#ladies suit design 2022

[safeshopindia]

Laranya Lavanya Fiona Ladies Suit

Fashionable prints are back for the dressed-up look that's sure to make heads turn. The striking digital print that defines this collection has deeper tones printed on lighter ground fabrics, creating a dramatic effect. The kurta and dupatta in all-over florals are balanced perfectly with solid bottoms that can be converted into narrow pants, wide-legged trousers or salwar. Have your local tailor customise the top and bottom to your fit and preferred style. These unstitched lengths can be converted by your local darzi into a customized top-bottom set, fitted to your size and style preference. This ethnic set is suitable for both for semi-formal and formal occasions.

[servants-hall]

‘The Gilded Age’ Season 2 Behind the Scenes: How Fashion Defines Each Character (PHOTOS)

by Kelli Boyle

Julian Fellowes, the creator of Downton Abbey (2011-2016) [mod note: on PBS in the US], set that upstairs-downstairs series at a palatial British estate on the eve of World War I. He moved his newest costume drama Stateside to the streets of New York City. Set in the late 1800s, The Gilded Age, which has its second-season premiere on Sunday, October 29 on HBO (streaming on Max), pits the new money of railroad barons against the old money of New York society. The powerful fight for control of the city and use their wealth to measure social success. And dressing for success was its own full-time occupation.

When researching women’s fashion in 1800s New York, the show’s costume designer Kasia Walicka-Maimone saw one thing clearly: “Their life was a catwalk. There was this enormous excitement” when the ladies trekked the bustling, dusty streets of Manhattan. Her job was to recreate that excitement for contemporary viewers of The Gilded Age.

Fashion as a Sign of Status

Who’s doing all this promenading? Marian Brook (Louisa Jacobson) arrived in NYC with no money and was taken in by her aunts Ada (Cynthia Nixon) and Agnes (Christine Baranski), both living off an inheritance. Then the newly affluent Russells—headed by railroad baron George (Morgan Spector) and wife Bertha (Carrie Coon), who is determined to break into polite society—moved in across the street.

Ada Brook (Cynthia Nixon) and Agnes van Rhijn (Christine Baranski) head to church on Easter morning in ‘The Gilded Age’ Season 2 premiere. Niece Marian Brook (Louisa Jacobson) follows close behind (Credit: Barbara Nitke/HBO)

The frill thrills continue in Season 2, especially in a pivotal garden party scene (pictured below) that TV Insider observed being filmed in September 2022 at New York’s lavish Old Westbury Gardens estate. (Westbury House was previously home to an heir of the Phipps family, real-life Gilded Age figures whose patriarch made his fortune alongside Andrew Carnegie at his steel company.) On set was Fellowes, whose smart black suit and tie were the only dark hues around.

Gladys Russell (Taissa Farmiga), George Russell (Morgan Spector), and Bertha Russell (Carrie Coon) step out for Easter mass in ‘The Gilded Age’ Season 2 premiere (Credit: Barbara Nitke/HBO)

Historically Accurate Costumes

It’s a testament to the wardrobe department that the stunning colors of the sprawling grounds nearly pale in comparison to the vibrancy of the women’s period garb. Despite the sepia-toned images in history books, Walicka-Maimone says, those bright tints are decidedly historically accurate. She has a library of more than 35,000 reference images to prove it.

“It’s shocking to our modern eye to see the explosion of color from that period,” she said. Production designer Bob Shaw (who won an Emmy for his work on Gilded Age) was present to share his creative process, which, just as Walicka-Maimone described of her own work, is “deeply steeped in history.”

Nicole Brydon Bloom joins the cast for Season 2, pictured here at the garden party with Blake Ritson’s Oscar van Rhijn (Credit: Barbara Nitke/HBO)

He does note that, when deciding between “what is correct and what feels correct,” the latter always wins. Creative liberties are taken to “build [character] histories into the costumes,” Walicka-Maimone added.

A Garden Party to Remember

Take Brit newcomers Dashiell Montgomery (David Furr) and his daughter, Frances (Matilda Lawler), for example. Nephew by marriage to Baranski’s Agnes, Dashiell requires more “toned-down” attire suitable for social outings, which contrasts with Season 1’s primarily business and formal menswear.

Aurora Fane (Kelli O’Hara) and husband Charles Fane (Ward Horton) attend the garden party in ‘The Gilded Age’ Season 2 (Credit: Barbara Nitke/HBO)

Dashiell must escort Frances through society in his late wife’s absence. One consideration for Walicka-Maimone: “This is a girl who doesn’t have a mother, so there’s probably extra care from all the other family members in [dressing her],” she said.

Meanwhile, Marian, who Jacobson said is “shining this season and sees herself in [younger] Frances,” will be more open to a strategic marriage. Marian’s “not necessarily cynical” after being jilted by Tom Raikes (Thomas Cocquerel) in last season’s finale, the actress continued, but the heartbreak gives her a “spice and edge.”

Don’t count out the possibility of a romance with Larry Russell (Harry Richardson), son of the railroad titan, which was teased last year. Jacobson shared: “They will definitely continue to deepen their friendship.” Old money and new money unite!

[alakeeffectgirl]

cruisequarries PART TWO

PART ONE What did we get up to yesterday? 2018? Okay. I will put everything behind a spoiler cut again (there are more pictures/a video today).

Actually, let's rewind just a little, for some Fallout premiere pictures just because.

Paris, July 12th:

London, July 13th:

Seoul, July 16th (according to the designer's website, the hanbok Heather is wearing was designed as a wedding dress, mmhmm)...

I love this picture because they're making those faces at Chris. Here's the bit of Tom making Heather cry in Tokyo:

I highly recommend listening to Tom & Chris commentary track on Fallout, which starts with McQ introducing himself as the writer/director and then Tom introducing himself - as McQ's friend. After the Fallout press tour wraps up, work starts in earnest on Top Gun: Maverick, which Tom and McQ have been discussing - idly, on McQ's part - for years now. "Our relationship is one long conversation about movies," indeed.

While TGM is filming, pre-production is also happening on MI:DR, which McQ has signed on to direct. (These two are usually juggling at least two projects at a time, and really it's probably more like five projects at a time.)

In January of 2019, they're all back in LA so Tom and McQ can pick up some awards.

The McQuarries also go to a premiere and look fantastic (I love McQ's suit):

Tom and McQ go to Ukraine to scout Dead Reckoning locations later in 2019, meet President Zelenskyy, and McQ gets to put his arm around Tom for once instead of their usual other way around.

