Tuesday, 31 July 2012
Monday, 30 July 2012
Friday, 27 July 2012
If you're looking for a carefree, comical, smart, and wholly wonderful summer film, we recommend Ruby Sparks. Directed by Little Miss Sunshine team Jonathan Dayton and Valerie Faris, and written by lead actress Zoe Kazan, it's the story of a novelist who writes the girl of his dreams into existence. Aside from the imaginative romance, Los Feliz backdrop, and "instant classic" accolades, the film also boasts costume design by the renowned Nancy Steiner. Known for being a master of contemporary film styling—from Lost in Translation and Funny People to the period pieces, The Virgin Suicides and The Lovely Bones—Steiner always emphasizes character in her work. We spoke to her recently about her '90s music video beginnings, inspirations, and why story is important.
MAGNET: Let's start from the beginning. You got your start working in a clothing store then started styling music videos, right?
Nancy Steiner: Yes. I worked at a punk rock store called NaNa in Santa Monica. I went to a trade school—LA Trade Tech—because I had no money and went to learn fashion design there. Then I realized I didn't want to do fashion. But I met a few stylists who came into the store and they said, "If you ever stop working here give us a call because you have great style." So that's what I did; I gave them a call. I worked as an assistant in print, commercials, and in film got my first job as a PA/intern on I'm Gonna Git You Sucka. That's how I learned how a film worked. I was a set costumer and assistant shopper for years while I was doing commercials and videos.
What was your first job as costume designer?
It was the movie Safe by Todd Haynes. I had been doing music videos.
You did quite a few right?
Yes, I did several for The Smashing Pumpkins, "Tonight Tonight". I was the grunge queen. I did two Nirvana videos and worked with No Doubt in the beginning, Stone Temple Pilots, REM, Bjork, Red Hot Chili Peppers, Janet Jackson… there were many. And I've been working with Dayton/Faris since then, too.
The directors of Ruby Sparks…
Yes! We've been working together for 20 years.
What were your inspirations for Ruby?
It's contemporary and she's a figment of his imagination. She's his dream girl. What is this novelist's dream girl? We were trying to figure that out. The main thing about Ruby is she brought color into his life. She has a strict color palette that we stayed with as much as possible. He [the novelist character] was very bland. He wore a lot beige and muted, medium tones. When she came into his life, he started wearing more color. She was like the rainbow that came into his life. It's more about the color than the way she dressed. She had a palate; she was a dream, a vision. I tried to be subtle, but the colors were loud.
Did you collaborate with Zoe Kazan, who also wrote the film?
Zoe's really easy to dress. She has a great sense of style herself. I didn't want the clothes to take over. We wanted her to look comfortable in her clothing. Every actor has a say in what they wear. We had great fittings where she loved so much, and there was so much that didn't make it into the movie. You want to make it realistic, not that she has an endless source of clothing. The collaboration she had with Jon and Valerie was amazing. It really worked. She was brilliant.
Is there a dream collaboration you would, personally, like to have?
Yes, many! I'm trying to do more period work because the bulk of my work has been contemporary. I love it, but I adore vintage. I grew up as a forties girl in my teens. I only wore forties dresses, and I feel very attracted to that period. I love shoulder pads and how women looked like women—all those curves—and beautiful locks of hair. It's a feminine period, so I would love to do a 1940s piece. I'm also into the turn of the century—the first half of the 20th century is interesting to me. I've done two 1970s films, The Virgin Suicides and The Lovely Bones, so I'd like to do more.
What inspires you? What costume designers influence you?
My friend Arianne Phillips is an amazing designer. She did W.E. for Madonna, which was incredible. Milena Canonero when she did Barry Lyndon and A Clockwork Orange—that was amazing—it was creating a style that hadn't existed before. I think Sandy Powell when she did Orlando and Far From Heaven was incredible. Colleen Atwood's work is impeccable. It's more fantasy based but amazing. I need to make a list! Slumdog Millionaire... Suttirat Larlarb did a beautiful job. I grew up watching The Women and The Red Shoes. But I'm inspired by art and what I see on the street on a daily basis. That is what inspires me. I find normal people the most fascinating and inspiring of all... the keys in their pocket, the way they wear their hat. I love real people.
Is there any advice you would give to people interested in working in costume design or who are interested in fashion design but might not realize that costume design is a fantastic option?
