Finally Back from Vacation // A Review on the Netflix hit: Mr. Selfridge

Hello hello!

Back to the grind finally after being away and relaxing for a good two months! Vacation was swell, it was nice to see family and friends in Belgrade, and Amsterdam was phenomenal, to say the least. Everything was absolutely stunning and I've never fallen more in love with a city in my life! I'll make sure to add photos soon enough, as everything looks like it came out of a fairy tale. 

Now, for the movie business. I've been sitting and racking my brain trying to decide what movie or show I should do my next costume review on, and then came across a gem of a TV show on Netflix: Mr. Selfridge.

Three words to describe this show? Oh.My.God.

Those hats, those fabrics, those chocolates!

I don't want to give too much away, but the show (which is based on the book Shopping, Seduction, and Mr. Selfridge) essentially revolves around the creation of the first ever department store, Selfridge and Co. The owner of the store (Mr. Selfridge himself), is an American that has come to London in the 1910s, in hopes of creating a new shopping experience for the world.

It's really interesting to see how the theory behind a department store comes together, I can't even imagine how dull shopping must have been like prior to Selfridges. It just seems absolutely bizarre to only buy items out of utility purposes and not guilty personal pleasure.

Look how excited everyone is to shop. This would be me, basically.

As a viewer you also get to witness the first ever idea of a massive store-wide sale that every shopper now holds dearly in their hearts, as well as the first ever creative window displays, which are a gem to see.

And the costumes? A delight. The show's costume designer, James Keast really captured Edwardian fashions of the time, especially for the females. The show is filled with fancy millinery, choker necklaces, and over-the-top dresses. The cool thing is is that as time progresses in the second season, as do the fashion trends! The colour palettes of the characters are suddenly brighter, furs are being worn more and more (probably due to colonial ties between Britain and Canada at the time), and conversations about big-name designers of that era are being had such as Paul Poiret, for example.

I totally sound like a complete geek but this show genuinely excites me so much. We take all these elements of modern day shopping for granted, and it's so cool to finally see how they came to be. Throw in a little bit of sex and scandal into the mix and this show will have you hooked. Even my boyfriend, who could care less about becoming educated on fashion adored the show and couldn't stop watching.

The 3rd season starts in March, so I highly recommend all of you get hooked on it immediately and then share your thoughts with me :)

Happy binging everyone!

xoxo

M 

The Grand Budapest Hotel : A Costume Review

Hello all!

It’s definitely been a while since my last post but I was extremely tied up finishing my final semester of school. Now that I’ve graduated, I have much more time to dedicate to these lovely costume reviews I’ve started (I find them so fun!)

In an extremely long overdue post I’m finally going to share my thoughts about Wes Anderson’s Grand Budapest Hotel, since that was a movie I knew I would want to review the moment I saw the costumes. This was also the perfect excuse to watch the movie again, since it’s an absolute delight. The costume designer of this film was Milena Canonero, who herself has an impressive repertoire with gorgeous films such as Marie Antoinette and A Clockwork Orange.

The Grand Budapest Hotel is set in one of Wes Anderson’s fictional worlds and from what I gathered periodically I would place it somewhere between WW1 and WW2 (let’s say the 30s.) The story tells the tale of Gustave H, the hotel’s most prestigious concierge and his bellboy, Zero Moustafa. Zero is actually telling the story to a young writer who visits the worn-down hotel in the late 60s, so most of the movie takes place in the form of flashbacks. The story revolves around the theft of an extremely expensive Renaissance painting and a family inheritance, in which Gustave and Zero get wrapped up in.

The Grand Budapest Hotel compared to my previous review of the black and white Sin City is the polar opposite; it’s packed with so many gorgeous colours and details that one simply cannot look away. Wes Anderson uses these colours to signify the good vs evil concept in the movie, allowing those with more prestige and power to have more elaborate colours.

Gustave H, the hotel’s concierge, is presented to us as a man with utmost dignity and confidence. For most of the movie he is seen in the hotel’s reigning colour for all its employees: purple. Being of the highest ranking than his associates however, his uniform has more details on it. He wears a purple tailcoat with a notched lapel,  and a red velvet bow tie around his neck, and everything looks absolutely pristine. He clearly runs a tight operation and anyone who sees him can tell he is in charge. One interesting detail on his lapel is a little emblem called The Society of the Crossed Keys. This is an emblem worn by all prestigious hotel concierges who help each other in times of need. I ended up asking my boyfriend if this in fact was real, since he worked as a concierge for many years, and lo and behold, it still exists these days. The emblem also separates him from his work comrades, since nobody in the hotel has one but him.

