There's so much to say which is perhaps why I never say it. And why I'll let you say it instead since I gave up trying to write up my thoughts each week (too many thoughts!) Comment Party! You're invited. Bring your own comments.
Ben's farewell at the Glitter BallAnd the predicted winner is... Adore (love that bitch) though my true heart belongs to Bianca
Ben de la Creme at least understood filling the entire workroom mirror with lipstick brain vomit when he departed last week leaving only four... and then three Monday night (Adore, Bianca, and Courtney) to compete for the crown tiara of America's Next Drag Superstar.
But what a way to go... and Ben even referenced What a Way To Go! (1964) at one point (though I regret to inform that I couldn't find it to prove it in screencap form) before sashaying away. Which made her...
Ben's farewell at the Glitter BallAnd the predicted winner is... Adore (love that bitch) though my true heart belongs to Bianca
Ben de la Creme at least understood filling the entire workroom mirror with lipstick brain vomit when he departed last week leaving only four... and then three Monday night (Adore, Bianca, and Courtney) to compete for the crown tiara of America's Next Drag Superstar.
But what a way to go... and Ben even referenced What a Way To Go! (1964) at one point (though I regret to inform that I couldn't find it to prove it in screencap form) before sashaying away. Which made her...
- 5/7/2014
- by NATHANIEL R
- FilmExperience
No actress personifies the vivid style and nutty playfulness of the flower power years more than Goldie Hawn. From the disheveled crop of sunny blonde locks and psychedelic mini dresses to the teeny bikinis and hand-painted slogan tattoos, Goldie’s most notable looks left an indelible stamp on 1960s pop culture. For three years her giggly, dizzy blonde routine and flawless comic timing charmed American television viewers and made her the most popular member of the ‘Laugh-In’ roster and her work on the legendary TV show led to her first starring role in a major motion picture, 1969′s Cactus Flower.
In Cactus Flower, Goldie is cast as a Greenwich Village-dwelling hipster, Toni Simmons. By day she is a clerk at record shop Stereo Heaven; at night she is dating Dr. Julian Winston (Walter Matthau), a much older dentist who has no interest in settling down. The thing is he doesn...
In Cactus Flower, Goldie is cast as a Greenwich Village-dwelling hipster, Toni Simmons. By day she is a clerk at record shop Stereo Heaven; at night she is dating Dr. Julian Winston (Walter Matthau), a much older dentist who has no interest in settling down. The thing is he doesn...
- 5/28/2013
- by Contributor
- Clothes on Film
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Throughout The Way We Were (1973, directed by Sydney Pollack), Barbra Streisand wears a mix of period authenticity and contemporary fashion, as costumed by Dorothy Jeakins and Moss Mabry. Essentially she is dressed as Barbra Streisand. Scan photographs and footage of Barbra from the time and it is evident that the actress brought more than just herself to the project; she brought her image too.
The previous year, Barbra Streisand had experimented with the wilder excess of seventies trends in What’s Up, Doc? with Ryan O’Neal. Although now fondly remembered for upping her ‘cute’ contingent, What’s Up, Doc? was a mere flash in the pan. Streisand was never playful or cute; she was feisty and striving elegance. The Way We Were can seem like an elevated representation of this persona onscreen.
Throughout The Way We Were (1973, directed by Sydney Pollack), Barbra Streisand wears a mix of period authenticity and contemporary fashion, as costumed by Dorothy Jeakins and Moss Mabry. Essentially she is dressed as Barbra Streisand. Scan photographs and footage of Barbra from the time and it is evident that the actress brought more than just herself to the project; she brought her image too.
The previous year, Barbra Streisand had experimented with the wilder excess of seventies trends in What’s Up, Doc? with Ryan O’Neal. Although now fondly remembered for upping her ‘cute’ contingent, What’s Up, Doc? was a mere flash in the pan. Streisand was never playful or cute; she was feisty and striving elegance. The Way We Were can seem like an elevated representation of this persona onscreen.
- 5/16/2011
- by Chris Laverty
- Clothes on Film
Denim in cinema has been popularised by some of the great screen icons of the twentieth century. From Marlon Brando (The Wild One) to Steve McQueen (Junior Bonner), Paul Newman (Cool Hand Luke) to John Travolta (Urban Cowboy), Grace Kelly (Rear Window) to Brigitte Bardot (And God Created Woman).
Similar to the business suit, denim is a sartorial way of life that confers immediate personality on a person without them having to do or say anything; this personality has evolved through time and trends, though one facet remains intact: rebelliousness.
Denim’s symbolism has been created on film from real life frontier mythology. Art imitates life; imitates art. At one time Brando wore jeans like the cowboys, now the cowboys wear jeans like Brando. It is not difficult to understand how James Dean in a pair of Lee 101 Riders jeans was the birth of the American teenager. As Jim Stark...
Similar to the business suit, denim is a sartorial way of life that confers immediate personality on a person without them having to do or say anything; this personality has evolved through time and trends, though one facet remains intact: rebelliousness.
Denim’s symbolism has been created on film from real life frontier mythology. Art imitates life; imitates art. At one time Brando wore jeans like the cowboys, now the cowboys wear jeans like Brando. It is not difficult to understand how James Dean in a pair of Lee 101 Riders jeans was the birth of the American teenager. As Jim Stark...
- 7/1/2010
- by Chris Laverty
- Clothes on Film
Tossing its hat into the ongoing onslaught of nominations, the Costume Designers Guild on Wednesday announced the nominees for its eighth annual Costume Designers Guild Awards. In the period film category, the designers' taste ranged from Japanese kimonos from the 1930s to thrift store ware from New York's Lower East Side circa the 1980s as they nominated Kasia Walicka-Maimone for Capote, Louise Frogley for Good Night, and Good Luck, Colleen Atwood for Memoirs of a Geisha, Arianne Phillips for Walk the Line and Aggie Guerard Rodgers for Rent. Atwood, an Oscar winner for Chicago, also has been chosen to receive the group's Lacoste Spotlight in Film Award. Other special honorees, who will be recognized at an awards gala Feb. 25 at the Beverly Hilton, include Thomas C. Short, president of IATSE, who is to receive the Swarovski President's Award, and Star Trek designer Robert Blackman, who will get the Spotlight in Television Award. Anna Hill Johnstone will be inducted into the Edith Head Hall of Fame, and the guild will present Michael Woulfe, Grady Hunt and Moss Mabry with a Gold Card for their years of service to the guild, IATSE Local 892.
- 1/12/2006
- The Hollywood Reporter - Movie News
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