2 posts tagged "Shirley MacLaine"
Who’s ready for a glam-packed trip back to 1922? This Sunday, Downton Abbey—the British series that explores the dramatic lives of the well-to-do Crawley family and their staff—returns for its fourth season on PBS. And as the cast of lords, ladies, cooks, maids, and butlers enters into the 1920s, they experience a bona fide fashion revolution. With the exception of Maggie Smith’s uppity character, Violet Crawley, Dowager Countess of Grantham, the “upstairs” ladies begin to slip into the loose, beaded, embellished, and sometimes skin-baring designs of the pre-flapper age. Emmy Award-winning costume designer Caroline McCall is responsible for it all.
Many would argue that the elaborate period costumes worn by the show’s aristocratic characters, like the rebellious Lady Edith (who experiences somewhat of a coming of age this season), Lady Mary Crawley (who spends the entire season mourning the loss of her husband, Matthew, and thus exclusively wears frocks in mauve, black, and purple), Cora Crawley, and her mother, Martha Levinson, are one of the series’ biggest draws. “I think the romanticism and the glamour of the show attracts people,” offered McCall of Downton‘s international success. “Of course, the clothing helps with all that. The costumes help you understand who each character is, but would people still enjoy it without the costumes? I think they probably would.” Maybe so, but certainly not as much. Here, McCall talks to Style.com about how icons Jeanne Lanvin, Madeleine Vionnet, and Paul Poiret influenced Downton‘s looks, the perils of working with vintage clothes, and why she chose to dress Maggie Smith in the image of a queen.
Seeing as this season is set in the twenties, the characters are experiencing a fashion revolution. How are the new costumes different from what we’ve seen in the past?
Downton began in 1912, and now we’re in 1922 and 1923. In terms of fashion for women, that’s probably the most change we’ve seen in any single decade. It’s quite extraordinary to see the transformation from how covered-up women were, how uncomfortable and corseted they were, to how completely different they’re dressed in season four. I always tell the actresses that their characters would never have imagined in 1912 that they’d be able to go out like this. We’re not in the flapper period yet, but there are all sorts of designer influences going on in the early twenties. A lot of Lady Mary’s [played by Michelle Dockery] wardrobe is inspired by Vionnet. Lady Rose MacClare [played by Lily James] has a lot of knitwear because the argyle craze was beginning due to the fact that the Royals were starting to wear their knits in day-to-day life, instead of just for sport. Then there’s a lot of Lanvin-influenced dresses. And Edith [played by Laura Carmichael] has all sorts of influences, because of her being in London. She’s a journalist and she’s trying to be more sexy and womanly, so for her, I looked at lots of illustrations by George Barbier. Poiret has also been an influence throughout.
It sounds like Lady Edith’s wardrobe changes pretty drastically this season.
Yes, it’s really the arc of her story. When you come back in series four, Matthew has been dead for six months, and it feels like the house hasn’t moved on. The whole house has been in darkness since his death, and Edith is desperate to get out. And when she returns to London, boy does she go for it. She’s decided that she’s a new, independent woman of the early twenties, so her wardrobe has changed to reflect all that.
Are any of the characters’ wardrobes inspired by historical figures?
Well, for Violet Crawley—she’s played by Maggie Smith—we looked a lot at Queen Alexandra and what she was wearing. She was the same age as Maggie Smith’s character in the same time period, and she was very glamorous. But she had a particular style. Queen Alexandra was an Edwardian woman, and her wardrobe and her silhouette remained as such during the twenties, but she still had a little pizzazz about her. That’s what I’ve tried to give Maggie. Alexandra always had stunning hats, and she always wore a high collar. Maggie’s silhouette has been more or less the same throughout the whole series—the fabrics and the trims have changed, but the silhouette of her clothing will not. However, a character like Martha Levinson [played by Shirley MacLaine] is desperate to keep up with fashion, even if she’s slightly older in years. She wants to stay young.
How important is historical accuracy when you’re designing these costumes? Do you take any liberties?
We try to create something that’s as true to the time as possible. There are looks this season that people will think are not right, they’ll think they’re ahead of their time, but they’re not. We do a lot of research—I look at books and magazines from the time, and I visit Cosprop, a costume house in London where they have a museum of original clothes. Going through original pieces helps me understand the way things were constructed and the differences, the little nuances, that changed from one year to the next. But obviously you can’t be slavish to the period because you can’t only use original clothes. The fabrics are too fragile. However, when we make new costumes, we make them as closely as possible to what they would have been. Continue Reading “Caroline McCall Talks Dressing Downton Abbey for the 1920s” »
Buried at the bottom of Suzy Menkes’ article on Goyard is this plum revelation: Daphne Guinness (pictured) has snapped up the entire Isabella Blow wardrobe that was slated to hit the auction block at Christie’s! They say money can’t buy you taste, but it sure can help you express it. [IHT]
WWD rounds up the most recent Coco Chanel portrayers for a side-by-side comparison. The biggest surprise? We kinda like Shirley MacLaine! [WWD]
Scouts in Chicago bring you the latest on the windows at Ikram: They’re now showing Rodarte alongside CdG and Alaïa. MObama-ologists are furiously at work determining what, if anything, this means for the FLOTUS’ future outfit choices. [Racked]
SHOWstudio’s Nick Knight, Jimmy Choo’s Tamara Mellon, and Jaeger and Aquascutum’s Harold Tillman were all recognized by her Highness the Queen of England at her birthday honors. Knight and Mellon received OBEs; Tillman received a CBE. [Vogue U.K.]
And Maryna Linchuk is extending her résumé: She’s got a part in Sofia Coppola’s upcoming Somewhere, where she plays a seductress. A stretch, we’re sure. [Fashionologie]