Lust, Caution

28 Monday Nov 2011

Posted by Angie in 1940's, Women

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Ang Lee, lust caution, Shanghai, Tony Leung Chiu-Wai, Wei Tang

Set in Shanghai during WWII, “Lust, Caution,” directed by Ang Lee, 2007, is a marvel of restraint. Wang Jiazhi, played by Wei Tang, gets swept up in a wave of patriotism and activism that ultimately **SPOILER ALERT **destroys her. Coveted costumes by Lai Pan.

Wang goes undercover to seduce and entrap Mr. Yee, played meticulously by Tony Leung Chiu Wai. Mr. Yee collaborates with the Japanese occupiers to mercilessly silence the resistance. Along the way Mr. Yee falls in love with Wang, and Wang, against her will, falls in love with Mr. Yee.

The film is plotted brilliantly and at first you think that Mr. Yee is going to get his just desserts, but he is saved by Wang who ultimately cannot let him be killed.

Be forewarned, there is some freaky deaky sex here. Tony Leung is not the sweet forlorn Tony Leung in “Chungking Express,” he is a hardened, masochistic, soulless being. It’s not gratuitous, it’s to show the evolution of the relationship. At first Mr. Yee practically assaults her, she is just something to be conquered and humiliated in his eyes. Next, it becomes more like mutual lust. Lastly, Wang succumbs to her growing feelings and makes love to him, and his hardened heart softens and lets her in. The bedroom is the only place they can let down their guard safely.

Ok, so let’s talk about the clothes. Shanghai has always fascinated me. It’s always been a diverse city because of it’s trading stature. Russians, Middle Eastern people, Americans, Europeans have always lived there and established businesses there. The people living there adopt things from other cultures that they like giving the nature of the clothes a truly modern mashup of influences.

I love that Ang Lee opens with this Mah Jong game. Mah Jong is a way to pass leisure time. These women haven't a care in the world as their country is being torn apart. He conveys it all by them playing this game, with perfectly manicured nails.

You know a film is gonna be a good reference when the extras look this good. Love the huge clutch.

Wang and her wonderful hat and trench.

Maybe it's my narrow exposure to Chinese fashion, but I'd never seen a striped cheongsam. Doesn't it make it soo fresh? It melds the European and Chinese aesthetic perfectly.

Love the graphic scarf against that rich color.

It's damp and raining, and she still looks perfectly turned out.

I need to find a great rain hat like this.

Here it is from the back, gives you full coverage. And look at that cute bow.

I don't know if the lace is her slip or if it's trim on her hem, but I love the look.

Here she is again with that great hat and trench, this time with large clutch. I think I need to get one of those.

**SPOILER ALERT** At the end, Wang realizes the price of her mercy to Yee as she and her friends stare down an endless abyss that is to be their grave. It shows you that in the fog of war, an act of humanity can cost you your life.

If you’re designing for FALL, this would make a great springboard.

HOMEWORK: find a great trench and rain hat. Let’s put our umbrellas in storage.

Bonnie and Clyde

10 Thursday Nov 2011

Posted by Angie in 1930's, R.I.P., Women

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Arthur Penn, Bonnie & Clyde, Faye Dunaway, Theadora Van Runkle

Theadora Van Runkle, passed away on Friday November 4th. She worked on many memorable films like “Bullitt,” and “Godfather II,” but is widely remembered for her work on “Bonnie and Clyde.”

This film is a constant source of inspiration for designers. Directed by Arthur Penn in 1967, it tells the tale of Bonnie Parker and Clyde Barrow‘s crime spree in the early 30’s. America was deep in the Great Depression and pissed off at bankers. Hmmm… Sounds familiar.

Theadora Van Runkle‘s costume design for star Faye Dunaway is timeless, and casually elegant. It can be adapted for both spring and fall collections, just change the weight of the knits and wovens.

Theadora's costumes give Bonnie a softness and sophistication in contrast to her "hillbilly" confidants, and symbolizes her yearning for more than her current existence provides.

Theadora's use of berets actually come from Bonnie Parker, but she styles them a little differently and that makes a world of difference.

Bonnie's looks hand knitted and is worn past the crown of the head.