OH NO I ALMOST FORGOT - at the end of 2019, Tom took the whole McQ clan with him to Las Vegas to see Lady Gaga and ask her to write the TGM song. [cries in 'that's his family']

Production ramps up on DR - and then unfortunately, as we all know, COVID. Most of the cast and crew were in Venice when everything shut down, but Tom hadn't arrived yet.

Production resumes in Rome in October (their production struggles/trying to keep everyone employed/Tom rightfully yelling at people to follow protocols because a lot of jobs depend on them is all well documented), and then moves to Venice. Heather and the dogs are also part of this traveling band.

This isn't six feet apart, dudes...

Production breaks for the holidays, and resumes in Abi Dhabi for the airport/desert sequences, and also one of my favorite pictures of Tom and Heather, just for her expression.

Train sequence filming in Yorkshire in April of 2021, that's Heather in the blue coat:

DR production then breaks for a bit over the summer so Tom can take all his friends to Wimbledon, go to several car things, and make McQ watch football (the soccer version).

DR filming resumes in the fall/winter. Heather goes with to South Africa and they rent out what is basically an adults-only hotel (and save it from having to close!), for part of their stay. I love this picture because Gypsy looks so long-suffering:

OKAY IT'S 2022 NOW, time for the Top Gun: Maverick premiere tour to start - finally! (Do any of these people SLEEP? No. I think it's well-documented that Tom Cruise does not sleep, which is part of what makes him Tom Cruise, but also this means he calls McQ at two in the morning to talk about movies. There's a podcast somewhere where McQ says he thinks Tom might sleep "between the 2:05 email and the 2:40 email", or something along those lines.) (After getting back from South Africa, there was a bunch of test screening stuff for TGM, which is why there are those parking garage pictures. Wouldn't the movie be done, you'd think, since it was supposed to be out in 2020? COVID gave them a reason to tinker with it even more.) The San Diego premiere on the USS MIdway (all the McQs were there, but there aren't any good pictures):

Then Tom went to Mexico, and McQ went home to London for a few days before Tom returned, and they went to the Royal Windsor horse show together.

THEN EVERYONE WENT TO CANNES. Sorry I have just a shitty screencap with a watermark here but alas tumblr only lets you put one video per post. Tom and McQ stopped to get their picture taken en route to the actual photocall and Tom made Heather come back and be in the pictures with them. There is video here.

Cannes, of course, was amazing. I have garbage homemade gifs but they're too big for tumblr (also they're garbage) but all the Cannes red carpet footage is available on YouTube, here and here. (Worth it for Heather, tbh.)

They went straight from Cannes - on Tom's helicopter - back to London for the Royal premiere. Where the McQuarries looked amazing and McQ wore his McQ shoes.

And the after party, because heaven forbid they not all ride in the same car:

And then the McQuarries got a slight break, while Tom went to do more TGM press. But he was back in London by the end of June, and they went on what can only be described as a string of dates. First, they went to the Rolling Stones concert at Hyde Park.

McQ was on Tom's other side, but he's only visible in video (the Daily Mail might be garbage but they do come through with the media).

Then Tom and Heather went to The Eagles show at Hyde Park:

And they all went to see Adele - also at Hyde Park. (The woman in the pink sweater is Tom's CAA agent Maha Dakhil Jackson - I found the picture where you can see Heather over Tom's shoulder.)

Then for Tom's birthday, they went to the F1 British Grand Prix (with some other TGM folks, but they aren't three steps behind Tom like the McQuarries are).

Oh no, we're not done. Tom takes Heather to Wimbledon, where she holds his sunglasses (not visible in this picture).

McQ did not go with, as he was recording a Light the Fuse podcast - which he surprise-dialled in a bunch of DR folks - and his final surprise was Tom. Who was still at Wimbledon with Heather. McQ calls Heather to get Tom, and Heather plays dumb and is like, "oh I don't know where he is, did you try calling him?" and Chris says he already told the podcast guys that they were together. So Tom does his segment from the car he's in with Heather, and his part is only supposed to be like ten minutes but he talks for about forty-five and this includes telling the world they basically all live together. Then they went out to dinner!

And the next day they all went to Wimbledon with Maha and her husband.

I'm stopping here because this is already SO LONG and 2023 is going to be wild just by itself! PART THREE

[thepastisalreadywritten]

Royal blue

The Princess of Wales in an Alexander McQueen blazer and matching cigarette pants on a visit to HMP High Down, Surrey.

Winning white

The Princess of Wales put a sophisticated twist on England’s team colour as she cheered on players in their opening match at the Rugby World Cup.

Teal triumph

The Princess of Wales at her polished best in a custom teal Burberry suit and custom blouse by the designer for a reception with the Crown Prince and Crown Princess of Norway at Windsor Castle.

Lady in red

Catherine makes a statement in scarlet Alexander McQueen for a ‘Shaping Us’ pre-launch event at the BAFTA headquarters, January 2023.

Purple reign

The Princess of Wales is radiant in Roland Mouret for a reception at Windsor Castle, January 2023.

Sugar plum princess

Another outing for the Roland Mouret suit, this time during William and Catherine's royal tour of Boston, December 2022.

High flyer

A navy Alexander McQueen number is the perfect choice for the princess’s arrival in Boston, December 2022.

In the navy

The same suit was last seen on the Princess of Wales for one of her first engagements in her new position: a reception for some of the Royal Navy Ship’s Company of HMS Glasgow, November 2022.

Cream of the crop

Cheering on swimmers in Alexander McQueen at the Commonwealth Games in Birmingham, August 2022.

Monochrome mastery

Head-to-toe white Alexander McQueen was a chic choice for an outing to mark Windrush Day in London, June 2022.

Pink perfection

Another Alexander McQueen suit, this time in a soft shade of rose, for a meeting with early childhood experts in London, June 2022.

A royal tour triumph

An orange Ridley London blouse brought a splash of colour to her white Alexander McQueen suit for an engagement in Jamaica, March 2022.

Magenta magic

Catherine ensured she stood out from the crowd in this Emilia Wickstead ensemble for a visit to Ulster University, September 2021.

Queen of green

An emerald green Massimo Dutti ensemble blended into the park setting on a visit to Edinburgh, May 2021.

HRH High Street

The Princess of Wales donned a pink M&S suit for a visit to the London Ambulance Centre in Croydon, March 2020.

Green Dream

The Princess donned a faithful Burberry number for a visit to a textile factory in Leeds in September 2023.

Recycled Red

The Princess Of Wales on her way to an event for her 'Shaping Us' Campaign On Early Childhood in September 2023, in one of her favourite red Zara blazers.

