In a life-imitating-art twist, Gillian Anderson has created a TV drama character who has become an instant cult figure. She tells Marion Hume how the effect has been all positive.
Sunday Life | October 2013
This really is bad form. I’m still sitting here, hours later than I expected, and Gillian Anderson, she of that gimlet stare and surly mouth, has no right to have made me feel so uncomfortable in my own skin – especially as she looks so supremely confident in hers.
It is 5am. I’m alone. I’ve just finished watching the complete series of the crime drama The Fall and there’s no way I can sleep now. So I’m sitting up, as the final credits roll, feeling jumpy and angry – the latter with myself, because I perched on this sofa hours ago, just for 10 minutes, to get a sense of the series and be prepped for meeting its lead.
I never intended to watch the whole thing in one sitting, but The Fall gets a grip on you. It’s compelling because it’s unexpected. It’s not “Scandi crime”, especially as Anderson’s character, Detective Superintendent Stella Gibson, wouldn’t be seen dead in a big ugly jumper. Instead, she is the centre of a universe into which men are invited, often for sex, then dismissed afterwards, followed by an expensive glass of pinot.
It is a mistake, of course, to confuse character with actor, yet Gillian Anderson so utterly inhabits her blisteringly intelligent and fiercely sexy detective that when the series ran on the BBC last June, it provoked an internet meme called “What would Stella do?” What Stella Gibson does when a male colleague comments on her seduction of a policeman is to fire back, “Woman subject, man object, it’s not so comfortable for you, is it?” and you can almost hear the sound of women around the world applauding. But what Stella says to an intrusive reporter is this: “No one knows better than me how important the media is … but really, you should f… off now.”
So it is with some trepidation that I set off to meet Gillian Anderson. She turns out to look rather unlike Stella, as she walks in wearing a floor-length, floral flutter of a sleeveless chiffon maxi dress accessorised by wedge sandals. Stella would be in something slippery, mean stilettos and the peek of a black lace bra.
Fashion, often not quite right on television, is pitch perfect in The Fall, where power dressing means satin in blush pink and a key scene hangs on a wardrobe malfunction at a police press conference. “It’s not fashion, it’s style,” Anderson corrects, relating how she and the costume team booked a VIP suite at a department store, then narrowed down Stella’s look from hundreds of separates hanging on the racks – no pant suits. When the series aired in the UK there was a marked spike in the sale of silk blouses.
We meet at London’s Young Vic theatre. Anderson has the looks of a beautiful woman whom the world thinks is gorgeous (“haughty lips”, “aquiline features”, “pellucid eyes” are among the more cerebral descriptions, while “sexiest woman alive” remains the favoured lads’ mag tag).
From what I have gleaned, Anderson has a reputation as a prickly interviewee – not surprising given she became famous as FBI Special Agent Dana Scully in The X-Files at the age of 24. Thus, at 45, she has spent more than two decades contractually obliged to promote her performances by chatting to the press. Having waded through clippings fatter than a police file, I find myself in sympathy – any sane human would be scratchy when asked, again and again, to reveal the truth about aliens, even though it is more than 10 years since Anderson left Scully behind and changed her hair from red to blonde.
After walking two steps behind David Duchovny’s Fox Mulder from 1993-2002 (although when she found out he was paid double she demanded, and got, wage parity) Anderson surely showed how sane she was by getting away from paranormal sightings in Vancouver and moving to Britain, where she spent the next decade garnering plaudits in television costume dramas such as Bleak House and Great Expectations. She also made movies (The Mighty Celt, Shadow Dancer) and turned down Lady Cora in Downton Abbey.
Today, she’s not prickly at all, instead passionate about The Fall and the relief that the role of DSI Gibson is making her known for being a grown woman – “although I’m not Stella by any stretch”. She senses, she says, her fame level rising again, as people snap pictures on public transport without asking (she takes the train and the London buses). Thankfully, this is nowhere close to what she had to deal with in her 20s, when the paparazzi rammed her car in order that, when she got out to get insurance details, they could grab their shots.
“I feel that Stella has had nothing but a positive effect on how I am in my life. Not to say there weren’t elements before, but I think she’s sharpened my sense of self and femininity,” says Anderson.
