9 posts tagged "The Great Gatsby"
“I wanted the audience to feel like the people who read Gatsby in the twenties,” said director Baz Luhrmann during yesterday’s intimate luncheon and discussion of The Great Gatsby at the New York Public Library. “Back then, it was dangerous and of the moment.” Following a string of stylish events and a splashy New York premiere worthy of any Fitzgerald novel, the event was a scholarly affair hosted by Anna Wintour, NYPL President Tony Marx, and editor in chief of The New Yorker, David Remnick. The latter moderated a Q&A with the film’s star-studded cast and crew.
Just steps from the library’s trove of Fitzgerald first editions, the film’s stars, Tobey Maguire, Joel Edgerton, Isla Fisher, and Carey Mulligan (DiCaprio was absent), offered insight into playing some of literature’s most memorable characters. “Daisy became a cocktail of a lot of research,” revealed Mulligan, who plumbed Princeton’s archives for the author’s intimate correspondence with muses Zelda Fitzgerald and Ginevra King. “I fell in love with these two women. The more I read their words, the more real Daisy became.” Fisher, who plays the down-on-her-luck Myrtle Wilson, admitted that her character’s capricious tendencies were hardly far-fetched. “I often play a floozy,” the Australian starlet deadpanned in a Chloé ensemble.
But perhaps the keenest observation came from the film’s scorer, Jay-Z, who was the first to see a rough cut. “We went to lunch afterward, and Jay told me, ‘The thing about this movie is that it’s aspirational,’” recalled Luhrmann. “I think he really nailed it. With Gatsby, everybody thinks of the parties, the fashion, and the champagne. I do hope the movie has a lot of razzle-dazzle, but ultimately it’s a book about hope.”
“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” »
“I believe, by definition, that jewelry is a very personal thing,” Jennifer Meyer says. That sentiment is apparent in the CFDA/Vogue Fashion Fund runner-up’s new collection of diamond-and-gold arrow and custom-engraved ID cuffs, which launches this week exclusively at Barneys. While accompanying husband Tobey Maguire to the Sydney set of The Great Gatsby last year, the designer was influenced by the statement baubles that star Carey Mulligan wore with her costumes. “There was an abundance of beautiful classic pieces with a touch of personalization,” she said. “You could tell a lot of thought went into the characters and what they wore.”
Meyer, who has been nominated for this year’s Swarovski Award for Accessory Design, describes the new range as classic with an edge. “I just started with a trillion diamonds and custom-cut stones,” the L.A.-based designer says of the wares, which reference the Chrysler Building. While remaining true to her West Coast roots, Meyer’s trajectory has been deliberate, developing her identity while still tending to her collection with a delicate hand. As for her future plans, she tells Style.com, “I am continuing to love working with custom-cut stones and adding bigger, bolder pieces into the collection.”
Perhaps it’s something in the air, or perhaps it’s the upcoming release of The Great Gatsby, but we feel a twenties trend coming on. And for those gentlemen who may want to embrace that vintage Fitzgeraldian look but aren’t quite ready to slip into Brooks Brothers’ pink pin-striped Gatsby suit, we propose Cor Sine Labe Doli’s ceramic bow ties. Offered in a range of hues—like crackled metallic, pastel pink, or cherry red—the handmade Italian accessories are decidedly more East Egg than West, and offer just the kind of witty accent that would have made Jay proud.
Cor Sine Labe Doli’s bow ties are available at Opening Ceremony and online at www.antonioli.eu