Dunaway's is a finer gauge knit and is worn to the hairline. Big difference. Notice, the deep V-neckline and the open weave detail all point to her GUN. She's definitely not that innocent anymore.

Here's a better detail of the sweater and scarf. I think this most of all, captures the allure of Theadora's work. It's easy, something we can do; a beret angled just-so, a printed silk scarf worn unexpectedly, and a fitted short-sleeved sweater. But it looks so cool. Image mptv.com

Again, beret + deep V-neck (this time with a great print) = cool.

And wasn't Faye Dunway just gorgeous at this age? Image mptv.com.

Bonnie visits her mother for the very last time. Penn shot this with a filter and instantly gives it a worn photograph look, like whatever happiness she's feeling now, is already a memory in a photo, never to be experienced again.

And Warren’s pretty cute too, but Theadora’s clothes are what endure in my mind.

Theadora Van Runkle, Costume Designer, Dies at 83 (nytimes.com)

Happy Halloween!

31 Monday Oct 2011

Posted by Angie in 1890's, 1930's, Men, Women

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Barry Levinson, Dracula, Francis Ford Coppola, Glenn Close, Halloween, Robert Redford, Sadie Frost, The Natural

Two best things about October, 1) the World Series, and 2) Halloween.

There are lots of baseball movies, and I love them all from “Major League,” “A League of Their Own” (I worked on that film as an extras casting asst. while I was in film school), and “Eight Men Out.” But stylistically, “The Natural,” stands out. Directed by Barry Levinson in 1984, it does a terrific job of elevating ballplayers and baseball to mythic proportions. Robert Redford still doing the leading man thing, and doing it well, Kim Basinger as the dangerous moll, and Glenn Close, the sweet-looking home town girl.

Redford gives Brad Pitt a run for his money.

Her sunlit hat is a beacon of Roy's past perfection, and the promises of his youth.

Dracula. What is it about this character that continues to fascinate and inspire? The latest iteration being the “Twilight” series. In 1992, Francis Ford Coppola, no less tackled the adaptation of Bram Stoker’s “Dracula” with mixed results. One image I still remember is Lucy’s wedding gown.

Eiko Ishioka was the Costume Designer, but professionally, she’s done it all. She was one of the best graphic designers in Japan, she won a Grammy for a Miles Davis album cover. She was promoted to Creative Director at the top ad agency in the 1970’s when there weren’t many women in that position. She then turned to production and costume design. In 1988, she won a Tony for Best Scenic Design and Best Costume Design for “M. Butterfly.” Her latest work is in the new Broadway “Spiderman.”

She’s known for her avantgarde/sensual designs, which made her a perfect match for “Bram Stoker’s Dracula.” She won the Oscar that year for her showstopping work.

From the back, Lucy played by Sadie Frost.

This collar was so over-the-top and unexpected. I remembering hearing gasps from the audience. In a funny way, it also foreshadows Lucy's beheading, by making her head seem detatched from her body.

Macabre but beautiful glass coffin.

Undead Lucy looks like a frightful angel with the winged headdress and dressed in white lace.

Eiko is so amazing I think I’ll have to devote a whole post to her.

Ann Demeulemeester Spring 2012

24 Monday Oct 2011

Posted by Angie in Runway Inspiration, Women

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Ann Demeulemeester, Isabelle Eberhardt

A true original. Unapologetically avantgarde. She cites Isabelle Eberhardt as her inspiration. A Swiss writer who traveled through North Africa in the late 1800’s, who wore men’s clothes because they were more practical and comfortable. I can’t help but think of the wild American west (same time period) viewed through the lens of a goth rocker/Belle Epoque ingenue.

Marcus Tondo/GoRunway.com

I love the long, slouchy, silhouette. She does use some white and off-white (it is spring after all), but she loves her some black.

Scarf it down

23 Sunday Oct 2011

Posted by Angie in Runway Inspiration, Women

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scarf, Stefano Pilati, white dress shirt, Yves Saint Laurent

Here’s a new way to work a scarf, YSL Spring 2012.

Marcus Tondo/GoRunway.com

New shape for a white dress shirt. Romantic but yet professional.

