2 posts tagged "Tommy Lee Jones"
When Karl Lagerfeld rounded up the fashion set in Dallas for Chanel’s rodeo of a Métiers d’Arts show back in December, sending all manner of Lone Star-inspired embroideries and fringed suede (not to mention a Chanel No. 5 holster) down the runway, we figured we’d see a Western revival. Just weeks later, both Alexander Wang and Fausto Puglisi featured city-ready cowgirl boots in their respective Pre-Fall lineups. Not long after that, Donatella Versace went maverick with her Fall menswear collection, which boasted updated chaps, bolo ties, and sharp suits embellished with horseshoe, cactus, and sheriff’s badge motifs. And don’t forget Ralph Lauren. An original pioneer of the frontier style, he put his Polo women’s collection on the catwalk for the first time, and trotted out serape blanket coats and prairie skirts. The Americana movement has taken hold in the streets, too, with models such as Hanne Gaby Odiele incorporating old-school bandannas into their off-duty wardrobes. Stetsons and 10-gallon hats, meanwhile, have become a phenomenon in their own right: The wide-brimmed toppers have replaced fedoras as hipsters’ headwear of choice. But fashion isn’t the only industry romanticizing the Wild West. A new wave of Western flicks (including Tommy Lee Jones’ The Homesman, which debuted at Cannes over the weekend) will hit theaters this year.
It’s time to head West—cinematically speaking, at least. Next month’s Cannes Film Festival lineup includes a surprising number of Westerns, including The Homesman, starring Meryl Streep, Tommy Lee Jones, and Hilary Swank (and co-written and directed by Jones), and Deux Jours, Une Nuit, a “Belgian Western” starring Marion Cotillard. We won’t attempt to explain how or why the world’s top filmmakers became collectively inspired by Western stories, but we will say this: From a stylistic standpoint, it makes perfect sense. Consider the recent obsession with all things Americana, a subject our editor in chief detailed in our latest issue of Style.com/Print. And of course, there was the Chanel Metiers d’Arts show in Dallas last December, in which models stomped down a hay-strewn runway in leather fringe, big gallon hats, and Native American motifs. It was the show that sparked a thousand Instagrams and had even the most discerning editors rethinking cowboy boots. As usual, Chanel was ahead of something huge. We’re curious to see if these new films at Cannes encourage a similar surge of interest in old-school American culture.