Magenta Masterpiece

The Princess of Wales was a tailored masterpiece in Emilia Wickstead for the Shaping Us National Symposium at the Design Museum, even accessorising with Princess Diana’s sapphire and diamond drop earrings.

[lamaisongaga]

LADY GAGA IN CELINE FOR JOKER LA PREMIERE

Lady Gaga attended the Los Angeles premiere of the upcoming "Joker: Folie à Deux" movie at the TCL Chinese Theatres last night.

Styled by Tom Eerebout and Sandra Amador, here's what she wore!

Gaga opted for a striking black gown by Celine, marking her second time wearing the designer during this press tour. While Gaga had worn Celine at the London premiere just days earlier, her choice to return to the French fashion house for the LA event was deliberate, underscoring her alignment with the film’s darker themes.

This custom piece features a structured silhouette with a mock neck, a daring side slit, and bold, billowy satin taffeta shoulders that extend into a dramatic cape-like feature at the back. The voluminous design of the shoulders, combined with the sleek and minimalist column shape, speaks to a balance between power and elegance—a signature in Gaga’s fashion narrative.

Returning to black after previous colorful and playful looks aligns with Gaga’s understanding of thematic coherence. Black is classic, authoritative, and in many ways, cinematic—especially for a film as tonally dark as this one. Her decision to wear the same designer twice during the press tour could be seen as a continuation of a narrative, tying together both premieres through a consistent aesthetic. Black also allows the focus to shift from the dress itself to the emotional gravitas of the event. It’s a color that refuses to distract, making it the perfect canvas for Gaga’s embodiment of her character.

While it might seem repetitive to some that she chose Celine again, this could signal a deeper connection between Gaga and the brand, especially considering that black, in this case, serves as more than just a fashion statement—it becomes an extension of the film’s atmosphere. Though the user (me) expresses disappointment in not seeing her explore another designer, Gaga’s dedication to theme speaks volumes, staying true to her roots in performance art and creating a cohesive narrative that transcends fashion.

Gaga also opted for Tiffany & Co. jewelry (almost as if expected!).

For her ears, she chose their Schlumberger-designed platinum and 18k yellow-gold on black enamel with diamonds Banana earrings.

Her Vignes necklace hails from the 2022 "Botanica" Blue Book high jewelry collection.

Impressive in scale and presence, it features a suite of oval rubellites of over 330 total carats, oval cabochon emeralds of over 50 total carats and round brilliant diamonds of over 10 total carats – all intertwined by intricate 18k yellow-gold "vines".

Next, she wore the Schlumberger-designed platinum and 18k yellow-gold with diamonds on black enamel bracelet.

Her favorite Pleaser Flamingo-1020 black vinyl platform lace-up ankle boots completed the look.

For the after party, she decided to serve us real 90s goth realness in a vintage black crushed velvet cami maxi dress which she topped off with a Celine classic black wool gabardine blazer with notched lapels and two buttons ($2,750).

Shop:

Celine Classic Blazer ($2,750.00)

She also wore the Oliver Peoples Maysen glossy black acetate sunglasses with silver details ($619).

Shop:

Oliver Peoples “Maysen” Sunglasses ($619.00)

[countslimeula]

Hey yall I've REDUCED THE PRICE of my D&D Adoptables from last year! These premade designs are a perfect starting point for a ttrpg character if you need a new character but don’t know where to start! 

If you'd like to give one of these lovely ladies a home PM me here or email me at: thelastbashtion@gmail.com 

If you like my style but would rather see YOUR character drawn in it then good news! I’m open for commissions! Info/rates can be found here. 

If you can’t buy one of these adopts or commission me at the moment, but still want to support me and my work consider tipping me through my ko-fi! 

I also have a Patreon where for just 3$ a month you can help me continue to do what I love. 

[ Image I.D: First image is an Illustration of a Human Fighter/Barbarian.  She is tall, muscular and covered in healed scars.  She is holding a massive war hammer that is covered in blood. She is wearing scant armor, greves and arm guards with intricate reliefs on them and a manica.  Over her left eye she is wearing an eyepatch with a metal plate over it that has a relief of an eye on it.  She has short messy hair and is looking at the viewer with an intense scowl. She is also wearing a champions belt.  Next to her is text that reads “Human Fighter/Barbarian,  $105USD’ and a watermark on her that reads “Maya Jimenez @CountSlimeula 2022”.

Second image is an illustration of a Dwarven Sorceress/Wizard.  She is fat and squat.  She is floating in the air and someoning fire from one hand and manipulating it with the other, creating an “arch” over her head.  She has curly ringlets of dyed red hair that fall down her back and a curly beard.  She has gems in them.  Her hair and beard have multiple braids in them and she has a half bun in a hairnet at the nape of her neck/base of her head.  She is wearing tiered, flared loose fitting pants with tassels on each tier and a short sleeve bodice that stops just under her bare breast.  She is wearing gold bracelets and a small geometric tiara.  She has gold flecks all over her face and body, a thick unibrow, brown skin and prominent nose.  She is smiling at the viewer enthusiastically.  Next to her is text that reads “Dwarven Sorceress/ Wizard,  $105USD’ and a watermark on her that reads “Maya Jimenez @CountSlimeula 2022”.

Third image is an illustration of a female Triton, floating in water, holding a dagger. She is a lion-fish Triton.  She is lithe, with spines on her calves, forearms, head and back.  She has bright orange stripes all over her body.  Various scars including a chunk taken out of her right arm due to a shark bite and a massive jellyfish sting on her right leg and calf.  She is wearing a wet-suit made of seal skin and a breastplate made of rib bones.  She has various tools, pouches and decorations made of kelp and the remains of ocean fauna.  Tied around various parts of her body is seaweed and around her neck and arms are long pieces of kelp floating behind her.  At her side is a harpoon carved from whale-bone. In her lip is a fish hook. She is holding a dagger in front of her defensively.  At her side is a Moray Eel with a kelp collar around its neck.  Next to her is text that reads “Triton Ranger/Rogue - $135 USD” and a watermark on her that reads “Maya Jimenez @CountSlimeula 2022” 

Image I.D ends ]

[maximumwobblerbanditdonut]

Hiroyuki Sanada is one of a handful of Japanese actors to land major Hollywood roles, He has an extensive background in Kendo, Shorinji Kempo and Kyokushin Kaikan Karate. Sanada's films include “The Last Samurai,” released in 2003, “The 47 Ronin,” starring Keanu Reeves in 2013, Bullet Train in 2022 John Wick: Chapter 4 in 2023. The role Sanada plays in “Shōgun” was first portrayed by Toshiro Mifune in the 1980s.

