First let me say… Was the Superbowl great or what? I’m just glad it wasn’t a blowout. Last week, I heard the sports books in Vegas had the Patriots by 3, but that lots of Giants fans placed future bets at 3 1/2 Giants, and if the Giants won by that, Vegas would be in deep sh*t. So of course, I took that 3 1/2 Giants bet against the husband, and got to gloat and do a little dance when Brady’s Hail Mary was denied. He was asleep during their last match up, woke up right after Tyree made that historic and unbelievable catch. Probably because I was yelling at the TV. I was pulling for the Giants then, too. But man, a sniper like shot from Manning between two defenders to Manningham, who kept his feet in and held onto the rock, all in a millisecond. Aaaah… That’s the stuff…
But enough about football, let’s talk tutus!
There was some back-and-forth between the Costume Designer Amy Westcott and the Rodarte girls, Kate and Laura Mulleavy. Westcott was put-off by the Mulleavys complaining that they were not eligible for nomination, even though they only designed seven ballet tutus for the film, Westcott the rest of the costumes. Neither received an Academy Award nomination for their work but the Mulleavys parlayed their experience in “Black Swan” into upcoming projects such as costume design for LA Opera’s Don Giovanni.
I just watched it, and I must say, watching something outside of the award season hype is very sobering. Or maybe the experience of watching it on my computer and not in a darkened theater made it less award-worthy? In any case, what was the big deal about this film? The racy girl-on-girl scene? Really? In this day and age porn is ubiquitous. So what? The fact that it’s two famous chicks getting it on? Again, in sex tape land, who cares?
I’m not saying it’s bad. It’s a psychological drama, not some kinky horror film that it was hyped to be. I thought it was OK. The black swan/white swan is your classic duality in nature. We all have darkness and light. The ballet world is catty and competitive. What industry is not? Is she losing her mind? Maybe. So again, I thought it was OK, well made for sure, but not really fresh.
But Westcott’s costumes are a study in elegant casual dressing. Lots of featherweight knits, layered over bodysuits and leggings.
Featherweight shrug. I want it!
I love the back.
The soft pastels really add to the look.
Beautiful evening gown.
The back.
This featherweight turtleneck is great. You can wear a colorful cami under it to spice it up.
There are lots of tracking shots behind her. I like how this is framed. She's always in light or white colors. The others in black or dark.
Great layering.
I like this look because it's both delicate and athletic. And that's what dancers are, essentially.
Another great shrug and bodysuit combo. Look at that great yarn detail on the bust, and the rope-like effect of the yarn on the straps and edge trim. This looks like it's from a Rodarte collection. But who knows?
The back. Love it!
A Rodarte bodice and tutu for the white swan. 13 layers of tulle jutting straight out. All hand sewn.
A Rodarte tutu for the black swan.
A better view.
Very gothic.
The makeup on her hands is a small but strong detail.
Nina finally letting go and becoming the black swan. I love the black dripping down her tights.
Her full transformation.
Better shot of the white swan bodice. Can I say it's really not fair that Natalie looks better with no makeup on?
Lots of textures.
Given all the press for the tutus, Aronofsky shot a lot of close-ups of Natalie. You barely get a full view of the tutus.
Nina finishes the performance of her life.
You know a film has influenced you when you want to go out and buy the look. I will be on the hunt for featherweight shrugs. I don’t care that this is from last year. It looks comfy and feminine.
The Fashionéaste 
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