The movie before the movie. I have the feeling I’ve already seen The Great Gatsby, Baz Luhrmann’s remake that will only be released in May. There have been so many teaser clips, so much press talk about the costumes, about the Prada sketches and her collaboration with the film’s costume designer, Catherine Martin, about the sets, about Tiffany designing the jewellery for Carey Mulligan, Leonardo DiCaprio and Elizabeth Debicki, and the film has already been named the most stylish film ever, for Goodness’ sake. The movie should have been released in December last year, so is this some kind of poor (or brilliant some might say) marketing device to keep the public’s interest up? Because it has the exact opposite effect on me: my enthusiasm keeps sinking deeper and deeper.
Whenever a fashion designer is involved in costume designing, everyone, especially fashion magazines, seem to forget that they are not viewing a seasonal collection that they can review at their free will, but a costume meant to dress up and mould a character. And in a film, a dress is a lesson in character development. So taking that dress out of the context, before the movie is out, and saying how stunning it is, it’s more advertising for the fashion designer than for the film, and most importantly, to the detriment of the costume designer himself/herself (Vogue UK simply called Catherine Martin “head of wardrobe”). And I’m not buying that.
“Fashion in film” is a very confusing term and that’s why I’ve even changed the name of my Fashion in film series into Style in film. Fashion has always had a complicated relationship with film. Let’s not forget that, in the past, the Hollywood costume designers invented more styles than any major magazine of the likes of Vogue or Harper’s Bazaar cared to admit and this is one of the strongest points of the American cinema in my opinion. In the 1920s and 1930s couturiers were known mainly to the rich. But Adrian, Travis Banton, Orry-Kelly and other Hollywood designers became as famous as the stars they dressed and launched major fashion trends, foreshadowing the work of many designers, and their styles act as an ongoing source of inspiration for modern designers. You’ve guessed, many times the originator of these trends was not even recognized.
The interest in costume design has severely diminished over the years. The drawing power of the individual star used to be paramount. They often played dual roles: as the movie star they had become and as the character in the movie. A new trend would spring as soon as the movie was released. The actresses and actors (we can’t really call them stars anymore, can we?) today don’t have this power anymore and the studios and producers don’t usually have the money to invest in actual costume design anymore (and even if they do, they channel it towards other things). They haven’t been doing this for many decades, since the ’60s. The clothes can now be designed, purchased, rented, manufactured, shopped for and aged; costume design has lost a lot of its meaning. And sometimes, to increase publicity, they bring a fashion designer on board. I have nothing against it. I’ve talked about and criticised on previous occasions the way various designers who were responsible for the costumes in certain films were intentionally overlooked and not properly credited (Givenchy for Sabrina would be one).
But the truth of the matter is that fashion has always tried to exploit the film world. And what really upsets me is that fashion designers working on films always forget that their designs must serve the character. Instead, their brand style is often recognisable and the clothes are usually too contemporary, a modern interpretation of the period fashions they should perfectly emulate. This is certainly what will happen in The Great Gatsby. Although I know very well Baz Luhrmann has a very personal film-making style, which I admire, and I would never expect the decors and costumes in his films to accurately depict the atmosphere of the period the plot is placed in. Catherine Martin confirmed my thoughts: “Baz and Miuccia have always connected on their shared fascination with finding modern ways of releasing classic and historical references from the shackles of the past.”
But when I read Prada’s words, “I usually try not to literally reference periods in my work, because that’s not the way I think”, I thought that maybe someone should remind her that this is not her regular fashion collection work and that it’s not the way she thinks that’s the most important thing in designing the costumes for a movie, that in case she’ll work with other directors than Luhrmann in the future. Designing for the movies and fashion have different goals and different cultures, even if designers switch sides.
Maybe now, when we don’t have movie stars anymore, this is a way to attract more audience (and Baz Luhrmann’s films may actually help bringing more young people into cinemas). And let’s not forget that Carey Mulligan has been wearing Prada gowns to different events and award ceremonies for a few years. So why am I tossing and turning over this when it’s clear that there’s a collaborative effort to transform cinema style into fashion in film? All I want to say is: this doesn’t serve the interest of real movie lovers. And I’m not talking only about the costumes, but also about all the stills and decor shots they’ve released. I’m one who doesn’t even read a review until after I’ve seen the film and formed my own opinion. Is it too much to ask to see the movie first and do all the talking later? At least then we’ll know what we’re talking about.