Hiroyuki Sanada not only starred in Shōgun, but he served as one of the producers of the show, in charge of things associated with the Japanese culture and he thoroughly pursued authenticity. As such, he was poised for a big job and He was an example to follow. He took the producer role, and He could throw all his experience into the cause to look fully satisfied. Shooting was done amid the [COVID-19] pandemic. Sanada wore two masks and a pair of goggles on his face and came to all the scenes, taking thorough measures against infection.

It is important to stress that sometimes actors become producers to gain extra power on the set, sometimes in place of a pay raise or just to look good in their resume, and we have seen many examples on TV.

MOST producer-actors aren’t TRUE producers because producers work 6–7 days 14+ hours a day, and actors wouldn’t give up their “off days” to come into the office and handle what a producer has to do getting next week's show going, including story and script writing.

Sanada was involved in making the script as well and followed painstaking steps in the process. He could work on the production in the way he liked thanks to the ample budget of the global streaming service.

The high quality of the production, including costuming, props and mannerisms; collaboration between the Japanese professional team, headed by producer Sanada, and the local production team; as well as the acting that delivered a strong sense of reality, all came together.

He first booked creative staff and called on Japan’s specialists in wardrobe, wig-making and set design, with whom he had produced period dramas and films for nearly 40 years. He also made sure that each Japanese actor was taught by a specialist instructor on their role, be it samurai or lady-in-waiting. Props and wigs were brought from Kyoto. Some of them were produced in eclectic styles, combining Japanese and Western methods.

He checked the first draft [in English] to see whether there was anything culturally off. Once the draft was translated into Japanese and examined by history experts for authenticity, a scriptwriter created the dialogue. Then, He changed them to suit each character, which was then translated back into English and brushed up before being approved as the final version. Sanada said, adding that he always made certain that the script would sound neither Westernsed nor modern. He wanted to put an end, in his time, to the era in which Japan was misrepresented on screen.

Sanada is on the red carpet. AMY SUSSMAN//GETTY IMAGES

Sanada understood their backgrounds very well. Since He also got himself involved in script-making, He knew Toranaga’s personality and role inside out. He was able to concentrate on playing the character without any trouble and as a reward for making all the preparations. He was able to thoroughly enjoy the process of acting and He was rewarded with an Emmy for Outstanding Actor in A Drama Series and an Emmy for a Producer for his fantastic work in FX's critically acclaimed Shogun.

It took home prizes including Outstanding Drama Series, as star and co-producer Hiroyuki Sanada became the first Japanese actor to win the Emmy for best lead actor in a dramatic series.

#Shōgun #Emmy #HiroyukiSanada #actor #producer #LordYoshiiToranaga #Japan #series #feudalsystem #FX #Hulu #Disney+ #COVID-19 #pandemic #JamesClavell #book

Posted 17th September 2024

[beautifulscreaminglady]

As promised, my thoughts on Sense and Sensibility (2024)

(Looking for what REAL people of color wore in the Regency era? Check out my Pinterest board!)

The clothes weren't as bad as I was expecting. The fabrics vary from garish prints, to heavy embroidery, to plain colors.

The main problem seems to be that they are ill fitting. The men's coats seem to add extra bulk to the actors.

The production itself has scenes that appear to be copied from both the 1995 production and the 2009 production.

Elinor's hair is styled in an ancient Greek inspired arrangement that enjoyed popularity during the Regency era. I think it is a beautiful style for Black hair. Most of the women's hairstyles are quite good.

Colonel Brandon's beard and mustache are not period accurate. He should be clean shaven. Compare to this portrait of Pierre Toussaint.

The main problem seems to be that they are ill fitting. The men's coats seem to add extra bulk to the actors.

On the other hand, the ladies bonnets appear to be too small. I thought Margaret's bonnet was weird as hell but apparently it's a real design from the late regency to early romantic period.

Marianne's boots are visible after she has her famous fall. They have a prominent heel. Regency boots for women were very flat without a heel or with a very low heel.

Margaret's shoes here are also very odd. They look almost like 16th century women's shoes.

I don't know what kind of shoes Marianne is wearing here but they look a bit clunky. This is a production where $15 plain, solid colored pleather flats from Amazon would not be out of place, if budget necessitated it.

The blue gloves are period accurate!

Costume Parisien, 1798

In an article about the movie, it was mentioned that the set dressers added real historical portraits of Black people. I noticed the famous Portrait of a Man in a Red Suit and a GIANT bust portrait of Dido Belle (cropped from the original). I also spotted some 16th or 17th century portraits of Black men that seemed vaguely familiar. Other artwork was unfortunately too hidden in shadow or out of focus for me to recognize.

There are also some other things that made this production more Black, such as the scene where Wentworth and Marianne bond over their shared interest in art and find that they both admire Phillis Wheatley's poetry.

There were some changes that raised my eyebrows. The child of Colonel Brandon's ward is his!

At the ball in London I am almost positive that Seal's Kiss From A Rose was being played by the violinists.

Final thoughts:

According to the costume designer, she had to make 68 costumes in 20 days. This is absolutely an insane demand. While some of the costumes were rented, the time crunch is quite obvious on the other costumes. People who work in film and television do not deserve to be treated like this. Hallmark has a ridiculous turnaround time for their productions, but at this point I feel like the Hallmark back catalog is big enough it can afford to make fewer but more high quality productions.

Or perhaps we can sacrifice complex, unnecessarily over the top costumes in favor of simple but pretty costumes such as the ones in Mr Malcolm's List (2022), which also notably starred people of color.

I think that people of color DESERVE beautiful costume dramas, but this is not what it could have been. The first (and currently only) Black Jane Austen adaptation in existence deserved more. I love Sense and Sensibility but this adaptation broke my heart because it lacked the richness and warmth of the 1995 and even the 2006 versions.

[femlegance]

WOMEN IN HISTORY WHO INSPIRE TIMELESS ELEGANCE

Throughout modern history, women have graced the world with their poise, intelligence, and timeless elegance. The following remarkable female figures exemplified these qualities:

Audrey Hepburn: A talented actress, Audrey Hepburn is a true icon that held grace and style. Her elegant fashion choices and philanthropic work continue to inspire women to this day.

Image Sources(Left to Right): 1.Getty Images 2.Paramount Pictures 3.UNICEF/UNI40095/Isaac

2. Grace Kelly: The epitome of sophistication, Grace Kelly transitioned from Hollywood star to Princess of Monaco. Her refined style and poise still captivate fashion enthusiasts and admirers of classic elegance.

