Fashion in Film: Laurel Healy Is BrainDead (2016)

Creators: Michelle and Robert King
Actors: Mary Elizabeth Winstead, Tony Shalhoub, Aaron Tveit, Danny Pino,
Music: David Buckley
Costume Design: Daniel Lawson, David Brooks

Courtesy of CBS

Laurel Healy is the main character of CBS's BrainDead, a new show from the creators of The Good Wife. Played by Mary Elizabeth Winstead (PBS' Mercy Street, Scott Pilgrim vs. The World) Laurel is currently my work wardrobe inspiration. Her clothes are sharp, professional, and comfortable, usually sleek skirts with eye catching tops and either a patterned blazer or an attractive all-purpose coat. Her color palette consists of shades of black, white, blue (from navy to cornflower) and neutral earth tones. It may be a simple palette but she shakes it up with graphic patterns, textured fabric, and interesting embellishments.

I tried to get this out ASAP so that you could check BrainDead out Sunday at 10 before the season ends but you can still stream it at CBS.com.

 Work separates:

Love this wine-colored sweater tunic worn in episode 3, especially the nubby texture and the slightly too-long sleeves.

Yes, please! I want episode 5's wine colored soft leather jacket with patterned silky shirt and stretch woven green pencil skirt. I believe she even wore this one with knee high boots. Love that huge gold belt buckle.

This one, also from episode 5, I think of as a "poor boy" sweater, because it looks as if it was made up of remnants of various other sweaters.

This chunky graphic sweater in episode 9 is so sweet with the rolled collar and the wide black cuffs.

Both of these are from episode 12, which hasn't aired yet! It is more of that color blocking of sweater knits and I want it for my own!

Jackets:

Image courtesy of Nordstrom

Love this Akris Punto jacket worn in episode 4. I can totally understand why this designer has shown up both on this show and The Good Wife, just look at all this!

Unfortunately, I could find no information on this jacket from episode 10 anywhere. But just look at that texture and pattern!

More texture courtesy of Oscar de la Renta in episode 7 and this one is worn with a unique white blouse that shows that the blouse underneath doesn't have to be plain and let the patterned jacket shine; both pieces can be "statements."

Coats:
Laurel owns at least five overcoats, primarily trenches that are decidedly distinctive from each other; a typical khaki, a subtle grey plaid, a plain pale pink, a cornflower blue one, and the most noticeable one from the first episode, a graphic leopard print with bias bound seams visible on the coat's exterior.

Photo: Macall Polay/CBS

After work:

A earth tone and black dress combination; however, the shade of the background fabric on this Alexander McQueen dress in episode 6 gives the impression of nudity from a distance. Pretty sly with the subliminal messaging on a date with your crush, Laurel!

(Photo: Michael Parmelee/CBS)

This dress worn in the first episode is also in shades of earth and black but it's definitely not boring or staid, is it? I love the floral applique with the black border and how the shape of the flowers dictate the shape of the sleeves.

Oh, and how about her sexy midnight blue velvet dress from the Tax Ball, a low cut front and back!

Here's an article on the show's style in The Observer from Emma Frazier of the blog, TV Ate My Wardrobe, another blog you should read.

This post would not be possible without the work of the great website WornOnTV. Clicking on most of the clothing photos should take you to the corresponding page on WOT that gives specific info on that item. They don't have everything, but I've also tried to track down details on the outfits pictured above. You must check out their site!

Credit: All images courtesy of CBS Photo Archive/Getty Images if not specifically noted above.

Fashion In Film: Funny Girl (1968)

Director: William Wyler
Barbra Streisand, Omar Sharif
Music: Bob Merrill, Jule Styne
Costume Design: Irene Sharaff

Hel-lo Gorgeous!

As a child, I first saw Barbra Streisand in this movie; the love story of Fanny Brice and Nicky Arnstein, and I thought she was one of most beautiful women I had ever seen. I remember being shocked to find later that most people did not think she was attractive. Luckily, looking at the film later, I still believe in my first impression. In this film and in the flashback scenes in On A Clear Day You Can See Forever, it is obvious how regal and elegant Ms. Streisand was. Not only did the clothes flatter her figure while still being close to the fashions of the period in which the movie is based, the makeup and hair enhance her unique good looks of oval face, almond eyes, high cheekbones, and aquiline nose.

 

The movie begins depicting the ingénue Fanny Brice as she tries to break into vaudeville. One of the first things we see her in is a public schoolgirl smock, meant to illustrate her youth and innocence. Despite that, I find the white version of this top very interesting because of the drape of the fabric, it looks luxurious to me.

Her big break , "I'd Rather Be Blue", comes after she participates in an embarrassing early performance on roller skates. What I took from this costume is the unique color combination of moss green and blue striped velvet with a purple tulle skirt trimmed in satin with a matching sash. Not to be too sedate (ha!), it is also decorated with huge bunches of plastic grapes.

Fanny's big break comes when she is highlighted in a bridal skit as a beauty while her own self-consciousness takes the skit from schmaltzy romanticism to a shocking and funny conclusion, which almost results in her being fired. In the movie, this makes her a comedy star.