Marcus Tondo/GoRunway.com

I am Love, and in love with Tilda Swinton from Orlando

19 Wednesday Oct 2011

Posted by Angie in 1600's, 1700's, 1800's, 1980's, Women

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Dien Van Straalen, I am Love, Orlando movie, Sally Potter, Sandy Powell, Tilda Swinton

She’s a tall Scottish lass that looks great in clothes. Not to mention, an extremely intelligent and fierce actor. She’s not a mainstream star here, but she is a fashion muse that we all watch.

“I am Love,” 2009, is a small film with a tragic end, but gives you an eyeful in every frame. They had a very small budget but really stretched it because the interiors alone are jaw-dropping. Antonella Cannarozzi, the costume designer, received her first Academy Award nomination for all her hard work. Coming from an indie film background, I’m awed by what she was able to do with so little.

Emma Recchi, Tilda Swinton, is the Russian wife of a wealthy, aristocratic Italian. She falls madly in love with her son’s business partner, which leads to a series of tragic events.

I don’t know what’s more fabulous, that mink or Marisa Berenson.

Emma’s look is refined, upper-class, and oh so age appropriate. Don’t you love her sunglasses? Tilda Swinton.

Love the bright blue with that yellow bag. Tilda Swinton.

The simple cream sweater with orange skirt, the curved bun in her hair, and the tiles on the ground make this such a beautiful shot. Tilda Swinton.

Orange pants! She looks great, of course. Tilda Swinton.

This graphic draped dress is to die for. Tilda Swinton, Waris Ahluwalia, and Marisa Berenson.

Tilda Swinton.

At the end, she’s a mess. No makeup, she needs her housekeeper to get her dressed. A far cry from the beginning of the film. Tilda Swinton and Maria Paiato.

Article on Antonella Connarozzi:

http://fashionetc.com/fashion/influencers/807-antonella-cannarozzi-i-am-love-oscars-2011

http://www.iamlovemovie.com/

On to “Orlando”

I first noticed her in some Derek Jarman films, but she really popped in Sally Potter‘s “Orlando,” 1992. This too, was a indie film who’s grand sets and costumes belies its tiny budget. Costumes by Sandy Powell, with additional costumes by Dien Van Straalen.

Orlando is male at the beginning.

Charlotte’s fantastic high neck, sapphire colored, Russian fur coat with black frog closures. Charlotte Valandrey and Tilda Swinton.

Even the skates and tights inspire.

Notice the proportion of the bow and cuffs. Tilda Swinton.

The shirt adds to the look even with the coat worn over it. Tilda Swinton.

Full length shot of the coat from the side, check out the ginormous coat cuff. Tilda Swinton.

Love the ruffles down the front and the fullness of the waistcoat. Tilda Swinton.

Such a beautifully composed shot. This could be a painting by Jacques-Louis David. Tilda Swinton.

Rich middle eastern colors and textile patterns. Tilda Swinton.

Then turns female.

She finds it hard to maneuver around a room in women’s clothes, a metaphor of her life as a woman. Tilda Swinton.

Reduced to mere decoration. Tilda Swinton.

A stunning, stunning, stunning green tartan jacket and dress.

From the back. Tilda Swinton.

Look at all the different ruffle colors. If it were gradations of white or ivory it would make a unforgettable wedding gown. It looks a little Galliano 1994. Tilda Swinton and Billy Zane.

Near the end of the film, independent, a mother, and at peace with herself. An androgynous look encapsulates that journey. Tilda Swinton.

Both films are must-sees for fashionéastes.

Spring 2012 Valentino

19 Wednesday Oct 2011

Posted by Angie in Runway Inspiration, Women

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A Room with a View, Spring 2012 fashion, Valentino

This circles back to my “A Room with a View” post. I saw these as a modern interpretation of the prim and ladylike looks in that film, but with a young modern twist.

photo: Yannis Vlamos/GoRunway.com

I love that the whole body, arms and legs are covered, but still breathtakingly sexy, and ever ladylike. Not to mention the hair and makeup are simple, natural, romantic, gorgeous. Those drop earrings are insane. I’m losing my mind right now.

