2 posts tagged "Rosie Boylan"
“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” »