19 posts tagged "Julianne Moore"
Cannes’ red carpet has yet to disappoint. From Lea Seydoux’s jeweled Prada gown to Riley Keough’s refreshing Valentino ensemble, this year’s sartorial oeuvre has been equal parts timeless French glamour and 21st-century chic. One trend that’s caught our eye is feathers. It may not even be fair to refer to it as a “trend,” seeing as feathers are among the most traditional of embellishments (see 18th-century feather boas and twenties-era flapper dresses), but today’s iterations have a thoroughly modern spin. Laetitia Casta’s feminine number stood out at the opening ceremony. In a sea of silk and satin, the fluffy white plumes felt classic yet a bit unexpected, given fashion’s love affair with minimalism. Carole Bouquet donned a slinky feathered Chanel dress, and later in the week, Freida Pinto, Heike Makatsch, and Julianne Moore joined in on the fun.
Perhaps we have Chanel’s Spring ’14 Couture show to thank for the recent feather revival—after all, Bouquet and Moore’s gowns were both plucked from the collection (although the stars nixed the spiky hairdos). Pinto’s full-skirted Michael Kors creation had a slightly beachy vibe, and Makatsch’s off-the-shoulder frock looked especially of-the-moment. With a whole five days of Cannes’ red carpets left, we’re interested to see who else joins the flock.
There’s no red carpet quite like the grand staircase at the Cannes Film Festival. With the blink of an eye, international press set off a firestorm of camera flashes that captures looks, turns, and glances from every angle imaginable. And a memorable appearance by an actress at Cannes can help land leading roles and cast her into a different style stratosphere—no pressure, of course. Just hours before Leslie Fremar’s client Julianne Moore made her first appearance at the festival for David Cronenberg’s Maps to the Stars yesterday (wearing custom Louis Vuitton, no less), we sat down with the stylist to talk why Cannes is different than any other red-carpet, and what we can expect to see at the grandest festival of them all.
When Cannes approaches, what are your first thoughts? What is the prep?
It’s exciting because it’s probably the only festival, or the only time, where people can go all out and wear whatever they want. It’s kind of like that fantasy moment where anything goes and you can be more elaborate and it’s so much grander. At the Oscars and Golden Globes, people are a little more concerned about the critics, and here I feel like it’s a lot freer…it’s fun. There’s a lot of prep. It depends which approach you take, whether you’re having things custom-made or if you’re just trying on couture. You decide with your client where you want to go, and then you kind of push it from there. Julianne actually has three red carpets, so she’s wearing one vintage dress that we’ve been working on for a while, and then she has one custom dress, and then she has another that’s couture.
How is Cannes different from other red carpets in terms of styling?
I think that for stylists, it’s more fun because you can choose things that are a little bit more avant-garde and that have a more European sensibility. I like to push it a little bit and not pick just a safe bias-cut dress.
Are there any challenges unique to Cannes? If so, how do you handle them?
With the Oscars or something like that, you’re with your client getting them ready. It’s unusual to travel to Cannes to help them, so you’re sending them off with these major looks and you’re just hoping that everything goes smoothly. Usually the fashion houses will step up and help. So if she’s wearing a European brand, someone will usually come meet her and help her get dressed, which is different from the Oscars, where it’s all about the stylist being there and making sure everything goes smoothly.
How do you go about picking looks for Cannes?
I did some research and saw what was out there and went through pictures of Julianne and did multiple fittings, and we just narrowed it down to the looks that we loved. So it’s kind of a trial-and-error process. You’re looking at sketches, you’re looking at actual pieces, and it’s about making decisions together based on what the event is. She has so many things, from day press to the steps to the red carpet to parties, so she went there with lots of clothes. I did her whole wardrobe for her while she’s there, and I think she went with twelve or thirteen looks.
Is there any particular inspiration you have for Cannes dressing? French Riviera or old Hollywood?
No, I think it’s more that I like to support French design houses when my clients are there. It’s kind of fun to be in France wearing a French designer. And it doesn’t have to be that way and it doesn’t always work out that way, but it is nice to celebrate French design while you’re there.
Does you client’s film ever play a role in the styling decisions?
Yeah, I think Julianne’s role in Maps to the Stars is dark and risqué, and I think her outfit will be the same.
Was there any inspiration in particular for Julianne’s looks?
Honestly, I try to stay away from that. When you’re doing someone’s personal wardrobe and all those types of looks, it’s all about keeping it modern and moving forward instead of inspirational and playing on something that already existed. So our momentum is always moving forward, being current, being fashion-forward, and picking something great that she probably couldn’t get away with wearing in America.
Tonight in New York, industry insiders and supporters such as Julianne Moore, Christina Ricci, and Diane von Furstenberg gathered at Spring Studios for the CFDA/Vogue Fashion Fund’s annual gala. Earlier this year, the decade-old initiative, which provides financial support and mentorship for emerging fashion talents, selected ten semi-finalists for its 2013 prize. And this evening, following a speech by Tom Ford, on-the-rise menswear label Public School, designed by Dao-Yi Chow and Maxwell Osborne, took the top honor. “We’ve been having such a great year, we were happy just to be here with you,” said the designers during their acceptance speech—and they weren’t kidding about the great year bit. The pair also took the 2013 Swarovski Award for Menswear at the CFDAs in June. “To say we’re tremendously humbled is an understatement,” added the winners, who were chosen by a committee that included Reed Krakoff, David Neville, Marcus Wainwright, Anna Wintour, and Jenna Lyons, among others.
The runners up, too, expressed their excitement. “Being in this room and on this stage [with Tom Ford and Julianne Moore], I want to stay here forever,” said second runner up, jewelry designer Mark Alary. Juan Carlos Obando, who was named as the first runner up, offered some heartfelt words of gratitude. “The word thank you is very small. I found a word that is really true. It’s I love you, to all the judges.”
Thomas Persson, editor in chief of Acne Paper, has got the ladies on his mind—leading ladies, to be exact. That’s why the theme of Issue 15, out tomorrow is “The Actresses.” “We have been a bit against the grain from most magazines; we have a different point of view and don’t focus on celebrity as much. We are more intrigued by theater, movies, drama, etc., so I thought that would be something to focus on,” offered Persson of the new issue, which features Isabelle Huppert masquerading as Greta Garbo on its Andreas Larsson-lensed cover (left). “But it is such a big topic,” he added, “so we narrowed it down to just the actresses that have intrigued us over the years.”
That list includes Meryl Streep, Isabelle Adjani, Gena Rowlands, Diane Keaton, Julia Roberts, Anouk Aimée, Julianne Moore, and Michelle Pfeiffer (among others), many of whom are presented in a thirty-page photo portfolio by Brigitte Lacombe that comprises little-before-seen snaps from 1988 to 1999 that she pulled from her archive (below). We couldn’t help but notice that many of the ladies are of a “certain age.” “Maturity doesn’t scare me,” explained Persson. “Just the opposite: It points to the quality and longevity of their careers, and it is re-affirming to see that these legends are still getting major roles. Anyway, I like things mature—doesn’t matter if it’s wine, cheese, furniture, or people. It speaks to character.” Continue Reading “Acne Paper‘s Leading Ladies” »