Gustave’s costume changes once more when he is taken prisoner at a criminal internment camp. He wears typical drab prison garb, with horizontal stripes and and their prison number stitched on the side. Although the movie takes place before WW2, the costumes bore a striking resemblance to those worn by the Jewish who were taken prisoners during the Second World War.  Horizontal stripes are given to those without power and as there is no colour , these people aren’t prisoners of life but also of any sort of creativity. The grey and white is the most mundane colour combination and a far cry from the purple of Gustave’s uniform. This definitely speaks to Anderson’s clever use of colour as a means to show honour and dignity. 

While we’re still at the prison, we also get a good look at the soldiers running the whole operation. Again, these costumes are gray and show a lack of creativity and prestige, unlike the purple of The Grand Budapest. The costumes also bare a striking resemblance to those of Kaiser Wilhelm’s 3rd Reich army, and periodically that makes a lot of sense.

Back at the hotel, Gustave’s bell boy and unofficial partner in crime, Zero, has a very similar uniform himself, but of course lacking the emblem worn by Gustave. His uniform looks almost military-esque, possibly giving further proof that Gustave runs the whole operation a lot similar to how an army would be run, and Zero and the others are his men. Zero’s uniform still looks just as clean as Gustave’s, however unlike Gustave’s perfectly pressed uniform, Zero’s is wrinkled and you can clearly tell made of not as fine of a quality. On his head he wears a little lobby boy hat, slightly askew, with the words “Lobby Boy” stitched across the front. 

Of course this costume review wouldn’t be complete without a little mention of the almost unrecognisable Tilda Swinton’s character, Madame D, an elderly countess. Her costume is inspired by the 20s/early 30s, since she lived through those time periods. Her shoes, multi-strand necklaces and fur coat (which is interestingly enough designed by Fendi) give an air of the 20s, while her elaborate hat speaks to the 30s. Another fun fact: Prada designed her 21-piece luggage set. One can tell automatically this is a woman of great luxury and it is with her untimely death that drives our characters into an insane frenzy, egging the story on.

If you haven’t already taken a look at The Grand Budapest Hotel I really suggest you do. I think I can safely say this was one of my favourite movies of the year and is one you simply can’t grow tired of. The rich detail Anderson puts in all of his movies make them such a gem to watch and this film is no exception.

Movie Styling - A Blade Runner Inspired Editorial

Since I haven't had a chance to sit down and write out a costume review this week, I thought I'd take the time to share with my readers a photo shoot I styled as a final project for one of my classes in school. Just like all my other assignments, I decided to base it off of a movie. 

The shoot was inspired by '80s hit sci-fi movie, Blade Runner. For those of you unfamiliar with the film, it takes place in 2019 Los Angeles, which looks like a robotic jungle. The main character (young Harrison Ford in his prime), has the job of wiping out all existing robots, which are replicants of their human counterparts.

My shoot borrows elements from two characters of the movie, both robots. The backdrop of the shoot is futuristic as well, a polluted but kitschy world. I had a lot of fun creating this project and editing/fine tuning the backdrop afterwards. Take a look!

xx

M


Photography ... Matthew Burditt
Model ... Jorja Meister
Makeup ... Terra French

Sin City 2: A Dame to Kill For - Costume Analysis

Prior to starting my post, I have an obligatory duty of announcing that an extremely minimalist trailer of Quentin Tarantino's new film, The Hateful Eight was released at the Sin City showing. It looked absolutely phenomenal and I am beyond excited.

Anyways, to carry on.

 
Last night I had the absolute pleasure of attending an advanced screening of the Robert Rodriguez and Frank Miller neo-noir delight, Sin City 2: A Dame to Kill For. After waiting 9 years I can safely say I was beyond excited, and finding out that the movie was going to be in 3D was icing on the cake. The movie was beautifully stylized and was such a gem to watch, and it surely is the movie of the summer. Just like it's predecessor, Sin City 2 intertwines the lives of it's most dangerous criminals and it's social elite. As much as I would love to give an encompassing movie review I have to stop myself, and in turn continue on with a costume analysis. Since the movie has just come out today, adding a broad assortment of photos may prove difficult but let's give it a go anyway.

The moment Sin City ended I knew a costume review was necessary. Shot almost entirely in black and white with subtle colour here and there to emphasize certain aspects of the story, Rodriguez's long-time costume designer Nina Proctor brought these characters to life, carefully selecting costumes that would resonate to the characters on an extremely emotional level. I have decided to touch upon the characters played by Jessica Alba, and Eva Green.