Image Sources(Left to Right): 1.Getty Images 2.Getty Images 3.Getty Images

3. Coco Chanel: This fashion designer revolutionized women's fashion by introducing timeless classics like the Chanel suit and the little black dress. Her innovative spirit and uncompromising standards for elegance continue to influence fashion.

Image Sources(Left to Right): 1.Roger Schall/Condé Nast/Shutterstock 2.Getty Images 3.Kammerman/Getty

4. Jackie Kennedy: Former First Lady Jacqueline Kennedy's fashion sense and dignified demeanor set the standard for elegance in the 1960s. Her fashion choices and cultural influence are still celebrated.

Image Sources(Left to Right): 1.Getty Images 2.Getty Images 3.Bettmann Archive

5. Princess Diana: Known as the "People's Princess," Diana charmed the world with her compassion and impeccable style. Her legacy endures in both her charitable work and her iconic fashion moments.

Image Sources(Left to Right): 1.AP Photo/Jim Bourdier, FILE 2.Bob Thomas/Popperfoto via Getty Images/Getty Images; Anwar Hussein/WireImage/Getty; Jayne Fincher/Getty Images 3.Kent Gavin/Mirrorpix/Getty Images.

Sources of Inspiration:

[architectuul]

Charlotte von Moos (ed.): Miami In The 1980s

Verlag der Buchhandlung Walther und Franz König, Köln, 2022

First things first: that book is cool. The graphic design, in mint green and dusty pink is clearly an homage to its subject – the architecture from postmodern Miami. But not only it respects on glossy paper the colour code of an era and style, it’s full of new drawings (plans and façades) that allow us to understand buildings we knew as images in depth and to consider their architectural qualities. As it must be the book starts with screenshots from the main title of the TV-Series Miami Vice (1984-89) that reminds us that – for the first time in history – architecture had become a real protagonist in storytelling. Remember: two undercover cops dressed in Hugo Boss suits hang around Miami driving a white Ferrari Testarossa, they pretend to be drug dealers to catch the bad guys enjoying the sun of Florida. This criminal society meets and lives in houses that fit their lifestyle and the neo-modern villas from Arquitectonica are not only the decor of their life – they tell us about the taste, the habits and the dangers from those people. Michael Mann was the creator and executive producer from that series and if you’ve seen any other of his films you’ll know one thing: he loves the visual power of architecture and understands the role it can play in storytelling (so was Alfred Hitchcock ‘s review).

Many of us know the images from Miami Vice and if, like me, you were born in the early 1970s and watched too much TV – you looked at them as an adolescent and became an architect because of them. I did. But the genius of the book is to reveal us the context, the ideas and concepts that were around at that time and who brought a generation of architects to the invention of a very unique and local style. For sure, as post-moderns, they wanted to play with history, to mix Adolf Loos or Le Corbusier with ornamented porticos à la Aldo Rossi (the buildings of Duany Plater-Zyberk are a perfect example from this approach). But one should not forget that the iconic Spear House (1976-78) was the child of a project developed by Laurinda Spear and Remment (not yet) Rem Koolhaas in 1974, at the peak of his obsessions with Surrealism, Constructivism and the Berlin Wall. Last but not least, they all understood the power of colour and refused the dogmatic boredom of white plaster. The essay from Charlotte von Moos unfolds all those references, brings unknown archives to life and fascinates with its enthusiasm. The whole book makes it clear: those buildings were not just a set for TV-series but true architecture with its successes and mistakes.

The in-depth essay is followed by short introductions with archival or new photographs (and drawings) of 19 projects made my S.O.M, Philip Johnson & John Burgee, Mateu Architecture, Duany Plater-Zyberk, Isamu Noguchi and – of course – Arquitectonica. It’s like eating a pistachio, raspberry, mint and vanilla ice cream: you know you shouldn’t like it and that it’s gonna make you sick, but you cannot stop. Still, and that’s probably the goal of the book: many of those buildings are now in danger – the taste of the inhabitants has changed, downtown Miami craves for densification and the constructions are too young to become historical monuments (think about the IBA87 in Berlin). A whole visual chapter is allocated to the demolition of The Babylon (1981) by Arquitectonica, and alerts us that it might be our last chance to visit those buildings believing we are undercover cops driving a white Ferrari.

Now comes a spoiler, like in movies, but I’m gonna tell you how the book ends (so stop reading here if you don’t want to know)… The final spreads are dedicated to fashion shoots that were done in the Spear House for GQ or Vogue. The legs of a lady in a bikini enjoy the swimming pool, a young man in pyjama stares into our eyes, other people sunbath on the terrace or jump into the water. They pose with their perfectly clean clothes and rather impossible haircuts (too much hairspray involved, much too much – but that’s the 1980s). What becomes clear, looking at those images, is that architecture – here, is more than a decor. It’s a part of a lifestyle that includes nice cars, expensive watches and shiny garments, making the American dream a kitsch and unattainable Gesamtkunstwerk. A total work of art.

- Thibaut de Ruyter

[waterlily80s]

Jacqueline Kennedy, Twiggy, Audrey Hepburn & Brigiite Bardot

Jacqueline Kennedy

Jacqueline Kennedy (full name of Jacqueline Lee Kennedy Onassis) was a former First Lady of the United States. She was born in 1929 and died in 1994 aged 64. Her first husband was the 35th President of the United States, John F. Kennedy, and her second husband was Aristotle Onassis, who was one of the wealthiest men in the world. Jacqueline Kennedy was a lady of class and she was always noted for her elegance and style. She was known to wear pillbox hats, flat-heeled pumps, matching sets and dress suits, along with her bouffant hairstyle. In 1994, she was diagnosed with non-Hodgkin lymphoma, and later died in her New York City apartment.

Twiggy

Born in 1949, Dame Lesley Lawson, also known as Twiggy, was a British fashion model, and one of the world's first super models. At the age of 15, she worked as an assistant in a London hair salon where she first got the name Twiggy after meeting hairdresser Nigel Davies (later known as Justin de Villeneuve). The following year, she was voted British Women of the Year after an articles was published about her in the Daily Express called the “The Face of ’66”.

(right) CLARKE. H

Audrey Hepburn

Audrey Hepburn was a British actress born in 1929 in Belgium. She has starred in many successful films such as Sabrina (1954), Funny Face (1957), Breakfast at Tiffany's (1961), and Charade (1963). 11 awards have been won in total, including three BAFTA Awards, two Tony Awards and a Grammy. Hubert de Givenchy was the designer for some films Hepburn stared in Such as Sabrina and Breakfast at Tiffany's. In the late 1980's Audrey Hepburn became a goodwill ambassador for UNICEF. She died in 1993 before she was able to receive her special Academy Award.