Hoping that you’ve been patient enough to read this far, I would love to hear your thoughts on this. Have a wonderful weekend!
photo: Bazmark Films, Red Wagon Productions, Village Roadshow Pictures
Bravo! I love reading your take on film and fashion or cinema style- it’s obviously a very passionate subject for you! I have deliberately not looked at or seen, or read or heard much about the Great Gatsby; partly for the same reasons – personally I just want to see the movie and see someone else’s perspective or translation of a particular period. If it makes me think and think again, to try and see another point of view – it’s been a success. If it all looks too same same or familiar, then although it might look absolutely stunning – it’s certainly not going to stay in my mind for long! Costume design for me, is a costume for a specific character – once the person gets dressed they are transported to another place and time and take the audience with them…. 🙂 Have a lovely weekend Ada x
Oh I so agree with every word! Over-marketing is killing film, such a shame (or should I say sham?)
I was bored by the idea of a remake to begin with, I couldn’t be more bored by the idea of seeing this movie now. Love your blog 😉
Hi Ada,
I really enjoyed reading this post. And I agree with you.
I read The Great Gatsby in high school (it was for our exams), and fell in love with the story. The teachers told us to watch the movie as well, so that we know the story well. I didn’t. I didn’t need to. I loved this story so much that I read it over and over again.
When I heard about this new film with Leonardo DiCaprio I was intrigued. Then I saw the official trailer on Youtube…the song they used for the opening: “No Church in the Wild” by Kanye West & Jay Z – REALLY!?
Where’s the authenticity? Why do they have to put a modern touch to it, when the era is so beautiful and relevant today?
When I think of costume design I think of Cecil Beaton (for My Fair Lady), Edith Head, etc. The only fashion designer I loved was Givenchy (as you say) in Sabrina. I actually gave a talk the other day and mentioned this and no one even knew what I was talking about haha. It’s sad that costumes are rented out for films these days.
I actually told one of my features writers a while ago to write about this for VL Magazine, because people need to know about this.
xxx
I think, these days it’s all about business. Sell, sell, sell and make everything simple enough, so as many people can understand it without stretching their brain muscle too hard. Prada-wise – I liked her sketches, but personally all I could think of is her previous collections that those scetches were clearly based on. Now I am a bit confused to read the quote from her interview – what a bizzarre approach to history!
On the other hand, I am not surprised any more, especially after seeing Karenina… Frankly, I was shocked and thought that I was either hallucinating or having an attack of schizophrenia. Didn’t even like the costumes that much because they didn’t really represent the history that well. As for the story, it made me feel as if they simply disrespected the novel and entire history of Russia. But then, again, THAT would be too much for an average folk (or Keira Knightly, mind you) to comprehend.
Brilliant writing, Ada. Shame your post will be one of the very few that actually is worth reading.
xxx
Natalia, about Anna Karenina. I liked the costumes because I found them beautiful, but you are right, not because they were accurate for the period. It seems that it’s not the film-makers’ intention anymore to respect history (except for films like Lincoln), but to give the public a modern interpretation of the past. Films like The Great Gatsby, the remake, and Anna Karenina are made for the simple purpose of entertainment. But Anna Karenina left me such a bitter taste that I don’t know what to expect from The Great Gatsby.
i agree. when i first heard they were coming out with a new TGG movie i was excited. but the more previews i see the less interested i become. it feels like a commercial. the spirit of the story seems to be lost on trying to market the film as great. but it’s the story that is great, they should have focused on that more.
Desperate times call for desperate measures. That’s my short version of your long but enjoyable post. I agree with you but I still like to see the movie. Btw, have you seen Anna Karennina, there was much talk this time about the jewelry in the film, I believe.
In these days when fashion blogs are the most followed, film is trying to get his way towards an wider audience. Or maybe it’s the director’s desire to make things as good as possible, costumes included
I still want to see the movie too, because, as I’ve said in my long post, I like to do all the talking after I’ve seen a film. And I’ve also said that I enjoy Baz Luhrmann’s film-making style. But that was not the point. It’s about the way fashion exploits the film world and about the way we let ourselves be fed with all this press manipulation.
Yes, I’ve seen Anna Karenina. I liked the costumes as I found them beautiful, but not because they were accurate for the period. But I was highly disappointed with the film: not only was it a poor adaptation after a great novel, but it did nothing for me from the emotional point of view. Anna Karenina was too big a role for Keira Knithley. Do you honestly think we can put in the same phrase the film Anna Karenina with “the director’s desire to make things as good as possible, costumes included”? What does as good as possible mean? Making a film only for the purpose of entertainment? I know this is what brings money, but it doesn’t mean the film is good.
Entertainment is good but a good film is the one that touches us, I agree. I haven’t seen Anna Karenina so I can’t comment on the movie, nor its director. My remark was general.