Nancy Callahan, played by the stunning Jessica Alba, returns in Sin City 2 as a tormented exotic dancer, looking to seek out vengeance for the death of her darling departed Hartigan. Proctor really brought out Callahan's turmoil through costume selection, showing her most vulnerable in stripper-wear and most fierce during her revenge scenes. 

When we first see Nancy she is, of course, dancing on stage of a seedy stripper joint in Old Town. She's wearing an extremely restricting getup of a black corset, very thin black tights and over top a contrasting white leather ribbon bound to her legs. Of course at first glance one would think it's simply a fantastic stripper outfit but it gives a glance into Callahan's internal turmoil. She is extremely lost and frail after the loss of her lover Hartigan, and bound by hate and utter vengeance. She feels constricted, much like her outfit, and turns to alcohol as the only means to sooth her pain. 

As her storyline goes on, she spirals between strong and fearless, to helpless and alone. The wigs she wears are crucial to her character as well, since the moment she takes them off she is the most vulnerable, and most alone. In a scene where she visits Hartigan's grave, Nancy wears a very simple, shapeless, and long grey dress, a long black cloak, and her natural hair free and flowing. This is when the audience gets a true glimpse of what she has become: helpless and alone with no stripper-fascade to hide her pain.

 Nearing the end of her storyline and getting very close to her revenge, Nancy undergoes an extreme transformation. Cutting off her lovely, long locks and dying them black and taking a piece of glass to her face leaving it completely scarred, Nancy has become utterly fearless. She comes out ferocious in a studded and spiked leather jacket, studded bustier, and tight, black, leather pants with studded cut outs along the side. Her character transformation is complete, and she is ready for anything. 

 

Ava on the the other hand, played by the stunning Eva Green, doesn't have a single gentle bone in her body and is utterly corrupt. Ava spends a good portion of the film completely nude, but when she is draped in one of her sultry outfits, her complete control over men is emphasized even further. 

 Ava is the ultimate "dame to kill for", with gorgeous cascading black curls, red lipstick, and ferocious green eyes. Rodriguez plays up these features even further, adding colour to her lips and eyes in this otherwise monochromatic black and white world. When she is clothed, her outfit selection comes as literally a beacon of colour, mesmerizing the male inhabitants of Sin City. Her costumes play a huge role in this movie, being one of the few characters to have colour in their wardrobes, and she works it to her advantage. When we first see Ava, all eyes are on her. She enters a bar wearing a stunning blue, ankle-length, and belted coat dress with a circular belt buckle. We still don't know of her corrupt nature but we can clearly tell the hold and breathtaking power she has. The outfit pays homage to the noir film starlets of the past, with an air of delicate femininity. This is in striking contrast to the bold use of colour in this world, making her instantly thrilling to see. 

 As the movie continues and we see the hold she has on men, her wardrobe selection plays the part too, leaving these men speechless and constantly taunted by silky slips and robes. She begins seducing characters in her white robe, still maintaining a slight air of innocence and playing up her role of damsel in distress. The more she becomes desperate however, her selection of clothing goes darker, and so does her slip and robe. She's reaching the end of her reign, become increasingly more soulless and empty.

These two female leads are only a quick glimpse at this mesmerizing world, and every character is bound to enthral the viewer. Nancy and Ava are both dames to kill for, and both have men doing their bidding and literally murdering others. Dress them up or dress them down, the way these women look and act is crucial in progressing the movie. Whether they're dressed to the nines or not dressed at all, their looks could definitely kill.

Pulp Fiction - A Brief Costume Analysis

Pulp Fiction, hailed as one of the most iconic movies of all time, is a gangster-crime film of the early 90s, directed by Quentin Tarantino. The movie has gained worldwide acclaim for its witty dialogue, well thought out cinematography, and thousands of cultural and cinema references. The story focuses on the lives of four different criminals, and how each of their tales ultimately intertwine. 

 
From first glance, it may appear that the costuming in this movie is extremely simple, such as the black and white garb for the hit-men. Upon further inspection however, one can notice the small differences and clues that director Tarantino gives as a glance into the minds and personality traits of the chosen characters. These clues only further the fact that Tarantino puts a meticulous amount of detail in all his films. The costumes have grown to be timeless over the years as well, as the movie has gained a cult-status among followers.

Using a non linear scheme of storytelling, Tarantino explains how two hit-men, the wife of their boss, and the man they set out to kill all come together in utter chaos. The story appears to be set in a city similar to Los Angeles, so the wardrobe isn’t too heavy and clunky at all. I will be analyzing the costumes of one of the two hitmen, Vincent Vega, the mobster’s wife Mia Wallace, and a two-bit drug dealer Lance. 

