11 posts tagged "Leonardo DiCaprio"
Could Leonardo DiCaprio have been on to something when he wore that odd welder’s mask in Venice last month? We ask only because we’ve seen a whole batch of bizarro visages on the men’s Spring runways.
Etro closed its thematic, Mexican-inspired Spring show by sending out models in embellished Zoro masks. Emporio Armani (above, center), too, showed eye-shielding veneers that were, if you will, part OTT sunglasses and part 2020 masquerade ball.
Umit Benan harkened back to a Turkey (his home country) all but forgotten in its modern—and troubled—era. Tapping the famed Milanese opera house La Scala for help, Benan paired each of his looks with guises of actors from old Turkish cinema (above, right). The effect? Caustically comic.
And then there’s KTZ (above, left), the U.K.-based label spearheaded by Marjan Pejoski and Koji Maruyama. Their combination of hoods, eclectic prints (one of which resembled an old map), and medieval metallic masks seemed to suggest a fusion of Westeros and East London.
“Hats are always important. Full stop,” said costume designer Catherine Martin when asked about the elaborate chapeaux featured in Baz Lurhmann’s The Great Gatsby. “I think that one of the things that defines the period is evening headwear. Hats enhance the characters, create an otherworldliness, and help the audience understand that we’re in a time other than our own.” In order to fully realize Gatsby‘s sartorial Jazz Age fantasy, Martin enlisted Sydney-based milliner Rosie Boylan to create cloches, boaters, and beyond for Daisy and co. Boylan, who has worked with Martin and Lurhmann since making headpieces for Moulin Rouge in 2000, has been crafting hats for over thirty years. Here, she talks to Style.com about designing for Gatsby, pushing historical boundaries, and how to pull off a twenties topper.
Can you give us an idea of the range of hats we’ll see in The Great Gatsby?
There are about one thousand hats in the movie. Baz and Catherine love hats. For the men, there are a lot of boaters and caps and homburgs, which were a high-crowned men’s felt hat that was introduced by Prince Edward in the twenties. But we were primarily making women’s headwear. And that was mainly cloches and then the explosive party headwear that reflects the spirit of the Gatsby story. There were about 250 party headpieces, and we styled them to compliment each individual actor’s face. Every headpiece was made for a particular person.
How do the hats in Gatsby help improve our understanding of the characters?
When Catherine and I are working, it’s not only about making a period fashion statement. It’s about the character. I need to know what is happening and what they’re feeling and that helps me to create something that speaks to the storyline, the character, and the mood at that particular moment. Take Daisy, for example. She is always dressed in pale colors and she wears lots of soft floaty garments. Her headwear is very refined, highly crafted, very expensive, but always reflective of the fact that she is a delicate flower. I love the hat Carey Mulligan wears at the end of the film when she’s leaving town. She’s with Tom at the train station, it’s almost fall, and she’s got her felt hat on. It’s quite restrained but very beautiful and there’s lot of, I suppose, sadness. Continue Reading “From the Top: Milliner Rosie Boylan on the hats of Gatsby” »
“We needed to find a way of translating the twenties into something that felt as new and modern and titillating as it was back in 1922,” said Catherine Martin—the designer behind the costumes for husband Baz Luhrmann’s upcoming The Great Gatsby film—during an intimate Q&A with Harold Koda at the Met yesterday evening. If there’s anything that can reignite the Jazz Age’s mystique, it’s Martin’s wares, which are at once painstakingly historically accurate (aside from a zipper here and there) and completely enchanting. The film, which opens on May 10 and stars Leonardo DiCaprio as Gatsby, Tobey Maguire as Nick Carraway, and Carey Mulligan as Daisy Buchanan, boasts such fantasies as feathered frocks worn by the Fitzgerald-penned tale’s “girls in twin yellow dresses” (the looks were inspired by an actual twenties-era vaudevillian act), hordes of boater hats by Rosie Boylan, wigs made in England, and beach pajamas (for the elusive Jordan Baker).
Luhrmann and Martin’s fondness for Schiaparelli (the pair worked on the film for the Met’s Schiaparelli and Prada: Impossible Conversations exhibition), lent a surreal edge to the story’s infamous party scene. “Baz kept saying, ‘We need a lobster!’” recalled Martin. And he got one—the costumer crafted metallic crustacean headpieces for the showgirls at Gatsby’s raucous soiree (below). Continue Reading “Catherine Martin Talks Gatsby” »
Baz Luhrmann’s long-awaited adaptation of The Great Gatsby, with Leonardo DiCaprio, Carey Mulligan, and Tobey Maguire, will open the 66th Cannes Film Festival, it was confirmed today. It’s a spiritual return to the area for Fitzgerald, who wrote some of his greatest work on the Riviera, and an actual one for Luhrmann, whose first film, Strictly Ballroom, screened at the Festival some 21 years ago. (His Moulin Rouge! opened Cannes, too.) Expect Prada on the red carpet—not only is Mulligan a favorite of the house, Miuccia Prada also worked with the costume designer, Catherine Martin, on some of the film’s looks.
Kanye’s at Cannes (Kim Kardashian in tow, naturally), and he’s not going to let the film set steal the limelight. Therapper-slash-designer is debuting his own movie (which he wrote, produced, and directed), entitled Cruel Summer, tonight at Le Palm Beach Casino. The film, described as “unlike anything West has ever attempted before,” stars comedian Aziz Ansari and Lebanese actress Razane Jammal. [Page Six]
Is there another baby Bündchen on the way? Rumors are circulating that the Brazilian beauty and her husband, Tom Brady, are expecting their second child, after various news outlets have reported that the supermodel told Givenchy designer Riccardo Tisci, who dressed Bündchen for the Met gala, that she was two months along so he could adjust the dress accordingly. If you ask us, there doesn’t seem to be any bump in sight, but then again, she’s Gisele. Stranger things have happened. [Telegraph]
The partnership between Marc Jacobs and Yayoi Kusama first started when the Japanese artist painted her defining dot motif on the Louis Vuitton Ellipse bag in 2006, and now, six years later, Kusama’s dots are going to be on LV goods worldwide. The duo is set to launch a line of clothes and accessories on July 10, just two days before a Kusama retrospective opens at the Whitney Museum in New York. [WWD]
At last, a first look at the trailer for Baz Luhrmann’s adaptation of The Great Gatsby,starring Carey Mulligan and Leonardo DiCaprio. Look out for flapper dresses and vintage clothing (many of the dresses are from Ashley Olsen’s personal collection) as well as music by Kanye West, Jay-Z, and Jack White. Oh yeah, and the chemistry between Mulligan and DiCaprio. [Grazia Daily]
Georgia May Jagger, a material girl? Madonna and her daughter Lourdes say yes. Taking over for Kelly Osbourne, the 20-year-old gapped-tooth model has been tapped as the new face of Madonna’s Material Girl fashion line, making her debut in the upcoming back-to-school campaign. [WWD]