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After Dark:
The Met Gala

Last night, Jessica Alba, Selena Gomez and Olivia Munn all stunned at the Met Gala in DVF. Here, resident “It Girl” and Style Editor, Jessica Joffe, reports from beyond the red carpet:

“The essence of chic is to appear extravagantly lovely,” Charles James once said. And although the party of the year is always extravagant, it was especially lovely this year. More intimate than usual— less than half the typical number of guests —the evening felt like a Slim Aarons tableau come to life; fresh faced girls in gowns that were with few exceptions elegant and beautiful, the men in white tie and top hats. A gigantic floral sculpture of a Charles James gown commanding the entrance set the tone. With the lights dimmed, we made our way through the galleries, bathed in pale blue, lilac and peach, past flowering trees and pastel-clad Voguettes to a dark room filled with James’ most iconic designs. The pièce de résistance? The Clover dress, which hovered in the center, a robotic 3D camera by its side analyzing exactly how these complex masterpieces were assembled.

To fortify ourselves for the evening ahead, we gathered in DVF’s Meatpacking headquarters beforehand for caviar and tequila with ginger shots.  “It’s good for you!” DVF said, plying her three graces— Selena Gomez in plum, Jessica Alba in gold, Olivia Munn in yellow—with cocktails. But it was director David O. Russell and his American Hustle costume designer Michael Wilkinson who proved to be the evening’s life force.  Just before the gang charged uptown with gusto, or as fast as rush hour traffic would take us, Diane said, “You’re missing something,” before disappearing only to reemerge with a diamond encrusted Sutra bracelet, which she promptly slipped onto my wrist.

The usual suspects (Beyonce in a veil, Rihanna in a croptop, Lupita in a headband) rounded out the guest list and caused a traffic jam on 5th Avenue. One or two hours later, Michael Wilkinson and I climbed to the top of the stairs, imagining ourselves more or less best friends with Emma Stone, Jessica Lange, Sarah Silverman and almost definitely Amar’e Stoudemire.

Incidentally, the dress I wore is a vintage DVF design, reimagined in a rich dark olive. A design team of elves and magicians directed by Diane herself and our artistic director Michael Herz, hand-stitched the entire piece in 48 hours, only for part of it to be used as a welcome mat for the fashion world’s finest.

After being summoned to dinner by the usual trumpet call, DVF regaled the table with tales from her past, and David gave individualized lessons on the pitfalls of showbiz to each of the girls, while the rest of us nibbled baked Alaska or investigated the never disappointing bathroom scene. (The real party, as any seasoned Met goer knows, takes place in the men’s and women’s loos, that seem to take, within a matter of moments, a rather liberal view of gender, occupancy and basic rules for that matter.)

By the time Frank Ocean appeared on stage to perform with an all female orchestra we all swooned and forgot the rest of the world for two songs.  I felt it my moral duty to tell him I would have preferred an all night set at the after party, before sneaking out with the diamond Sutra still sparkling on my wrist.

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Culture

Spotlight On:
American Hustle

With seven Golden Globe nominations, we were planning to run to the theater to see American Hustle even before we found out there are several DVF dresses in the film. Now we are thinking more of a sprint. Set in the late seventies, Director David O. Russell’s tale of intrigue stars Christian Bale, Amy Adams, Jennifer Lawrence and Bradley Cooper— as a con man and his comrades maneuvering the world of mafia and powerbrokers in glamorous seventies fashion. What’s not to love? We were lucky enough to catch up with the man behind the well-designed wardrobe, costume designer Michael Wilkinson, who told us about his inspiration and why he just had to find a vintage wrap dress:

What inspired you to choose Diane von Furstenberg for Amy Adams’ character?

I was gathering research images for Amy’s character, Sydney, and I kept coming across stunning DVF photos from the period – not only of women wearing Diane’s designs, but amazing photos of Diane herself. The images had the right combination of confidence, elegance and sexiness that we needed to convey with the character.

What was it about her character that made DVF feel appropriate?

I love the clean lines of the wrap dress – they really exemplify the new spirit of the clothes for american women in the late 1970′s. It was a time when women were enjoying new freedoms in fashion – less underpinnings, less structure and bold, streamlined shapes. The natural shape of a woman’s body was celebrated. We see Amy’s character fall in love in the film, and she expresses her new-found confidence and joie-de-vivre by wearing these body-hugging wrap dresses in bold patterns – clothes that make her feel empowered, sexy and up-to-date.

Where did you find the DVF dresses used in the film?

