{"id":721,"date":"2024-03-18T16:39:46","date_gmt":"2024-03-18T17:39:46","guid":{"rendered":"http:\/\/www.doublegames.me\/?p=721"},"modified":"2024-03-22T15:21:02","modified_gmt":"2024-03-22T15:21:02","slug":"hollywoods-archival-fashion-arms-race","status":"publish","type":"post","link":"http:\/\/www.doublegames.me\/index.php\/2024\/03\/18\/hollywoods-archival-fashion-arms-race\/","title":{"rendered":"Hollywood\u2019s Archival Fashion Arms Race"},"content":{"rendered":"
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The Oscars have come and gone. Designers were worn and shown off, specifically those of yesteryear. In the current red carpet climate, stylists have grown bold in their archive pulls, or desperate. It depends on who you ask. <\/p>\n
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There\u2019s a fashion war that rages behind the scenes of each awards season that defines most of what trickles in front of pap cameras. In this latest iteration of the arms race, the hot commodities on the market are archival runway statement pieces: Jennifer Lawrence in 1996 Givenchy couture, Margot Robbie in Mugler Spring 1996, Carey Mulligan in a recreated 1951 Balenciaga gown, Anya Taylor-Joy in a recreation of essentially the same 1949 Dior gown<\/a> that Natalie Portman already wore at Cannes, Cardi B in Atelier Versace spring 2003 and Sydney Sweeney in Angelina Jolie\u2019s 2004 Marc Bauwer gown. <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n I\u2019d like to step around any grandiose feelings about these archival pieces, as I find such contrivances rather plain. If not plain, then immaterial. Rather, how these pieces fit within a broader swath of carpet history is much more interesting. Take Sydney Sweeney\u2019s appearance at Vanity Fair\u2019s afterparty \u2014 about as important online as the main carpet itself \u2014 in Angelina Jolie\u2019s 2004 Oscars dress. Jolie wasn\u2019t nominated that year, and instead presented the award for Art Direction. All things considered, it reads as a rather random pull for Sweeney, which even her stylist Molly Dickson noted in Vogue<\/em><\/a>: \u201cThere are only a select few iconic archival pieces, or even vintage pieces. As a stylist, it\u2019s my job to source the market. We reach out to a ton of different vintage sellers to try to find really cool vintage pieces, but it’s tough, because there are only a few that are in great quality.\u201d <\/p>\n Earlier in the interview, she offhandedly comments that while archive pieces are sustainable, they also present actors like Sweeney \u201ca new way to present themselves.\u201d After the dueling debacles of Madame Web<\/em> and Anyone But You<\/em>, or that ridiculous kerfuffle about her body, it\u2019s easy to see why they\u2019d hitch her rising star to a trend that’s proven itself a headline generator for Sweeney\u2019s contemporaries. Likewise, there\u2019s the economics to consider.<\/p>\n <\/p>\n <\/p>\n <\/p>\n Law Roach has spearheaded archival garments on the carpet, although the urge to pull deeper and deeper has infected just about everyone, which makes it difficult to tamp down my cynicism in this latest turning of the carpet trend cycle. We the fashion press are tuned in because vintage couture is novel again, and our jobs concern the garments at play. That utility, though, is only one piece of a broader strategy that must aim higher for that engagement to translate into box office success or commercial exposure for a client. <\/p>\n For some time now, it hasn\u2019t been enough for brands or stylists or studios to expect a hot-or-not write ups in next week\u2019s glossies, or find an actor placed in a roundup that\u2019s nearly identical across numerous publications. An infinite amount of social media accounts now compete with each other for engagement under Twitter\u2019s recent paid user overhaul, which fundamentally changed how photos of the carpet reaches consumers, or where the cash from all that attention is deposited.<\/span><\/p>\n <\/p>\n \nSee on Instagram<\/a>\n<\/p>\n<\/div>\n<\/blockquote>\n <\/p>\n<\/h3>\n
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