WAY TO WEAR THE HAT! Diary of Midge Maisel, aged 26 and a half!

NOMINATED for three Golden Globes in the “musical or comedy” categories: Rachel Brosnahan for Best Performance by an Actress, Alex Borstein for Best Performance by an Actress in a Supporting Role, and Best Television Series,  how come ‘Vanity Fair’ thinks the second series of ‘The Marvelous Mrs. Maisel, “has little story to tell this time around?

Sonia Saraiya, VF’s television critic must surely know it’s all about the hats!

Saraiya is worried that the importance of Susie Myerson’s gender identity is not addressed! Also bothered by the plotting! If it’s set in Upper East Side, Manhattan, at first, she asks, how has it the chutzpah to take us to Paris and the Catskills, in the second series?

As an aspiring woman comic in the 1950s Midge Maisel (Brosnahan, raised in Leeds) needs a booking agent like Myerson  (Borstein). Susie is the gruff booker of the Gaslight Club in Greenwich Village where Midge’s career begins.  Borstein, the voice of Lois Griffin in Family Guy, is a joy from the second she appears on screen.

As long as they keep it coming, the team behind both series can do anything they like in my book!

With all the features of a Mark Kermode validated Rom-Com, The Amazing Mrs Maisel is made by a team of geniuses embracing the explosive freedom given by cinema technology and other inspired colleagues.

Letting us in on their secrets is Emmy nominated costume designer Donna Zakowska. She explains how she creates her magic: “In terms of the extras and other people, {I’m} trying to make it look as real as possible and then heightening Midge a bit.”

Explaining how she researched the looks: “Some of the colors from the ‘50s, a lot of the palette things—I looked at French Vogue from the period — are really very interesting color combinations. I worked a lot with combining, taking more heightened Vogue from the period and then bringing it down to a little bit more accessible level for the character.” Maisie hat

Midge, wearing a perfectly angled hat, persuades the parish priest to allow her friend’s wedding to take place away from a windowless punishment room! Who could resist that look?

Even without Amy Sherman-Palladino’s direction of the the peppy young housewife-turned-comedian Miriam “Midge” Maisel, I would still be madly in love with the show’s theatrical photography and rocket speed dialogue.

If this isn’t enough there’s mouth-watering, mid-century  neapolitan ice-cream, intricately detailed interiors; total turn on for film buffs, scopophiliacs, perfectionists and voyeurs everywhere!

marvelous-mrs-maisel

The Revlon counter at B.Altman’s department store in mid-20th century midtown Manhattan. 

Set designer Bill Groom is delighted to make magic for viewers, using every trick in the book through today’s technology.

“Amazon is new in the development of media, and they’re very open to ideas and solutions and new ways of doing things which makes what I do fun. This streaming world has exploded and has turned this into the second golden age of television, which I think is giving the creative people behind the scenes a lot of freedom, which in many ways makes the work more interesting.”

 

 

Still lives and long lost footage

The shoestring straps on the miniscule black dress and the high-heeled above-the-ankles boots in ‘Vanity Fair’s’ current Chanel ad make think of Deauville, ‘Boy’ Capel, Audrey Tatou, Ballet Russes and Stravinsky. How do they do it?

MYTHOLOGIES TODAY

So vulnerable - so not Chanel. So vulnerable – so not Chanel.

In Woody Allen’s ‘Stardust Memories’ there’s a scene with a besotted fan saying, to a successful movie director, that his after-shave gives her a Proustian-rush.  When she asks what it’s called he replies, Proustian Rush!

Maybe you had to be there, but it makes the point that a perfume has the power to stir significant memories and evoke emotions.

Once a scent is established and carries a label’s essence it’s important that the associations from the Fashion house are continued in promoting its myths and legends. The Wertheimers who still run the House of Chanel are usually brilliant at this*

However Coco Chanel’s life and works left a legacy, which continues as the most successful Fashion label in the world. Images from her original inspirations are traced in every new collection by Karl Lagerfeld and his super talented team.

Marilyn Monroe’s short…

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Vain hopes, vague waves – August is a wicked month

We love the glossies. They exist to distract us with their glamour.  It’s as if  Benetton’s, revolutionary 80s, advertising never happened for August 2012’s, UK editions, Vanity Fair and Vogue.

Subtle, conventional, uncontroversial, Louis Vuitton promotions feature liveried guard, luxury coach interior,  stern faced models in sculptural hats, vertiginous platforms, fine denier hosiery, polished leather gloves, and bejewelled, cupcake buttons, in Vogue.  The luggage company’s aspirational offering, for Vanity Fair, shows Muhammad Ali with boxing gloved, be-jeaned, glorious tiny grandson and unzipped LV holdall in luxuriant,  pooled garden.

Editorial in VF involves itself in matters of the moment.  Annie Leibovitz’s photos of Nobel Peace Prize winners create startling juxtapositions of Mikhail Gorbachev with the 14th Dalai Lama, Professors Jody Williams and Mohammad Yunus, Dr. Shirin Ebadi,  Lech Walesa, F.W. de Klerk with Jimmy Carter, 39th president of the United States.

Described as a ‘wayward teenager,’ the Yale alumna and the much missed, Marie Colvin, famously quoted as saying, ‘I never drink when I’m covering a war,’ is celebrated in  over 14 gripping pages, by Marie Brenner, as the world of Rachel Weisz’s scary fiction is contrasted with this real life drama of love and war.

In the revelatory economics of ‘Microsoft’s lost decade’ we discover that Google has ‘almost the same amount of cash on its books as Microsoft’ and that Steve Jobs blames Bill Gates for not putting enough emphasis on brilliant products, tending to ignore the humanities and liberal arts.  Well duh!

Latest trends in marketing are emerging through the rich West’s involvement with fabulous food provenance, sensed through the actual taste bit from the aesthetic list.  Stunning Art makes my mouth water and never more so than when devouring Fashion ads.   Gucci’s deep, dark oils across Vogue‘s double pages with spotlit glitter, glamour, glitz on belts, bags, rings and statement jewels are beguiling as Belgian chocolates.

Wondrous evocations of the Chanel legend drift across pages, one of pure white space. In a shade, dreamed from the sky at midnight, textured fine wool, with deeper contrast trim and sleeves appear on a porcelain and spun-ebony model. More genius styling from teams behind Bottega Veneta, Dolce & Gabbana, DKNY, Prada, Armani, Burberry Prosum make up selling-copy as divine post-modern theatre.

Although it hardly matters, with all this other scrumptiousness, editorial remains a delightful, image-rich feast, too.  In this August Vogue there’s nothing more serious than the sobering thought, from editrice, Alexandra Shulman, ‘everyone loves a good diktat!’  So let’s just say, ‘Keep taking the tablets.’

http://www.hud.ac.uk/staff/fashionintheageoftheimage.php