13 posts tagged "Leonardo DiCaprio"
When it comes to fashion, the red carpet can often be filled with the same old, same old. But now and again, some bold celebrities shake things up with experimental, next-level looks. Here’s what’s feeling fresh this week.
From classic hits to updated takes on the past, a wealth of noteworthy wares walked down the red carpet this week. A handful of stars opted for frocks with lace or insets. Cate Blanchett and Zoe Saldana chose looks with all-over lace. Saldana attended the L.A. premiere of Guardians of the Galaxy in an ensemble from the Louis Vuitton Resort ’15 catwalk on Monday night, and Blanchett stepped out in a white lace-covered cocktail dress with butterfly sleeves from Elie Saab’s Spring ’13 Haute Couture offering for a SK-II beauty event in Shanghai the following evening. In Hollywood, Diane Kruger turned up at the Fox All-Star party in a black Marios Schwab Resort ’15 jumpsuit with a lace keyhole cutout, which was a popular detail for the season.
A surprising, yet decidedly fresh trend this week was the contemporary take on the 80s prom dress. Perhaps one too many Sixteen Candles reruns were the cause for inspiration, but several celebs seemed to be channeling retro prom queens. Rachel McAdams opted for a one-shouldered Zuhair Murad Fall ’14 Haute Couture jewel-toned number with a modern interpretation of a bustle at the hip for the New York premiere of A Most Wanted Man. Kylie Minogue went for the shimmer-effect, donning a gold metallic Blumarine Fall ’14 frock for a photo call for The Voice in Sydney. Selena Gomez decided on a more literal approach, layering piles of tulle over a Dior Spring ’14 cocktail dress for the Leonardo DiCaprio Foundation gala in France. It appears there are still a few lessons we can learn from the decade of big hair, sleeves, and skirts.
The 2014 Golden Globe nominees were announced today, and it looks like 12 Years a Slave and American Hustle—two movies that deftly capture two very different moments in American history—are the top contenders. With seven nominations each, the dramatic films are neck-and-neck competitors for Golden Globe (and, most likely, Oscar) glory.
Other notable nods in the Best Motion Picture lineup include blockbuster hits Gravity and Captain Phillips, as well as the Venice Film Festival winner for Best Screenplay, Philomena. Upcoming films Her and The Wolf of Wall Street also made the cut, rounding out a list of dramas and tearjerkers.
And let’s not forget our favorite (and most stylish) leading men and ladies. Cate Blanchett received a Best Actress nod for her role in Woody Allen’s acclaimed Blue Jasmine. (Her character’s collection of Chanel jackets may or may not deserve its own award.) Leonardo DiCaprio is nominated for Best Actor for The Wolf of Wall Street, and rising red-carpet star Lupita Nyong’o is up for Best Supporting Actress for her role in 12 Years a Slave. Jennifer Lawrence’s turn as a sexy housewife in American Hustle also earned her a Best Supporting Actress nomination. Lawrence will likely step out in Dior for the awards show, but we’re really feeling the messy updos and plunging halter dresses she wears in the film.
See the full list of nominees below, and tune into NBC on Sunday, January 12, to see our favorite funny girls Tina Fey and Amy Poehler host the show live.
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” »