Jean Rosemary Shrimpton

Jean Rosemary Shrimpton (born in 1942) was an English Model and is considered to be one of the worlds first supermodels. She has appeared on many magazine covers such as Vogue, Vanity Fair and Elle. During her modelling career, she was reported as the "world's highest paid model", along with "the symbol of Swinging London". Shrimpton was also named "Model of The Year" in June 1963 be Glamour. Jean Rosemary Shrimpton has also written books including her autobiography (1990) and The Truth about Modelling (1995).

Brigiite Bardot

Brigiite Anne-Marie Bardot (also known as B.B.) is a former French actress and model. At the age 15, she posed for the cover of Elle in May 1950, and became an international sex symbol in the later 50s and the 60s.

Encyclopedia Britannica. (no date) Jacqueline Kennedy Onassis. Available at: https://www.britannica.com/biography/Jacqueline-Kennedy-Onassis (Accessed: December 17, 2022).

Encyclopedia Britannica. (no date) Twiggy. Available at: https://www.britannica.com/biography/Twiggy-British-fashion-model (Accessed: December 17, 2022)

Biography.com. A&E Networks. (2021) Audrey Hepburn Television. Available at: https://www.biography.com/actor/audrey-hepburn (Accessed: December 17, 2022).

Peoplepill.com (no date) About Jean Shrimpton, . Available at: https://peoplepill.com/people/jean-shrimpton (Accessed: December 17, 2022).

Encyclopaedia Britannica. (no date) Brigitte Bardot. Available at: https://www.britannica.com/biography/Brigitte-Bardot (Accessed: December 19, 2022).

[chloefashionthroughtime]

Coco Chanel:

Coco Chanel is well-known for her timeless designs, signature suits, and little black dresses. She developed her first perfume in the 1920s and later introduced the Chanel suit and the little black dress, with a focus on designing garments that were more comfortable for women. She became a fashion star recognised for her basic yet classy ensembles mixed with wonderful accessories, such as many strands of pearls. Gabrielle Bonheur Chanel was born on August 19, 1883, in Saumur, France. Her early years were far from glamorous. Chanel was placed in an orphanage by her father, a peddler, when she was 12 years old, following the death of her mother. Chanel was reared by nuns who taught her how to sew, which led to her life's profession. Her moniker stemmed from a very different job. During her brief singing career, Chanel was known as "Coco" at bars in Vichy and Moulins. Chanel met Etienne Balsan, who promised to help her establish a millinery company in Paris, when she was about 20 years old. She soon abandoned him in favour of one of his wealthy pals, Arthur "Boy" Capel. Both men played important roles in Chanel's first fashion endeavour. Chanel began selling hats in her first boutique on Paris's Rue Cambon in 1910. She then expanded her business to include stores in Deauville and Biarritz, as well as clothing manufacturing. On a chilly day, she fashioned a garment out of an old jersey for her first taste of fashion triumph. In response to the numerous inquiries about where she obtained the outfit, she volunteered to make one for them. "My wealth is founded on the old shirt I wore in Deauville because it was cold," she once told author Paul Morand. Chanel rose to prominence in the intellectual and artistic communities of Paris. She worked with Jean Cocteau and Pablo Picasso on garments for the Ballets Russes and his play Orphée.

In the 1920s, Chanel elevated her booming firm to new heights. She created her debut perfume, Chanel No. 5, which was the first to contain a designer’s name. Perfume “is the invisible, memorable, ultimate accessory of fashion. . . . that signals your entrance and prolongs your departure,” Chanel once remarked. The scent was in reality also sponsored by department store owner Théophile Bader and industrialists Pierre and Paul Wertheimer, with Chanel forging a strong acquaintance with Pierre. A agreement was subsequently arranged where the Wertheimer corporation would take in 70 percent of Chanel No. 5 earnings for making the perfume at their plants, with Bader receiving 20 percent and Chanel herself only receiving 10 percent. Over the years, with No. 5 being a significant source of cash, she continually sued to have the terms of the arrangement renegotiated. In 1925, Chanel designed the now renowned Chanel suit with collarless jacket and well-fitted skirt. Her designs were groundbreaking for the time—borrowing features of men’s apparel and prioritising comfort above the limits of then-popular trends. She helped ladies wave goodbye to the days of corsets and other restricting clothes.

This video gives a brief history of the french fashion designer Coco Chanel and her biography. It continues to go in more depth with experts and historians adding their own knowledge and details to the video allowing more information to be learnt. I choose this specific video as I like to listen to historians and experts views but also see the pictures and garments from the designer Coco Chanel.

Referencing:

Biography.com Editors. (2014). Coco Chanel Biography. [Online]. The Biography.com website. Last Updated: 10 December 2021. Available at: https://www.biography.com/fashion-designer/coco-chanel#:~:text=Who%20Was%20Coco%20Chanel%3F,were%20m [Accessed 11 December 2022].

[ljones41]

"PERSUASION" (2022) Review

"PERSUASION" (2022) Review The years between 2009 and 2020 saw a few television and/or movie productions about various Jane Austen novels. Yet, these productions were either sequel, spoofs or other takes on her novels. Then 2020 arrived and two straight up movie adaptions appeared for Austen fans - "EMMA" and "MODERN PERSUASION". Another two passed before the streaming service Netflix released its own straight Austen adaptation, namely "PERSUASION".