 

The happy couple.

While that performance makes her a star it also wins her an admirer, the wealthy, suave, and wickedly handsome Nicky Arnstein (Omar Sharif). This is where the true FASHION of the movie begins. The clothes she wears as his lover and then as his wife are gorgeous. My favorite pre-marriage is the fussy purple dress (blue chiffon over purple satin) worn for her seduction in “You are Woman, I Am Man.” It is over-the-top because of its color, ample cleavage, sequins, beads, and floral embellishments; it even includes a voluminous bubble-skirted upper half ending in a hobbled skirt.

 

Clearly in this movie, designer Irene Sharaff chose to put the sartorial focus on Ms. Streisand’s nape and decolletage. Most of the formal dresses in the movie feature low scooped or squared necklines, much lower and more exposed than the true fashion of that time.

Movie version

The Broadway stage version

The "People" dress above was designed in olive green silk marquisette over pink satin which gave it an iridescence.

  

Another favorite is a dress that seemed to have been dipped in diamond dust. Accessorized with a matching clutch and headband, the dress just glows on film. As you can see above, while the dress is gorgeous when on display, it truly transforms itself when worn by Ms. Streisand.

 

As described on liveauctioneers.com: Full length, long sleeved evening dress with a low cut bodice and empire style waist. Constructed in layers, there is a fine silk under-shell with an overlay of chiffon netting encrusted with sequins and rhinestones. The very bottom of the dress has a layer of crinoline and a double layer of silk under dress giving the bottom a full appearance. The sleeves feature snaps as does the entire back of the over-lay. 

The photography and design of the "My Man" scene is again done to her great advantage. Dressing her in all black velvet with a black background and a lone spotlight on her torso, her skin seems as alabaster as her pearl drop earrings. The lighting and framing help make the already emotional song even more dramatic and powerful.

Everyone remembers the barge scene of "Don't Rain On My Parade" but what about the rich marmalade orange of her ensemble? Perfectly coordinated with the yellow roses in her bouquet and her brown sable or mink hat and muff, the two-piece wool outfit with Nehru collar was cropped at the front waist but constructed like a frock coat with "tails", The zig-zag overlapping tiers of the skirt followed the hobbled silhouette of the times and really show when she frantically runs for both her cab and for the boats. The dress was also tested in emerald green which I may have preferred when shown against the blue tug boat. I also think the color may have been more flattering for Ms. Streisand's complexion.

How strange that she is also wearing the same color combination as when they finally decide to call the relationship quits. Now in the 1930s, Franny is wearing a Sonia Delaunay-inspired dress in pumpkin orange, black, and white, with a long rope of pearls. It is worn under a leopard and black fur coat with matching hat. 

Miscellaneous costumes:

Worn when touring their new mansion.

A "housedress"

 

*Costume information from liveautioneers.com

Also see this piece on the Le Cinema Dreams blog. 

Mad Men: Pretty Peggy-O, Part 2

I'm fessing up!

It has always been Peggy, NOT Joan, Betty, or Megan who has been my fashion muse on Mad Men.

I know!

I have never been a fan of Betty's "too perfect to muss up" look. Joan has had many an outfit that I've loved but the majority would not be comfortable to wear on a daily basis. Megan is too much of a poseur to me. Just notice how different her at-home look (comfy sweaters and Capris) is from her "when seen by others" looks when everything is amplified and false (as in hair, eyelashes, and rhinestones). Oh, no.

Ms. Peggy Olson is more of a "what you see is what you get" girl. Well, except for that time she spent teasing Ted Chaough in her peek-a-boo black and hot pink chiffon mini-dress. I personally thought that outfit looked more like a negligee and not her best look.

While I am also not a fan of her plaid and knee sock schoolgirl looks, when she is in her career woman togs I can definitely follow her lead. Here are some recent favorites, with a few outfits from this past half-season of Mad Men:

Season Six

S6, Ep 5

 

S6, Ep 9

I love the mix of red polka-dots and stripes with white, especially combined with the black skirt.



 

S6, Ep 10

True corporate in green linen, mitered black trim, covered buttons, and matching dress.

 Season Seven - Part 1

  

S7, Ep 3 - Field Trip

This green double knit dress with decorative trimming has actually inspired an item in my future wardrobe. You will hear and see more about it in the coming months.

 

S7, Ep 4 - The Monolith

This fabric is amazing! Where, oh where can I find a print like this one now?

S7, Ep 4 - The Monolith

Loving this dress, the colors are so perfect that they match her office!

 S7, Ep 6 - The Strategy

This is my favorite Peggy outfit of all time. I would wear this tomorrow in a heartbeat. All that parallel top stitching on the top and skirt. Simply lovely.

I can't wait to see what is coming in the second half of the final season. Just a year to go. Since they're filming right now, costume designer Janie Bryant must be stressing out at leaving this job behind. When will she next get to work on such an influential period costume drama again?

Images: AMC via Tom and Lorenzo.