Your blog is very elegant and I will continue to follow it and learn more about movies cause, clearly , I am not as knowledgeable as you in this respect.
Aura
Ada, you raised such an interesting point: honestly, I haven’t thought about it, but as Natalia said, too often the approach is ‘business oriented’ rather than ‘creative oriented’. I think the way it should be with regards to fashion and movie is what you wittily noted that fashion designers working on films must remember that their designs must serve the character. I’m also very curious to watch the Great Gatsby and I will look forward to your Cinema Style review. Have a nice w-e!
Ada, I am so glad that you are bringing up these things for discussion. It’s such an interesting but multi-faceted dilemma. I agree with much of what you have to say; there’s nothing more disappointing than a film that doesn’t get the period clothing right and it’s obviously poorly done. But I can’t help but thinking of some examples when liberties are taken to make the film a bit more comprehensible to modern times and I’m always open to that. I think if New York New York, where Armani made the exaggerated suits and clothing–it was an overnight fashion sensation retail-wise, but I also had the good fortune to hear Martin Scorsese speak to my class about this and how brilliantly he thought the clothes reflected the heightened emotions of a crumbling marriage. That’s why I want to give Baz’ film a chance before I draw any conclusions because I think he has the ability to create a heightened world that is magical and transports one to an altered state of mind. He also explained how he changed the dialogue somewhat in Age of Innocence, to make it more understandable, and I think whether it’s costumes or dialect, if it’s thoughtfully altered from reality it can work. The trailer made me very excited to see the movie because I feel like it caught some of the real excitement of the time which was missing in the last version, but I agree the release lag time ruined the excitement–hoping that the delay was not really about the film, but hopefully executive power plays…Love that you are considering fashion and film so deeply.
xo Mary Jo
Mary Jo, it’s not Baz Luhrmann’s approach to the Jazz Age that I disapprove of. As I said in my post, I enjoy his style, I like the way he reinterprets classic stories and how he gives a modern twist to past decades. This is clearly very much enjoyed by the public and this is a good thing, especially when the man behind the camera is a man of Luhrmann’s talent. A modern interpretation is not always a bad thing and diversity is good. The most bothering thing for me is all the press talk about Prada’s involvement in the costume design process, and her sketches. I am sorry, but I can not help remembering all the fuss around Black Swan, when the whole world was under the impression that the Mulleavy sisters of Rodarte were the only ones responsible for the costumes in the film. It’s the excessive publicity around Prada’s name that bothers me the most and the revealing of too many insights before the movie is out. This is a sure way to kill the excitement for me. A trailer would have been enough. If the movie is good, it’s going to be enough talk about it after its release. But having already been included in various tops of designer movie costumes (#1) or most stylish films ever BEFORE anyone actually seeing the film first, it’s just so silly!
You’re right, that part is so annoying. The black swan thing was really unfair to the costume designer!
I do agree with you. All the teasers and rumors around this movie make it seem already dated.
On the other hand, the conversion from the model of costume designer working in the service of Hollywood to the Hollywood being in the service of a fashion brand is relevant for our times.
Fashion is so powerful today, that all the other mediums (art, film, etc) are simple vehicles designed to promote it.
I wouldn’t mind if these costume would be challenging in a way or another, to be edgy or experimental, as a film would allow them to be. But, unfortunately, the Great Gatsby costumes don’t aim such a point.
Anyway, we talked a lot about it and we’ll certainly watch the movie. See, they finally cought our attention 🙂
Yes, they did. 🙂
Great points – I agree. I’ve always been more interested in film than in the fashion industry, which is why movies like The Great Gatsby serve as a good reminder of what can happen during a “collaboration” – the movie’s authenticity suffers (if designing for a certain period was even the goal) and the designer doesn’t understand the purpose of costume design. I’m not sure how I feel about the Great Gatsby (I never actually liked the story or the characters) – but I have a feeling that the film is more about decadence and the parallels to our time, rather than being faithful to the time period or who Fitzgerald really thought his characters were. xx
What a fascinating post. It left me thinking of the second Sex and the City movie, and the prominent use of Halston Heritage. Although fashion is obviously an integral part of the Sex and the City franchise, I was still left with a bad taste in my mouth – here the film seemed to be serving Sarah Jessica Parker’s interests in the company, rather than the best interests of the film. Product placement has become an increasingly important part of movies over the past decade or so – I suppose it was inevitable that costumes would go the same way.
Ooooh, looking forward to this!
I didn’t know about this movie. Baz Luhrmann always has wicked stylez in his movies, and I love Roaring Twenties fashion – so it’s gotta be a winner
NEWSLETTER