contemplate—Hollywood fixtures will be donning pins from the advocacy group Everytown for Gun Safety as a show of support for Everytown and the safety measures it strives for.

Gun control, though a persistent political sticking point, has taken on an entirely new relevance thanks to the student survivors from the Parkland shooting, who have refused to stay silent, organizing the (now roundly celebrity-endorsed) March for Our Lives, on March 24, and rallying their political representatives and the general public to push for real change, under the banner #NeverAgain. For its part, Everytown announced its five-point plan (called “Throw Them Out”) to take action, and remove and replace those politicians who have been corrupted by the NRA. It’s a sentiment that’s been echoed by retailers like Dick’s Sporting Goods, which decided last week to do what the government wouldn’t, and stop selling assault-style rifles like those typically used in mass shootings, and to raise the age of purchase to 21. “When we saw what happened in Parkland, we were so disturbed and upset,” Edward Stack, the CEO of Dick’s, told reporters. “We love these kids and their rallying cry, ‘enough is enough.’ It got to us. We’re going to take a stand and step up and tell people our view and, hopefully, bring people along into the conversation.” A little orange pin, in other words, is making one big red carpet splash tonight.

Everytown.org

[thehaimtime]

louisvuitton: #AlanaHaim in #LouisVuitton at the 75th Annual BAFTA Awards. Nominated for Best Leading Actress for her role in “Licorice Pizza”, the star wore a custom silk dress designed by @NicolasGhesquiere and pieces from the Maison’s High Jewelry Collection. #BAFTAs

[kyrah42-blog]

Unit 12: Production Design. . .

 I will be looking at the production design of some films and TV shows. For example, costume, set design, props and location.

First I will be looking at The Great Gatsby. (Director: Baz Lurhmann, 2013) The reason why I will be looking at The great Gatsby is because it won multiple awards for Production Design and Costume design.

Long with many others, Catherine Martin was the costume and production designer who won the Academy Awards and BAFTAS and I will be exploring her work and looking at inspiration.

I watched an interview with Catherine and she talks about being the Set Designer of The Great Gatsby https://www.youtube.com/watch?v=iVOe07si63I.  In this interview she talks about where she first starts to look for inspiration for the film, either that be the script or in this case actually adapting it from the 1925 novel written by F. Scott Fitzgerald. She goes on to mention her relationship with the director and how their different views sometimes collide in terms of style.

Martin visited libraries at the Metropolitan Museum of Art and the Fashion Institute of Technology with her husband and director, Baz Lurhmann to further their research. Since the book took place in 1922 then published in 1925, it foreshadowed the economic crash of 1929, she used that to a advantage and took anything from that decade for design purposes. This allowed Martin more room to play with trends and flattering pieces, such as her choice to dress lead actor Leonardo DiCaprio in slimmer-cut suits than what would have been typical in the beginning of the decade. For the women's clothes in the film, she erred towards the end of the decade, wanting to focus on slimmer silhouettes. She also took artistic liberties when it came to the actresses' shoes, telling Vogue that she found heels from the era to be "stumpy". Martin also worked with the Brooks Brothers and Miuccia Prada. Prada designed twenty of the dresses for the film's first party scene, and an additional twenty for a second party scene. Tiffany & Co. supplied the film's jewelry. For The Great Gatsby's sets, Martin took inspiration from 1920s designer Syrie Maugham, as well as from houses on the Long Island Shore, where part of the film takes place.In total, 42 sets were constructed under Martin's vision in 14 weeks. She and Luhrmann aimed to make the film feel authentic, but also connective for a modern audience.For her work on the film, Martin earned the 2013 Academy Award for Best Costume Design, as well as the Academy Award for Best Production Design, the latter which she shares with Beverley Dunn.

Harvard References. . . 

Sarah Yang. 2013. http://www.housebeautiful.com/design-inspiration/celebrity-homes/interviews/a1100/catherine-martin-interview/. [ONLINE] Available at: http://www.housebeautiful.com/design-inspiration/celebrity-homes/interviews/a1100/catherine-martin-interview/. [Accessed 8 February 2018].

