Draperly Played: Kate Bosworth

Maybe it’s because we just wrote about the Drapers (as they compare to Marge and Homer Simpson) for Vulture and so I have Betty on the brain, but this feels ice-cold and dramatic in a very Mad Men vein.

Kate Bosworth

This woman is out for revenge. But not the martini-flinging kind; no, she’s going to cut you with the jagged, icy scrape of her words, her ennui, and her general disinterest in your base manly expectations. “I’m going out for a Manhattan and surf and turf. You want dinner? Fine, you scavenging cad. Here’s the number for Edith on the third floor. She’s always making pot roast and she’s 85 so GOOD LUCK.”

[Photo: Fame/Flynet]


Royally Played: Wills and Kate (in Hobbs) Take Canada, Day Four, Part Two

This is sincerely a “Part Two,” in that we didn’t really get a full wardrobe change from events earlier – as far as we know. As far as WE can tell, everyone just put a coat on (it was 42 degrees Farenheit at this event, which is, to my Los Angeleno mind, COLD). I mean, is Kate possibly wearing sequined hot pats and a coconut bra under there? Yes, indeed. Regardless: allow me to regale you with a lovely and familiar coat tonight, as well as some primo gazing and a few entertaining bits and bobs left over from earlier today that didn’t make it into our first post.

[Photos: Getty Images]


Royally Played: Wills and Kate (in Dolce & Gabbana) Take Canada, Day Four, Part One

You guys! I had one brief shining moment where I thought that Kate’s shoes were metallic. It was a mere trick of the light, sadly — we have returned to the land of the Beige Shoe. Regardless, we also have volleyball and wine, which are a consistently winning pairing in my book, and this dress is both very pretty and feels vaguely like it wouldn’t be out of place in a remake of Anne of Green Gables. Which is a compliment in my book.

Also, gee, what terrible weather for wine-tasting:

MISERABLE! We haven’t gotten any wine-tasting photos in yet, but I’ll either update this post when we do, or add them to the next one, which will probably pop up here later tonight. So come on by — and if you’ve missed any of this particular tour, all our posts live here. Read early, read often.

[Photos: Getty]



Unfug or Fab: Jennifer Connelly in Louis Vuitton


For real, has ANYONE been more loyal to one designer for longer than Jennifer Connelly has to Louis Vuitton? Even spokesperson Alicia Vikander switches it up, but I can’t remember the last time Jennifer DIDN’T wear LV to a major red carpet event. Fortunately for her, though it’s hit or miss, the aesthetic at least appears to be a better match than the Lawrence/Dior marriage.

Here’s her latest:

Jennifer Connelly

I wasn’t sure what I made of this at first; something the sleeve on the right is doing looks almost reptilian or alien. It’s the creasing, I think. But I also think the whole outfit NEEDS the touch of volume provided by that little poncho/valance. A drop-waist snug bodice feels too dated on its own.

The slit on that sort is major, but right now she’s working it with a minimum of peril, and WHAT HO, she has ditched the clodhoppers in favor of something sleeker. I’m more drawn to this than I expected. Where do you fall: Fug, fab, or FIX IT?

[Photo: Getty]


Fug or Fab: Kristen Wiig in Marc Jacobs


On one hand, the magpie in me loves this. It’s whimsical, and she’s whimsical. It’s not boring or staid; no one who wears this can be accused of “phoning it in” or “underplaying her hand.” On the other hand, it’s also BONKERS:

Premiere Of Relativity Media's "Masterminds" - Arrivals

If Jessica Fletcher ever had to go undercover in a Palm Beach nightclub to solve a crime on Murder She Wrote, that nightclub would look just like this dress. Whether that is a positive or a negative depends very much on your tolerance for the following: giant glass bricks, neon, Harvey Wallbangers, checkered linoleum tile, the movie Cocktail, cocktails in general, parrots, Birds of Paradise, Hollywood Montrose, whimsical mosaics, and bad-ass seventy-year-old bitches who are just not here for your shit. Personally, for me that’s a huge net positive.

[Photo: Getty]


Well Played, Ella Purnell in Dior at the premiere of Miss Peregrine’s Home for Peculiar Children


Ella Purnell is the star of the new adaptation of Miss Peregrine’s Home for Peculiar Children and this is her first real major role (she did play Teen Jolie in Maleficient, and you can see why, facially, certainly). And what a debut:

"Miss Peregrine's Home For Peculiar Children" New York Premiere

This is what we call, in the business, a home run.

[Photo: Getty]


GFY Interview: Madeline Fontaine, Costume Designer for Versailles


Europe’s most expensive costume drama ever, Versailles, is premiering in the United States on October 1st on Ovation (last week, we gave you a sneak peek at its costumes and trailer). We were delighted to get a chance to quiz its costume designer, Madeline Fontaine, via e-mail, about her experience recreating the sumptuous and complex world of the the Sun King. Fontaine’s resume is highly impressive — in addition to Versailles, she was the costume designer for Amelie, Yves St. Laurent, and the upcoming Natalie Portman flick Jackie,  and has won two César Awards. In short: She knows her stuff.

GFY: Let’s jump in with the lovely Versailles. How did you get involved with this particular project?

Madeline Fontaine: I was invited to collaborate by the set designer Katia Wyszkop. How I did I immerse myself in the period and in the project? Like any other subject, it needs a time of “feeding” — made of visuals (paintings, for these days) and readings, to feel what we can find to re-create the atmosphere of the period, and learn about all we can use to realize it. We collect the information and find the right crew for such a long project. Then we make sure all this information is recorded so it can be refined later.

GFY: When did you first join the team, compared with when they actually started shooting, and when you wrapped? How long an undertaking was this?

MF: For season one, it’s been a nearly full time investment for about a year. For season two, a lot of things were already settled and we had the experience of the first season. I was mainly involved in the beginning (how to use what we did already, jumping ten years, creating new silhouettes) and choosing the design and fabrics of the new pieces for the main actors, and the new ones.

GFY: A project like this obviously involves a great deal of research; the pressure for historical accuracy must be intense. How do you balance the desire to be accurate with the desire to create something that will be appealing to a modern viewer — or the desire to put your own stamp on something?

MF: I don’t think we had the mission to be historically perfect.  I think we have to take both actors and public into a respectful feeling of a period, to make it believable and true, to use the reality of the body’s constraints which determined a language, adapting it to current physical ways of communicating and habits. The “stamp” is totally dependent of a sensibility, and cultural references, I think it cannot be hidden.

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