89 posts tagged "Madonna"
Marc Jacobs was the guest of honor at the WWD CEO Summit dinner last night. With Proenza Schouler’s Jack McCollough and Lazaro Hernandez, Olivier Theyskens, and Pamela Love, among other New York design stars, looking on, Jacobs sat down with WWD’s Bridget Foley for an engaging interview that ranged from subjects like his favorite living designer (Miuccia Prada) and current projects (a beauty line with Sephora) to his recent absence from Page Six (“Kanye and Kim have taken my thunder,” he said) to the virtues of living in New York City in the pre-cell-phone age. “Everything felt like a first. It didn’t get tired,” Jacobs said. “Now it’s different, but then there were places where young artistic people could live. Madonna performed at the Roxy before anyone knew who Madonna was. Or Jean-Michel Basquiat. So many people were coming up. There were pockets of creativity. And all of that seemed new. And it was pre-computers, too, so people actually talked to each other, and they did go to clubs. I don’t think there were iPhones or text messaging, so everybody either talked to each other or ignored each other, but they did it face-to-face.”
Describing the nonstop work as “like one prolonged day” between now and the Louis Vuitton show in early March, Jacobs alluded to an upcoming meeting about his Louis Vuitton contract. “So the contract,” Foley said, pressing him for more information, but Jacobs demurred. “We’re discussing that this week,” he said, as if to indicate that anything could still happen. When his boss at Louis Vuitton, Bernard Arnault, came up another time, Jacobs was more forthcoming. “I always feel like Babe the Pig, with the farmer, where Mr. Arnault will say, ‘That’ll do, Pig.’ He was very pleased with [Daniel] Buren [our Spring collaborator], and he was very pleased with the train [from Fall 2012]; he’s been a lot more forthcoming. But there’s been a good ten out of fifteen years where it was, ‘That’ll do, Pig.’ “
At the end of the interview, Foley invited the audience to ask questions. Martha Stewart was among the guests who spoke up. “I asked my Twitter followers what they’d like to know,” she began, “and they asked, Who’s your greatest inspiration? And if you cook, and your favorite color.”
“I love red, I don’t cook at all, and who inspires me? Well, all of the people I work with inspire me, and my friends inspire me. I couldn’t give you one name.”
Stewart pressed, “They also asked, Who’s your favorite porn star?”
“Well, my favorite ex-porn star,” he said, “is a guy named Eddie.”
Madonna kicked off the North American portion of her worldwide MDNA tour last night in Philadelphia and brings it to NYC next Thursday (September 6), just as fashion week gets under way. It’s fitting timing, given that her extravagant show might as well be a runway show in itself. Her longtime stylist and collaborator Arianne Phillips helped curate custom costumes by everyone from Alexander Wang to Jeremy Scott to Fausto Puglisi, totaling up to eight outfit changes per show (her dancers reportedly switch 10 to 15 times). And since Madge is never one to go light on shine, many of the costumes are decadently embellished with Swarovski Crystal elements (over 315,000 of them used on the tour). Here, get an exclusive backstage look at how the sparkle all happens.
“The other people in the exhibit, like Ed Harris, Todd Haynes, and Vittorio Storaro, these are heroes of mine and they are people who have informed my work. To think that I could even be considered in the same context as them is like winning ten Oscars, seriously,” says acclaimed costume designer Arianne Phillips, whose Oscar-nominated creations for Madonna’s film W.E. are included in the second series (out of three total) of the Persol Magnificent Obsessions: 30 Stories of Craftsmanship in Film exhibition at New York’s Museum of the Moving Image, along with various notes, rare sketches, video interviews, and materials from films such as Amélie, Far From Heaven, The Last Emperor, and Million Dollar Baby. “It’s both awesome and daunting—it feels a bit like we aren’t in Kansas anymore,” she says of being included in the project. Modest as she might be, the frequent Madonna collaborator and two-time Oscar nominee has earned her spot in the museum next to the nine other filmmaker greats, like special effects guru Douglas Trumbull and composer Ennio Morricone. Binding the elite group together is a story highlighting the obsessive workmanship behind some of film’s most iconic moments. In the case of Phillips, it’s her deep obsession with the transformative power of costume. Before heading to the museum last night, where Persol hosted a party to unveil the exhibition and honor Phillips, Patricia Clarkson, and Todd Haynes, the costume designer talked with Style.com yesterday afternoon about the W.E. artifacts that are now on display, working on Madonna’s MDNA tour, and her own obsessions.