Costume design is different from styling for fashion. Costume design is making characters; fashion is looking pretty. They're two different things. I love fashion and looking at clothing, but if you're interested in costume design, watch movies! Nobody will ever know what it's like to work on a film until they've done it. It's not just about the clothes. It's not just you making the decisions. Costume design is about knowing your characters. Go on the Costume Designers Guild website. There's also a website called Frock Talk. Remember that you're not trying to make a statement. It's about characters and serving the story... in whispers more than screams.
Thursday, 26 July 2012
FENDI - Arrival - Spring Summer 2013 from Selectism on Vimeo.
Wednesday, 25 July 2012
Lancôme's color collection, Roseraie des Delices by Aaron De Mey, is all about—you guessed it—the beauty of roses. Shot by Mario Testino, the muted pink and vine green hues are juxtaposed with Jack Flanagan's set design featuring dozens of climbing roses intertwining around model Hanaa Ben Abdesslem. Take a look below.
Tuesday, 24 July 2012
How can you not find yourself dreaming about lazy autumn Sundays in a quaintly dilapidated Parisian apartment when you look at Balmain's fall 2012 ads? Aside from the stunning attire—with classical prints and western-esque embellishment—what seems to stand out, too, is the setting. Designed by Max Bellhouse, you imagine a charming one bedroom in the Marais or a concrete walled country house in the South of France. You can feel the autumn crispness in these images shot by David Sims. And, frankly, it feels beautiful.
Monday, 23 July 2012
No Doubt made a triumphant return at last night's Teen Choice Awards performing their new single "Settle Down" off the forthcoming album Push and Shove. Styled by Rob & Mariel, the band wore a mix of black leather and neutral suiting on the pink carpet. Stefani paired her leather vest with cat eye sunglasses and her signature platinum hair and crimson lips courtesy of makeup artist Mary Phillips. For the performance, Stefani wore a black tank top with black and white printed pants and knee-high boots. Check out the performance below!
For both the New York and London premieres of The Dark Knight Rises, actress Marion Cotillard turned heads with bold hair and makeup courtesy of team Robert Vetica and Christophe Danchaud. For the London premiere, Cotillard channeled the 1940s in Dior. The orange bodice of the dress echoed a bright orange lip, strong brows, and natural eyes and skin. Vetica styled her hair in a side-swept bob that was both lightly curled and tousled yet seriously retro glam. For the New York premiere, Cotillard wore a bright white dress that was, again, accentuated with sherbet orange, this time on her eyelids. Danchaud kept the rest of the makeup simple with a clean face and neutral gloss, and Vetica kept the hair elegantly classic. Bravo and BEAUTIFUL.
Lea Michele shone last night at the Teen Choice Awards—literally. Wearing a sparkly sliver cocktail dress, the actress lit up the pink carpet with a naturally healthy glow. Makeup artist Melanie Inglessis achieved the look by keeping Ms. Michele's eyes neutral and her skin flawlessly golden with a light stain on the cheeks. The inspiration was "Californian cutie meets couture." How did Melanie achieve the look?
"The dress is always the starting point of our collaboration for hair, make up and nails," Inglessis says. "We really wanted Lea to look effortlessly gorgeous, so we kept the make up simple and concentrated on a bronzed healthy skin but took it to the next level." Tarte Maracuja Miracle Foundation in Medium was mixed with Tarte ReCreate foundation in Warm Walnut to accentuate Lea's tan. Tarte's Marajuca Creaseless Concealer and Amazonian Clay Finishing Powder completed the flawless complexion. Strong brows were achieved courtesy of Anastasia Brunette Brow Powder Duo. And to get sleek cheeks, Melanie used Kevyn Aucoin Sculpting Powder and Chanel Bronzer in Terres Epices topping them with Tarte Natural Cheek Stain in True Love.
Shiseido's Cream Stick in Champagne Flush covered Lea's lids to highlight the eyes and bring out luminosity. Tarte Waterproof Cream Shadow in Shimmering Bronze went into the crease of the eye to add natural definition. Inglessis says, "Always curl the lashes! It opens the eyes up instantly!" She used two coats of Tarte Lights, Camera, Lashes mascara in black to make them look fuller. To complete the look, Tarte Amazon Lipstick in Pure went on the lips giving them a light, creamy texture.
Check out more over at InStyle!