 Vincent Vega belongs to the first story of the film, he and his partner Jules are set out to kill a professional boxer who has crossed the head gangster. Interestingly enough, Vincent and Jules are a continuation of Tarantino’s first film, Reservoir Dogs, so the iconic black and white hit-man suits carry on into Pulp Fiction as well. Vincent seems to be roughly in his 30s, and as a hit-man probably makes a good amount of money. About him we know that he is well-travelled, since in the first scene of the movie he talks about his time spent in Europe, and how he is finally back in America now. During this first scene the audience gets a feel of Vincent’s personality: a bit unpredictable and nothing that really ties him down at all. Vincent and Jules wear extremely similar suits, but the difference is in the details added.

Vincent, unlike Jules, wears his hear greasily slicked back, while Jules has his in a neatly-kept afro. Vincent is also seen at some point wearing a bolo tie, almost to signify that he’s a bit more of a cowboy,or unpredictable, unlike Jules who has his skinny black tie always on him, and a reverend’s collar since he’s the wiser of the two. Vincent also has an earring in his left ear, which shows he’s a bit more playful and less serious of the two. The biggest difference to differentiate the two however are the materials their suits are made of. Tarantino wanted to emulate that Vincent by nature is messy, so he is given a linen which is easily wrinkled. Jules, the more organized of the two, has a crisp white button down shirt that has clearly been ironed.

As the plot thickens and things get more dangerous, both hit-men end up in bloodied clothes. At one point they get so bad that they must change out of them. They drive to Jimmy’s house, who is Jules’ friend. Jimmy is a typical suburban man, and the clothes he gives them to change into reflect this and make an impact, especially with Vincent.

Up until this point, Vincent has maintained a level of “cool” with his wardrobe. He puts on neon blue shorts and a varsity t-shirt, and almost instantly his coolness diminishes. Jimmy even points out, “[he] looks like a dork”. It is at this point that we see Vince’s facade is completely gone, and we see him for who he really is underneath his armour of a suit.

The supporting character I chose for analysis is the lovely Mia Wallace, the mobster’s wife that Vincent is set to take out on a “date” and look after while his boss is out of town. The outing starts off well, with Vincent taking Mia to her restaurant of choosing, “Jack Rabbit Slims”. The diner is loitered with 50s nostalgia, and the two participate in a dance competition. Unfortunately the night goes awry with Mia mistaking Vincent’s heroin for cocaine, and Vincent is left with the task with avoiding a fatal overdose.

Looking at Mia’s character, you notice she is the female version of these hit-men, wearing the same colour scheme to fit into this gangster world. She as well looks to be in her early 30s, and of high social status since her husband is at the head of a gang. Mia wears a loose white shirt, not buttoned up all the way, and black capri pants. On her feet she wears gold ballet slippers. She looks extremely well-kept, but her unbuttoned collar shows she has a bit of a fun side. The sleek black bob she sports even adds to her mystique, and even Vincent isn’t immune to her charm. Interestingly enough, Mia also has to shed her bloodied gangster clothes after her overdose, and sport a baggy t-shirt, completely diminishing her air of “coolness” as well.

Lance, a bit character in the movie, is Vincent’s drug dealer friend, who gives Mia an adrenaline shot during her overdose. Used as a bit of comic relief, Lance is an extremely dishevelled man who never leaves his household, since he’s constantly inside selling drugs to his customers. Looking at Lance you would assume he is in his late 20s/early 30s, with long matty hair (quite possibly almost sporting dreadlocks), and an unshaven face. His house is extremely cluttered and messy, reflecting his personality as well. He belongs to a lower socio-economic class, clearly dealing drugs as his means to get by.

The only outfit Lance is ever seen in is a gross, puke-green bathrobe, and under it a kitschy t-shirt with a japanese cartoon character on it. He sports a baggy pair of striped boxers underneath, and ratty old sandals. This is the perfect outfit that explains Lance’s personality, something that he threw on without paying any attention to it, and has quite possibly been wearing the sane thing for quite some time without washing it, as seen by the dirty bathrobe. At one point in the movie, the audience sees lance sitting in front of the tv, with a bowl of cereal resting on him. The outfit adds so much to the laziness of Lance, that without it the scene wouldn’t look as disgusting.


Pulp Fiction will forever remain a cult classic in cinema, and the intricate care Tarantino takes to develop these characters shows through every single one of their fashion choices.


- Marta