You created more than 60 different outfits just for Andrea Riseborough (who plays the legendary Wallis Simpson in the film). Tell me about some of the artifacts and materials from W.E. that made it into the exhibition.
Lucky for us, our director Madonna has an extensive archive of her own with a full-time archivist, so the costumes from the film are being preserved there. A lot of times when the film is over, you can’t even find them because the costumes are being used for promotional purposes, but we have the costumes in perfect condition. There is a day dress (blue and white silk) that is not based on any dress Wallis actually wore. That’s one of my favorite pieces, and there are a few dresses based on ones by Madeleine Vionnet, but there is also one of the Schiaparelli black and white crepe dresses, which is quite famous. Interestingly enough, one of the real ones is on display at the Met right now (for the Prada/Schiaparelli exhibit) and it’s the exact same one I looked at in the costume archives when I was researching for this film and made our version (pictured, above). We also worked with Cartier and re-created jewelry pieces based on pieces the Duke and Duchess owned. They are actually going to be destroyed once this exhibition is over because just like a great painting, they can’t have replicas sitting around. Trust me, Madonna and I have cried many times over this.
How closely did you work with the curator Michael Connor on selecting these pieces for the exhibit?
Michael came out to L.A. where I live, and when they first asked, I was really excited, especially for costume to be recognized in such a way. I am always looking to speak about costuming publicly because it’s an aspect of filmmaking that is not completely understood. He really went out of his way to make sure I was involved every step of the way. We went through all my archives, which were pretty fresh because we only had finished filming a year ago. I was about as involved as you could get in putting this together.
How do these pieces fit into this overarching concept of obsession in the exhibition?
In terms of magnificent obsession, I leave that up to Michael Connor and Persol. I am obsessive about details, I really am and I admit it. But also, I worked with a director, Madonna, who (I worked with her over 15 years) is magnificently obsessed with details and that’s very apparent in the film. I try to infuse those details into a costume to help the actor harness this character and help catapult the actor. Costumes really serve two purposes. Visually, they obviously form the character, and really enrich the viewer and help set a time and place. But also I believe it’s equally important for the actor. Costumes should be a way to catapult an actor into a time and place. Those visceral, tactile aspects are equally important, like how the dresses felt on Andrea and how the suits felt on James D’Arcy.
Specifically, what elements of costume design do you obsess over?
You are speaking my language. I obsess about perfection every step of the way. I always feel there is more that can be done. I do a lot of research and I try to diversify it as much as possible and this film really tapped into that. And I obsess about the organization of it. I am always very obsessive about my presentation, I do elaborate presentations to the director and this helps my process and filters what will be valuable in the design process. I am really big on accessories and color and silhouette. I really want to know cinematically how a costume will work visually. And, I am obsessive about how costumes fit an actor. I guess there is no limit to obsession, really. That is the problem with obsession, it’s a mind-set, it’s a hindrance and an advantage. You have to know when is enough. Sometimes your first inspiration is your best inspiration. For me, obsession means going to whatever length possible to get the job done.
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Madonna’s MDNA concert tour kicks off today in Tel Aviv. While the iconic singer is sure to bring her signature moves to the stage, it’s her costumes that are generating the most buzz. An army of designers—Jean Paul Gaultier, Jeremy Scott, and Alexander Wang—have been enlisted to create eye-catching looks, to be accessorized with shoes from Prada and Miu Miu. Italian designer Fausto Puglisi (who also worked with the singer for the Super Bowl on M.I.A. and Nicki Minaj’s costumes) has also been tapped to design looks for the backup dancers. [WWD]
Now at Topshop, you can shop till you drop, and find yourself in a bed moments later. The retailer has teamed up with Travelodge on combined store and hotel development at Topshop’s flagship store in Edinburgh—what was once Topshop’s stock room has been converted into a 96-room hotel. [Telegraph]
Last year was Gaga, this year is Disney. Word on the street is that Barneys New York has plans to team up with the Walt Disney Co. for the upcoming holiday season, and they have all sorts of treats in store. Reportedly, one of the elements of the decorations will be an animated Disney fashion film starring fashion insiders. [WWD]
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]