Elizabeth Taylor RIP

15 Saturday Oct 2011

Posted by Angie in R.I.P., stuff to see, Women

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Butterfiled 8, Cat on a Hot Tin Roof, Elia Kazan, Elizabeth Taylor, George Stevens, Giant, James Dean, Krupp diamond, Montgomery Clift, Pacific Design Center, Paul Newman, Richard Brooks, Suddenly Last Summer, Tennessee Williams

If you’re in LA, you can view her memorabilia, which includes gorgeous one-of-a-kind gowns, and her eye-popping jewelry collection, at the Pacific Design Center through Oct. 16th. Items will go on auction in New York in December.

http://www.latimes.com/entertainment/news/la-et-liz-auction-20111003,0,1683302.story

Elizabeth Taylor necklace earrings bracelet

Goddess. She glows, even in black and white.

Wow! It’s like an infinity mirror. 33 carat Krupp diamond.

Her couture gowns and jewelry were bought and paid for. Not like today’s here-today-gone-tomorrow starlets. SNAP! She passed away on March 23, 2011, at 79, but her memory and image live on.

These are legends, not movie stars. James Dean and Elizabeth Taylor on the set of “Giant,” directed by George Stevens in 1956.

Here are some of her most memorable looks.

“Cat on a Hot Tin Roof,” directed by Richard Brooks, 1958, explores the rocky marriage of Brick, Paul Newman, and Maggie, Elizabeth Taylor.

Elizabeth Taylor Paul Newman Cat on a Hot Tin Roof

With Paul Newman in this now famous slip.

Was there ever a more gorgeous screen couple?

Elizabeth Taylor white dress Cat on a Hot Tin Roof

Not that she needs help with figure flattering cuts, but this silhouette is so stunning on her, emphasizing her natural and ample bosom and tiny waist.

“Suddenly, Last Summer,” the creepy, Southern Gothic-like mystery, has the wonderfully patrician Katherine Hepburn breathing life into Tennessee Williams’s words, flitting around like a ghost haunting her home and haunted by the death of her son, Sebastian. Her sea turtle monologue rivals Natalie Woods’s, “I’m a good girl Mama!” monologue, from “Splendor in the Grass” for best crazy lady monologue. Directed by Joseph L. Mankiewicz in 1959, Liz does a great crazy lady, too.

Elizabeth Taylor Suddenly Las Summer black dress

This could’ve been plucked from Victoria Beckham’s collection. Still very modern and flattering.

Elizabeth Taylor Suddenly Las Summer white swimsuit Montgomery Clift

This daring white, keyhole, one piece became an iconic swimsuit.

Elizabeth Taylor Suddenly Las Summer white swimsuit

Here it is in color. mptvimages.com

In “Butterfield 8,” she plays Gloria Wandrous, a sometimes actress/call girl trying to go legit, directed by Daniel Mann, 1960. What’s striking about her performance is her vulnerability layered with world weariness and optimism.

Another memorable slip. She was petite but perfectly proportioned.

Elizabeth Taylor Butterfield 8 black dress pearls

As Gloria she was the lust object looking for love, dignity, and respect in all the wrong places.

That’s just a taste. She has so many! RIP Elizabeth.

Jane Eyre, 2011

11 Tuesday Oct 2011

Posted by Angie in 1850's, Men, Women

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Adriano Goldman, Amelia Clarkson, Cary Fukunaga, collars, Costume Designer, cuffs, Dario Marianelli, gloves, Helmut Lang, Holliday Grainger, Jamie Bell, Jane Eyre, mens coat, Mia Wasikowska, shoes, sleeves, Tamzin Merchant

This version of “Jane Eyre”, Directed by Cary Joji Fukunaga, Director of Photography, Adriano Goldman, Costume Designer, Michael O’Connor, and Music by Dario Marianelli, seduces you in a cold, windy, embrace. Beautifully shot, paired with evocative music, plus so many clothing details, I could hardly keep up.

The main takeaway is COLLARS. So many delicate, artful collars, I couldn’t see anything else. I don’t know if they were lace, embroidered linen or cotton voile, but just that they were exquisite. You could use these for a light, prim, detail in a spring collection featuring linen and cotton shifts. You don’t need any jewelry with collars like these.