Laird Borrelli-Persson. 2015. Costume Designer Catherine Martin on Hip-Hop, Gatsby, and Working with Husband, Baz Luhrmann. [ONLINE] Available at: https://www.vogue.com/article/catherine-martin-interview-tribeca-film-festival. [Accessed 8 February 2018].

Hayley Phelan. 2013. CATHERINE MARTIN ON CREATING THE COSTUMES FOR THE GREAT GATSB. [ONLINE] Available at: https://fashionista.com/2013/04/great-gatsby-costume-and-set-designer-catherine-martin-tells-all. [Accessed 8 February 2018].

Cathy Whitlock. 2013. Designer Catherine Martin Teases the Decadence of Baz Luhrmann's 'The Great Gatsby'. [ONLINE] Available at: https://www.hollywoodreporter.com/news/designer-catherine-martin-teases-decadence-447316. [Accessed 8 February 2018]. ______________________________________________________________

Contextual research. . .

I looked at some other websites and articles that offered a professional viewpoint, and I am going to explore it and look deeper.

Harvard Reference: Todd McCathy. 2001. Moulin Rouge. [ONLINE] Available at: http://variety.com/2001/film/awards/moulin-rouge-6-1200468458/. [Accessed 8 February 2018]. 

variety quotes:  "Fox will get plenty of publicity mileage out of the exploitable musical and fashion elements..."

"Like everything else in the picture, the Moulin Rouge here is a reinterpretation of the real thing designed with an eye to giving it contemporary relevance; the men might be dressed in black tie and top hat..."

“Luhrmann outstrips anything Hollywood has produced in years and now bears comparison to the likes of Busby Berkeley.” Growing up, Baz Lurhman would have been watching the likes of Berkeley and therefore would have heavily been influenced by him. So upon this, I have watched a scene that Berkeley directed from the film,The Gold Diggers of 1933 (1933) and the scene is Shadow Waltz.  

Video: https://www.youtube.com/watch?v=iN_JXwNudh8. From this short clip, you can see that the customes are heavily influenced from the twenties.

A bit about Berkeley. . .

Born on November 29th 1895 and died March 14th 1976, Berkeley William Enos was an American movie director and musical choreographer. Berkeley devised elaborate musical production numbers that often involved complex geometric patterns. Berkeley's works used large numbers of showgirls and props as fantasy elements in kaleidoscopicon-screen performances.  He started his career in the US Army in 1918, as a lieutenant in the artillery conducting and directing parades. After the World War I cease-fire he was ordered to stage camp shows for the soldiers.

Referencing: Stephan Eichenberg. 2008. Busby Berkeley Biography. [ONLINE] Available at: http://www.imdb.com/name/nm0000923/bio?ref_=nm_ov_bio_sm. [Accessed 8 February 2018]

_______________________________________________________________

In an interview conducted from Housebeautiful.com, Martin and her husband Baz Lurhmann who is also the director of The Great Gatsby, have been conceptualising the idea of doing the Great Gatsby for 10 years but only started the script 3 years prior to the release of the film. For the production design side of it Catherine states that a lot thought and research that goes into it. Lurhmanns films always has a distinctive visual interpretation and a unique take on something classic.  However with The Great Gatsby, Martin states that : “He didn't want a nostalgic, sepia-toned New York City of the 1920s. He wanted the New York we created to feel as vibrant, modern, and cutting-edge as it would have felt to Fitzgerald in 1922.”

For the research of designing the film’s Catherine says: “We do an extraordinary amount of research for any project. For this film, we visited the libraries at the Fashion Institute of Technology and the Costume Institute at the Metropolitan Museum of Art, both in New York; read everything we could about the author; poured over academic appraisals about the novel; and looked at historical analyses of the time period.”

Catherine stated that “ Since the book took place in 1922, published in 1925 but foreshadowed the economic crash of 1929, anything within that decade was available to borrow for design purposes”. So in terms, this gave Martin more room to play around with trends, such as the slimmer cut suits for the lead actor Leonardo DiCaprio. As for the women’s clothes, she geared the costumes more to the end of the 1920’s era, wanting to focus on slimmer silhouettes.

In an article from the Hollywood Reporter, it says that Martin was in charge of creating 500 outfits. Martin also worked closely with Miuccia Prada, who reinterpreted 40 classic styles that were a mixture of European glamour and New York Sophistication.