2 posts tagged "The Great Gatsby"
With the New York premiere this week of The Great Gatsby, Baz Luhrmann’s much-anticipated adaptation of the classic F. Scott Fitzgerald novel will begin its worldwide tour, most notably with a stop as the opening film at Cannes this month. And while much attention has already been paid to the Miuccia Prada-designed costumes, the extravagant deco sets, and, of course, the on-screen chemistry between Carey Mulligan’s Daisy Buchanan and Leonardo DiCaprio’s Jay Gatsby, we’ve still got a few burning questions, mostly of the beauty variety. Here, Style.com chats with the film’s head hair designer, Kerry Warn, about bobs, finger waves, and making Mulligan’s strands look like they’d been “dipped in cream.”
How did you approach your research for the film?
The twenties was an incredibly well-recorded decade. We had mood boards all over the hair and makeup rooms, with images of real people, actresses, and society ladies from the era to keep everyone inspired. I also read the book and saw the movie with Mia Farrow and Robert Redford, but I didn’t want to get sidetracked—once you get a train of thought going, it’s important to stay on track.
The bob was obviously huge in the twenties. How did you determine the exact length and angle of Carey’s cut?
Louise Brooks was a big influence. Graduated bobs came into style in this era. The look was almost boyish, the way it was cut in the back, close in to the neck. It was known as a “semi-shingle,” but today we call it a graduated bob, as it gets longer in the crown area and drops down under the chin. That was our preferred length for the actresses in this film.
What about all the finger waving? Why was it important to have that textural element?
Once everyone cut their hair off [in the twenties], they started waving it. We tried to convey the modernity of the decade, and that these girls were being scandalous by cutting their hair off into bobs.
Let’s talk technique. What’s the easiest way to get those perfectly glossy ridges?
The finger wave has to be done on wet hair—you don’t want to make the hair too sticky, so you don’t use any product. I hold my comb at an angle, toward face, and pull the hair through, creating a ridge. I pin that section in place, then comb back the other way, following an “S” movement through the hair to get three or four waves down the side of the face.
A few years in the making, and a string of prospective release dates later, Baz Luhrmann’s The Great Gatsby is finally hitting theaters this month—and the fashion community couldn’t be happier. In addition to Luhrmann’s singular directing style and a star-studded cast that includes Carey Mulligan and Leonardo DiCaprio, the film also features the costume-design savvy of Oscar winner Catherine Martin in collaboration with one Miuccia Prada, who designed forty dresses for a slew of twenties-era extras as well as some of the frocks worn by Mulligan’s Daisy Buchanan. To properly fete the partnership, the two women hosted a cocktail party last night attended by a handful of the film’s stars, as well as style-set regulars, like Shala Monroque. The Garage magazine creative director complemented her staggeringly flawless complexion with a gorgeous, glossy red lip and a hair accessory that resembled one of the coveted demilunes from Nicholas Ghesquière’s final Balenciaga collection —a thoughtful move, considering the wealth of flapper-inspired headpieces featured in the movie. Thoughts on the gilded accessory?