Don’t you love her little bow brooch?

I love this shot because she’s talking about being trapped and not only is she framed in a window, but the window panes act as a prison cell.

Another great collar.

And another.

Here are some great collar and cuff combos. Why don’t people make a nice, lacy or embroidered cuff anymore? It’s perfect for winter, wear it under your fave solid wool/cashmere sweater. It adds a splash of femininity to something otherwise unisex.

OMG how fun is this cuff? Double layered and belled! And the collar is such a whimsical shape.

Jane Eyre 2011 Mia Wasikowska and Judi Dench

I love the little tie at the collar.

The sleeve details, tight, pleated, layered in contrast to the full skirts give you a sense of how restrained all the women in this period are.

A closer look at the sleeve.

The layered sleeves make me want to make fitted wool blazers or pea coats.

Jane Eyre 2011 scalloped sleeve Tamzin Merchant

How cute is this sleeve detail on her shoulder? Imagine it being on a felted wool pea coat? The vertical, hanging necklace is hard to see, and seems a little out of place, it’s almost like a noose around her neck, but I like it.

Jane Eyre 2011 Amelia Clarkson school uniform

Young Jane’s school uni made me think of Helmut Lang in the mid 90’s. Imagine it in black over a white shirt. So cool.

Jane Eyre 2011 Amelia Clarkson school uniform back

The back.

Jane’s shoes are the last vestige of her privileged upbringing. Crafty oxfords, please someone make these.

Jane Eyre 2011 Mia Wasikowska mesh gloves

Grey, mesh, fingerless gloves?! Gimme!

As for the the men, Mr. Rochester is a dandy when the mood suits him, but St. John, played by a grown up Jamie Bell, is always dressed in stark black and white. I love the contrast of the soft, white, thin cravat with the bulky, black and stiff vest, coat and overcoat.

This stiff, almost waxed overcoat serves as a type of emotional armor.

Check out the nice, wide collar from the back. If it were a waxed cotton, it would be selling out in an All Saints shop

All in all, this version surprised me by how stunning it was visually and aurally. Mr. Rochester always stuns me… Hello? Sexual harassment! But it is a classic tome, sure to be remade again, and again, but probably won’t look as cool. Tremendous job, Michael O’Connor.

http://focusfeatures.com/jane_eyre

Jane Eyre poster. From IMDB.

Breathless

10 Monday Oct 2011

Posted by Angie in 1960's, Hair and Makeup, Women

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1960's Paris, AN AMERICAN IN PARIS, Breathless, French New Wave, gamine, Jean Seberg, Jean-Luc Godard, pixie cut

Whatever you might think of his films, Jean-Luc Godard is a towering and inescapable influence on everything from films, photography, even (maybe subconsciously) to rap music. I may be bored waiting for the plots to start, may not be that interested in the political or satirical points he’s trying to make, but I sooo appreciate his utter originality and convention-busting mentality.

“Breathless,” 1960, left old-style filmmaking in its wake. Radical jump cuts and hand-held camera work only became mainstream in the MTV 80’s age of music videos.

Jean Seberg Breathless New York Hearld Tribune shirt

Why doesn’t someone makes these t-shirts so we can buy them??? You could even do a lightweight cashmere or wool. The ultra cool gamine Jean Seberg.

Wearing her boyfriend’s hat. She could be going to Coachella, modern, timeless.

Effortlessly chic. Love the vertically knit tank. mptvimages.com

Without the hat, so cute! Just remember smoking kills. But does look cool in black and white. I’m not gonna lie. mptvimages.com

Maybe Goddard called it Breathless because she’s so beautiful.

Jean Seberg Breathless gloves sunglasses dress

This striped dress is perfect for spring. Why did women stop wearing gloves?

With a sweater thrown over it. Notice the sweater is a fuller cut, not tight.

“Breathless,” is also a play on, “An American in Paris.” But instead of a squeaky-clean American trying not to get caught in a questionable social situation, this American girl knows what’s up, and isn’t fazed in the least by getting into a questionable social situation.