Amy wears three DVF dresses in the film. The first is the iconic green and white dress that Diane herself was photographed in for the cover of Newsweek. Our director, David O. Russell was obsessed with this dress, so we were very excited when we found it online from a vintage dealer. The second dress is a bold chocolate and white stylized feather design that we unearthed in a costume rental house in Los Angeles. The third is actually a contemporary DVF dress that we bought – the black and red jumbo leopard print was too breathtaking to resist!

What is the most challenging part of the process?

I think in truth the most challenging part was making sure Amy didn’t take them home with her at the end of the shoot day – she really did love those dresses!

In the case of American Hustle, were there any surprises along the way?

I was surprised at how much the costumes were affecting those around me – the actors and crew said that they were really inspired by the expressive, high-impact tone of 1970′s fashion – people kept telling me that they had opened their eyes to the diverse possibilities of clothes, and the way they could express themselves using colors, patterns and different shapes.

Describe 70’s fashion in three words:

Bold. Expressive. Sexy.

Diane loves mantras. Do you have any words that you live by?

“Stand tall, be comfortable in your own skin, and let it shine!”

 

American Hustle opens today in New York and Los Angeles.

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Journey of a Costume Designer

Jennifer Lawrence and Amy Adams are two names on the lips of a lot of people in Hollywood right now, and Costume Designer Michael Wilkinson is no exception. Wilkinson—who is nominated for an Oscar for his work on David O. Russell’s American Hustle—caught up with Vanity Fair’s Krista Smith in Los Angeles this week and dished on dressing two of the hottest leading ladies in the business.  From Lawrence’s unfettered desire for Doritos to that neckline, and custom closets full of designer clothes from the 70’s (we’ll take one of those, please), Wilkinson treated the audience inside the Journey of a Dress exhibition to more than a few stories from behind the scenes.  Our personal favorite, of course, has to do with the vintage wrap dress worn by Amy Adams’ character, Sydney Prosser. Apparently the dress— now on display as part of the exhibition—arrived on set from a vintage shop in the Midwest with a wine stain.  Luckily, since Adams’ character in the film takes clothes that have been left at the dry cleaner, it wasn’t hard to come up with a backstory to justify the stain and the dress stayed in the picture.  As Wilkinson put it, “She didn’t care about the stain because she felt like a million bucks.” That is something we can relate to.

Don’t forget to check out our full interview with Michael Wilkinson! 

Share

After Dark:
The Met Gala

Last night, Jessica Alba, Selena Gomez and Olivia Munn all stunned at the Met Gala in DVF. Here, resident “It Girl” and Style Editor, Jessica Joffe, reports from beyond the red carpet:

“The essence of chic is to appear extravagantly lovely,” Charles James once said. And although the party of the year is always extravagant, it was especially lovely this year. More intimate than usual— less than half the typical number of guests —the evening felt like a Slim Aarons tableau come to life; fresh faced girls in gowns that were with few exceptions elegant and beautiful, the men in white tie and top hats. A gigantic floral sculpture of a Charles James gown commanding the entrance set the tone. With the lights dimmed, we made our way through the galleries, bathed in pale blue, lilac and peach, past flowering trees and pastel-clad Voguettes to a dark room filled with James’ most iconic designs. The pièce de résistance? The Clover dress, which hovered in the center, a robotic 3D camera by its side analyzing exactly how these complex masterpieces were assembled.

To fortify ourselves for the evening ahead, we gathered in DVF’s Meatpacking headquarters beforehand for caviar and tequila with ginger shots.  “It’s good for you!” DVF said, plying her three graces— Selena Gomez in plum, Jessica Alba in gold, Olivia Munn in yellow—with cocktails. But it was director David O. Russell and his American Hustle costume designer Michael Wilkinson who proved to be the evening’s life force.  Just before the gang charged uptown with gusto, or as fast as rush hour traffic would take us, Diane said, “You’re missing something,” before disappearing only to reemerge with a diamond encrusted Sutra bracelet, which she promptly slipped onto my wrist.

The usual suspects (Beyonce in a veil, Rihanna in a croptop, Lupita in a headband) rounded out the guest list and caused a traffic jam on 5th Avenue. One or two hours later, Michael Wilkinson and I climbed to the top of the stairs, imagining ourselves more or less best friends with Emma Stone, Jessica Lange, Sarah Silverman and almost definitely Amar’e Stoudemire.

Incidentally, the dress I wore is a vintage DVF design, reimagined in a rich dark olive. A design team of elves and magicians directed by Diane herself and our artistic director Michael Herz, hand-stitched the entire piece in 48 hours, only for part of it to be used as a welcome mat for the fashion world’s finest.