Anyone familiar with Austen's works should also be family with the plot of her 1818 novel and this movie. Eight years before the story's beginning, a baronet's daughter named Anne Elliot had fallen in love with a young Royal Navy officer named Frederick Wentworth. However, her godmother Lady Russell, had convinced her to reject Frederick's marriage proposal out of family duty and his lack of social rank and fortune. During the eight years that followed, Anne had become an ignored and faded spinster. When her father, Sir Walter Elliot, finds himself in financial debt, and Anne's older sister Elizabeth move to Bath to live in style with less finances. Sir Walter also leases his estate, Kellynch, to Frederick's older sister and brother-in-law, Admiral and Mrs. Croft. Anne visits her married younger sister and brother-in-law Mary and Charles Musgrove at the estate of the latter's family, Uppercross. During her visit to the Musgroves, Anne becomes re-acquainted with Frederick after eight years and becomes convinced that he has emotionally moved on from being rejected and from her. When I saw the trailer for "PERSUASION", I never thought I would like it. What can I say? I had not been impressed by the film's trailer. It seemed to emphasize the film's worst aspects. And if I must be honest, this version of Austen's 1818 novel, like the other adaptations, had its issues. I did not care how screenwriters Ronald Bass and Alice Victoria Winslow occasionally utilized modern English in the film's dialogue. It felt out of place, and I am thankful that it did not dominate the movie. I rather enjoyed Stewart Scudamore and Agni Scott's natural portrayals of Admiral and Mrs. Croft. This is why I was very disappointed by their lack of appearances in the film's Bath sequence, especially since it was the former who had revealed an important piece of information about his brother-in-law, Frederick Wentworth. I also had a problem with the portrayal of Henrietta Musgrove in the film. I did not have a problem with the actress who portrayed her - Izuka Hoyle. I had a problem with how Bass and Winslow had re-written her character. Henrietta went from a slightly shy and reserved young woman to a more self-assured and forthright personality. Why did they change her personality? Nor did I see the need for a brief scene featuring Anne Elliot preparing to take a piss near some bush before overhearing a conversation between Louisa Musgrove and Frederick. I really did not need to see that. There were other minor aspects of "PERSUASION" that I did not like. I had no problems with Marianne Agertoft's costume designs for the film - with one exception. I did not care for some of Dakota Johson's costumes. With the exception of a few, most of them seemed bland in compared to the costumes for the other female characters. They brought back memories of Sally Hawkins' costumes in the 2007 adaptation. Considering Johnson served as the film's leading lady, I found this particularly irritating. One of her costumes looked as if it was suited for a period drama set in the early 1910s, instead of the mid-1810s. Yes, I could tell the difference. Also, Johnson's hairstyle seemed to be all over the place in some attempt to infuse a loose modern take in her hairstyle. Why? Perhaps the filmmakers wanted to single her out in compared to the other actresses due to her being the leading lady. Or perhaps Johnson did not want a strict early 19th century hairstyle. Whatever the reason, I disliked her hair. I had considered pointing out Cosmo Jarvis' day-growth beard. However, I discovered that the Royal Navy has always allowed its men to wear beards. So, Jarvis got a pass. Almost. I believe he should have worn a full beard or be clean shaven. That day-growth beard looked a bit too modern in my eyes. Many have issued other complaints about the movie. However, I found myself disagreeing with them. I had no problem with Johnson's Anne Elliot breaking the fourth wall every now and then. In fact, this narrative device had been used in the 2007 adaptation with Sally Hawkins, but with less frequency. The same could be said for using Anne as the story's narrator. Again, the 2007 adaptation used narration a lot less than this adaptation did. But I must admit that I found Anne's narration in this movie at times entertaining and rather poignant. Speaking of Anne's narration, many have complained about the character's sense of humor, pointing out that she seemed less like Austen's Anne Elliot and more like the author herself. One, I thought Johnson handled Anne Elliot’s wit with such subtlety that the character did not come off as a Jane Austen 2.0 like the Fanny Price character in 1999’s "MANSFIELD PARK". Even the Anne Elliot character in the 1971 adaptation of Austen's 1818 novel had expressed flashes of wit every now and then. Also, Anne had only expressed her wit in those moments when she broke the fourth wall. I take that back. There were a few moments when she tried to be witty with her sisters, but they tend to either ignore her, criticize her humor or take her words seriously. Although I had complained about the lack of Admiral and Mrs. Croft in the Bath sequences, two other characters from the novel were missing - Anne's old school friend, Mrs. Smith and the latter's aide, Nurse Rook. If I must be honest, I did not miss them at all. I have never liked the scenes featuring Anne with this pair. Only her defiance against accompanying her family to Viscountess Dalrymple's house in order to visit her old friend was the only aspect of Mrs. Smith I liked in Austen's story. But one would point out that Mrs. Smith had served as the catalyst for Anne's discovery about her cousin William Elliot's villainy. My response? Who cares? One of my major complaints about "Persuasion" had been the portrayal of William as a villain. I have always found it unnecessary. And apparently, the filmmakers, along with screenwriter Nick Bass and director Carrie Cracknell felt the same. That is correct, I have never cared for Austen's portrayal of William Elliot as a villain. Nor have I ever saw the need for such a portrayal for the character. I thank God the screenwriters had decided to simply portray William as a roguish man who enjoyed tripping up with his sharp wit every now and then. More importantly, William openly admitted his intent to prevent Sir Walter Elliot from ever marrying Elizabeth Elliot's companion, Mrs. Penelope Clay in order to remain the older man's heir to Kellynch and the baronetcy. One might believe this admission went against William's pursuit of Anne in the story's second half. But William has always been genuinely attracted to Anne - in the novel and in all of the adaptations. If Louisa Musgrove could be a threat to the potential Anne and Frederick reconciliation without being a villainess, surely William could serve a similar role without being the story's villain. For me, the true barriers to Anne and Frederick's romance have always been her rejection of his first marriage proposal and Frederick's long-lasting resentment of her rejection, not Louisa Musgrove or William Elliot. One scene that had never been featured in Austen's novel appeared in this movie. It featured Frederick's attempt to establish a friendship between him and Anne at Lyme. In this scene, Frederick gave a speech to Anne, expressing his "desire" to end the resentment and regret between them and become friends. I thought it was one of the most deliciously awkward moments I have witnessed in a period drama. This scene was capped by one of my favorite lines spoken by Anne: "But a heartbeat ago, there were no two souls more in rhythm than Wentworth and I. Now we're strangers. Worse than strangers. We're exes." In other words, Frederick had just friend-zoned Anne. And it was the film's only moment in which I had no problem with its use of modern dialogue. Aside from my complaints regarding Dakota Johnson's costumes, I had no problems with the film's other artistic and technical aspects. I found Marianne Agertoft's costume designs for the other characters solid and properly aligned to the movie's mid-1810s setting. But I could not think of a particular costume that blew my mind. However, I was very impressed by Joe Anderson's photography. The movie's scenes featured sharp colors and engaging vistas of locations such as Salisbury, London, Lyme Regis and Yeovil in Somerset, and Bath. And I am utterly grateful the movie did not feature dark interior shots that made it difficult for me to see a person or object. I realize I might attract a good deal of flack for this, but I found Carrie Cracknell did a better job in filming Louisa's accident at the Lyme Regis Cobb than any other adaptation of "Persuasion". I kid you not. There seemed to be something about that particular scene that led previous filmmakers to film it in the most awkward manner. As for the movie's performances, I managed to enjoy them. I have already commented on Stuart Scudamore and Agni Scott's warm portrayals of Admiral and Mrs. Croft. The movie also featured solid performances from Lydia Rose Bewley as Penelope Clay, Izuka Hoyle as Henrietta Musgrove, Jenny Rainsford as Mrs. Harville, Nia Towle as Louisa Musgrove, Gary Beadle as Mr. Musgrove, Eve Matheson as Mrs. Musgrove and Edward Bluemel's very outgoing portrayal of Captain Harville. But there were performances that I particularly enjoyed. When I first viewed "PERSUASION", I had judged Richard E. Grant's portrayal of Sir Walter Elliot as a bit over-the-top. Upon my second and third viewing, I finally appreciated how entertaining and hilarious he was as the self-involved baronet. And . . . I thought he had one of the best lines in the film. I found both Yolanda Kettle and Mia McKenna-Bruce's portrayals of Anne's sisters - Elizabeth Elliot and Mary Elliot Musgrove - to be equally entertaining and funny. Ben Bailey Smith gave a very amusing performance as Mary Musgrove's long-suffering husband, Charles Musgrove. Nia Towle's portrayal of Louisa Musgrove struck me as both charming and ebullient. Nikki Amuka-Bird gave a warm and poignant performance as Anne's godmother, Lady Russell. I might as well say it. Henry Golding's William Elliot has proven to be my favorite version of the character. I have already expressed my pleasure at the screenwriters' decision to avoid Austen's more villainous portrayal of the character. But I also enjoyed Goulding's funny, yet sly performance as Sir Walter's heir. Golding had projected so much charm into his performance that he made it easy for me to see why Anne would briefly consider a future with her cousin. Cosmo Jarvis gave an interesting performance as Captain Frederick Wentworth . . . and I mean that as a compliment. I thought he did a fine job of weaving between the charm and wit Frederick directed at the Musgrove sisters, his continuing anger at Anne's past rejection through the occasion sharp barb or caustic criticism of her character. Once Frederick's anger began to dissipate, Jarvis skillfully managed to convey Frederick's awkwardness at trying to hide his love for Anne via friendly dialogue. I was especially impressed by that moment when he tried to place Anne in a friend zone. Many critics and Austen fans have criticized Dakota Johnson's for being too modern and too witty. I have already complained about the movie's use of modern dialogue and Johnson was not the only actress or actor who used it. As for Anne's wit, I have already discussed Johnson's portrayal of Anne's sense of humor. But I also enjoyed how the actress occasionally utilized facial expressions to convey her amusement or any other emotions toward her family and other characters in the story . . . while breaking the fourth wall. I really enjoyed that. Yet, I also enjoyed Johnson's portrayal of Anne's frustrations and despair over the continuing wall between her and Frederick and the possibility of continuing loneliness in her life. I was almost inclined to regard Henry Golding's portrayal of William Elliot as my favorite performance in this film. But you know what? I have to give that honor to Dakota Johnson's performance as Anne Elliot. How can I put this in a nutshell? This new version of "PERSUASION" is not perfect. It has flaws that include some modern dialogue, the transformation of the Henrietta Musgrove character and some of the costumes worn by the leading actress. But despite these flaws, I still enjoyed watching "PERSUASION" very much. I enjoyed it as much as I had enjoyed the 1995 and 2007 adaptations. Only the 1971 miniseries is superior in my eyes. It is a pity that the movie had received so much negative reactions upon its release on Netflix. But I have no control over that situation and frankly, I do not care. I know how I feel about "PERSUASION" and I look forward to many re-watches of it for years to come, thanks to the screenwriters, director Carrie Cracknell and a wonderful cast led by Dakota Johnson and Cosmo Jarvis.

