If TIFF parties were award shows, most would be like the Golden Globes—totally fun, but you’ll never really get to sit with the A-listers. However, for a film like The Perks of Being a Wallflower, the night is more like the MTV VMAs: from up-and-coming stars to fully-certified teen heartthrobs, everyone’s in on the party. (Which, when you think about it, is actually what The Perks of Being a Wallflower is all about.) Despite all eyes being on Nina Dobrev and Emma Watson, they both circled the room throughout the night, stopping to mingle with guests (or Degrassi-era Toronto friends, in Nina Dobrev’s case) and pose for pictures with fans. Both were also dressed in white, frothy florals: a peplum’d Erdem dress for Emma Watson and a intricately beadedMonique Lhuillier gown for Nina Dobrev.
Mae Whitman, in a dress by Opening Ceremony, appeared to be the real ringleader of the party. She skipped around the room, bouncing between conversations with Logan Lerman, Ezra Miller and The Perks of Being a Wallflowerwriter/director Stephen Chbosky. But best of all, Mae Whitman provided partygoers with a mini Arrested Development reunion when Alia Shawkat arrived. The two stayed together all night—that’s right: Maeby Funke and Ann/Egg are BFFs in real life—and rallied the entire Perks of Being a Wallflower cast, plus Glee’s Chord Overstreet and Darren Criss into the Polaroid photo booth. Also spotted in the photo booth: Jason Reitman and DJ Brendan Canning. Outside there was more interactive fun to be had thanks to a white-washed car and many colourful markers—Paul Aguirre-Livingston almost covered the entire trunk with doodles. And, because it was just too clever not to mention, Vitaminwater also built an oversized Lite-Brite where the bottles served as colourful pegs. Even Ezra Miller couldn’t resist playing with it.
The pace of change accelerated considerably in the following century, and women and men's fashion, especially in the dressing and adorning of the hair, became equally complex and changing. Art historians are therefore able to use fashion in dating images with increasing confidence and precision, often within five years in the case of 15th century images. Initially changes in fashion led to a fragmentation of what had previously been very similar styles of dressing across the upper classes of Europe, and the development of distinctive national styles. These remained very different until a counter-movement in the 17th to 18th centuries imposed similar styles once again, mostly originating from Ancien Régime France. Though the rich usually led fashion, the increasing affluence of early modern Europe led to the bourgeoisie and even peasants following trends at a distance sometimes uncomfortably close for the elites—a factor Braudel regards as one of the main motors of changing fashion.
No comments:
Post a Comment