After being summoned to dinner by the usual trumpet call, DVF regaled the table with tales from her past, and David gave individualized lessons on the pitfalls of showbiz to each of the girls, while the rest of us nibbled baked Alaska or investigated the never disappointing bathroom scene. (The real party, as any seasoned Met goer knows, takes place in the men’s and women’s loos, that seem to take, within a matter of moments, a rather liberal view of gender, occupancy and basic rules for that matter.)

By the time Frank Ocean appeared on stage to perform with an all female orchestra we all swooned and forgot the rest of the world for two songs.  I felt it my moral duty to tell him I would have preferred an all night set at the after party, before sneaking out with the diamond Sutra still sparkling on my wrist.

Share
Culture

Journey of a Costume Designer

Jennifer Lawrence and Amy Adams are two names on the lips of a lot of people in Hollywood right now, and Costume Designer Michael Wilkinson is no exception. Wilkinson—who is nominated for an Oscar for his work on David O. Russell’s American Hustle—caught up with Vanity Fair’s Krista Smith in Los Angeles this week and dished on dressing two of the hottest leading ladies in the business.  From Lawrence’s unfettered desire for Doritos to that neckline, and custom closets full of designer clothes from the 70’s (we’ll take one of those, please), Wilkinson treated the audience inside the Journey of a Dress exhibition to more than a few stories from behind the scenes.  Our personal favorite, of course, has to do with the vintage wrap dress worn by Amy Adams’ character, Sydney Prosser. Apparently the dress— now on display as part of the exhibition—arrived on set from a vintage shop in the Midwest with a wine stain.  Luckily, since Adams’ character in the film takes clothes that have been left at the dry cleaner, it wasn’t hard to come up with a backstory to justify the stain and the dress stayed in the picture.  As Wilkinson put it, “She didn’t care about the stain because she felt like a million bucks.” That is something we can relate to.

Don’t forget to check out our full interview with Michael Wilkinson! 

Share
Culture

Spotlight On:
American Hustle

With seven Golden Globe nominations, we were planning to run to the theater to see American Hustle even before we found out there are several DVF dresses in the film. Now we are thinking more of a sprint. Set in the late seventies, Director David O. Russell’s tale of intrigue stars Christian Bale, Amy Adams, Jennifer Lawrence and Bradley Cooper— as a con man and his comrades maneuvering the world of mafia and powerbrokers in glamorous seventies fashion. What’s not to love? We were lucky enough to catch up with the man behind the well-designed wardrobe, costume designer Michael Wilkinson, who told us about his inspiration and why he just had to find a vintage wrap dress:

What inspired you to choose Diane von Furstenberg for Amy Adams’ character?

I was gathering research images for Amy’s character, Sydney, and I kept coming across stunning DVF photos from the period – not only of women wearing Diane’s designs, but amazing photos of Diane herself. The images had the right combination of confidence, elegance and sexiness that we needed to convey with the character.

What was it about her character that made DVF feel appropriate?

I love the clean lines of the wrap dress – they really exemplify the new spirit of the clothes for american women in the late 1970′s. It was a time when women were enjoying new freedoms in fashion – less underpinnings, less structure and bold, streamlined shapes. The natural shape of a woman’s body was celebrated. We see Amy’s character fall in love in the film, and she expresses her new-found confidence and joie-de-vivre by wearing these body-hugging wrap dresses in bold patterns – clothes that make her feel empowered, sexy and up-to-date.

Where did you find the DVF dresses used in the film?

Amy wears three DVF dresses in the film. The first is the iconic green and white dress that Diane herself was photographed in for the cover of Newsweek. Our director, David O. Russell was obsessed with this dress, so we were very excited when we found it online from a vintage dealer. The second dress is a bold chocolate and white stylized feather design that we unearthed in a costume rental house in Los Angeles. The third is actually a contemporary DVF dress that we bought – the black and red jumbo leopard print was too breathtaking to resist!

What is the most challenging part of the process?

I think in truth the most challenging part was making sure Amy didn’t take them home with her at the end of the shoot day – she really did love those dresses!

In the case of American Hustle, were there any surprises along the way?

I was surprised at how much the costumes were affecting those around me – the actors and crew said that they were really inspired by the expressive, high-impact tone of 1970′s fashion – people kept telling me that they had opened their eyes to the diverse possibilities of clothes, and the way they could express themselves using colors, patterns and different shapes.

Describe 70’s fashion in three words:

Bold. Expressive. Sexy.

Diane loves mantras. Do you have any words that you live by?

“Stand tall, be comfortable in your own skin, and let it shine!”

 

American Hustle opens today in New York and Los Angeles.

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