[dankusner]

If Minnelli’s jewelry could talk, it would tell story of friendship Liza Minnelli wears bone cuffs and a jug pendant by Elsa Peretti in August in LA.

The scene had all the subtlety of a sequined sledgehammer: Liza Minnelli, a performer who has often been measured against her mother, actor Judy Garland, was lounging on a sofa beneath fluorescent Andy Warhol portraits of Garland, Minnelli and her father, director Vincente Minnelli. Minnelli, 78, was sitting in the living room of an apartment she uses as an office and studio in West Hollywood, California.

Minnelli was wearing a red collared shirt over a black turtleneck and swingy black trousers — no shoes — along with silver bone cuffs and other jewelry designed by her close friend Elsa Peretti. Peretti, who died in 2021, has long been associated with Tiffany & Co. This is the 50th year that the brand has been selling her pieces. But Minnelli’s relationship with the Italian jewelry designer goes back even further. The women had a mutual friend in Halston, the American fashion designer who introduced them in the early 1970s. He and Peretti dressed Minnelli for several occasions that would become defining moments in her life. Minnelli wore a yellow Halston gown when she accepted the Oscar for Best Actress in 1973 for her performance in “Cabaret.” In her television special “Liza With a Z,” for which Minnelli won an Emmy in 1973, her wardrobe included several pieces by Halston and Peretti, a white suit and silver bone cuffs among them. Minnelli said Halston and Peretti helped create what became her signature look, which involved simple lines and slouchy silhouettes that allowed Minnelli — who has always considered herself a dancer first and foremost — to move freely, whether onstage or on the dance floor at Studio 54. “He really invented me, along with Elsa,” she said. “He dressed me and she would dress the dress! It was wonderful what she did.”

Minnelli said her signature look was also shaped by Christina Smith, the makeup artist who gave her the thick eyelashes that became a beauty hallmark. Minnelli found Smith through her work with Cher. “I’ve always loved Cher’s makeup,” she said. Minnelli, who has scoliosis, said Halston helped her choose clothes that “focused on my face, and the line of my body.” “The up and down of it all,” she added, kicking a shoeless foot ever so slightly up for emphasis. “He always thought in straight lines for me.”

Peretti is “one of those people who will always be with me,” Minnelli said, while patting the jug-shaped pendant on a necklace she was wearing — a design Peretti created for Halston before producing versions for Tiffany. Minnelli said Halston, who died in 1990, “used to put a little flower in it.” The bone cuffs Minnelli was wearing in her apartment, she said, were the same ones she wore to the Battle of Versailles, a showcase of American and French fashion designers held at the Palace of Versailles in 1973. She also wore them to the Academy Awards in 2022, when she presented the Best Picture award with Lady Gaga.

“If you put them on right, you have to follow your bone,” Minnelli said of the cuffs. The jewelry’s design is said to have been inspired by human bones Peretti saw as a girl while visiting a crypt in Rome. Minnelli described Peretti as very casual. “If you talked to her, she wouldn’t tell you anything, which was quite smart actually,” Minnelli said.

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