What of those feminist ripostes? “Well, I’ve always been the person most likely to say ‘f… off’,” she admits in her crystalline British accent (having spent part of her childhood in the UK, part in the US, she can switch seamlessly). “But the fact Stella is able to say ‘f… off’ with such poise brings her a different level of respect.” As for “What would Stella do?” becoming an online mantra to inspire other women, Anderson has had bumper stickers and fridge magnets made, with the proceeds going to a women’s shelter.
Adding to the mercurial unease of The Fall is its location in the still-scarred city of Belfast. DSI Gibson is the outsider, seconded from London’s Met because the Police Service of Northern Ireland has failed to catch a killer preying on young businesswomen. She does nothing to ingratiate herself.
The writing is whip-smart and female-friendly (although penned by a man, Allan Cubitt). “I think people expect me to be a lot more intelligent than I actually am, because I played Scully and now Gibson. But that’s not a bad thing,” says Anderson. “The majority of the women I’ve been blessed to inhabit are women who I’m flattered to have been able to spend time with, and for people to think I’m even remotely like them is great. Although there have been a few thrown in there that are less appealing,” she deadpans, perhaps referring to the intractable Lady Dedlock and the flinty Miss Havisham.
What’s novel – though it shouldn’t be – is the capacity for female friendship that ripples through The Fall. “That’s really important,” says Anderson, fire-flashing those pale sapphire eyes, “to show adult, mature women – completely different in the experiences they’d been through and the choices that they’d made – bonding through womanhood. Too often, what is portrayed between women is either ‘girly’ and going shopping, or the opposite, the negativity.”
In the show, a female detective and forensic scientist discuss how they balance the dead bodies at work with live ones at home, talking of “doubling”, “compartmentalising”. “I compartmentalise everything,” says Anderson. “It’s useful in the work that I do, but it can be very separating in my personal life.”
That life cannot be entirely personal, given Anderson was thrust into the spotlight virtually straight out of drama school. Then she proved catnip to the tabloids by having her first child, Piper, as the first series of The X-Files reached a cliffhanger close. She married a Canadian, gave birth, returned to work 10 days later, got divorced, married again, divorced, had her sons, now aged seven and five, within a now-defunct long-term partnership – Anderson’s whole adult arc has been documented. Plus, she’s peppered it with all manner of juicy details (“‘I’ve experimented with women’ – X-Files star confesses to lesbian flings”, The Daily Mail) because she does interviews alone, including this one, with no publicist hovering to keep things on message. In high school she was voted “Most Bizarre” and “Most Likely to Be Arrested”.
She says her own judgment has matured, that she sees people beyond the pigeonholes she once put them in. “Human beings are so much more complicated than we often give them credit for. We see someone on the bus and we put them in a box. Then you discover that, actually, that person has been sexting with half of the world – all of that kind of stuff, it’s shocking!” she laughs. As for those buses, “If it gets too intense, I’m pretty good at putting up a wall of ‘Do not stare’. I actually find that, when I’m in America, I’m much more open. I behave more American, and I am more likely to go, ‘Hey, yeah, take a photo.’ I’m much more guarded here, but that’s because I think I’m much more British here.”
Maybe I’m being terribly British because I find I have no desire to ask Anderson if she’s dating or how her young-adult daughter is fairing or how she juggles work as a single mum with two little boys at home. But then I realise this isn’t about nationality, it’s about professional respect. As we talk about her ambitions, about Stella’s wider role as a representation of 21st-century middle-aged womanhood, we are businesslike. Because, after all, acting is Anderson’s business and her accomplishments are evident. And I have entirely forgiven her for my sleepless night.
The Fall starts on BBC UKTV on Foxtel on October 19.
by Marion Hume
Now that the brouhaha about The Great Gatsby has settled — at least until it ramps up again for movie awards season — shall we take a moment to examine its sartorial legacy? As in, does it have one? Or does it not? You’d think the answer would be easy. Count the glossy pages devoted to “Gatsby style” in the past months. But is there now a taste for flapper dresses in a shade I still like to call “Queen Mum mauve”? Have oyster satin pyjamas moved from boudoir to street? For gentlemen, have pink suits taken off? The answer — to all — is no.
What is beyond reasonable doubt is that double Academy Award-winning costume designer Catherine Martin is on track for her third Oscar, for her fearless mixing of the historically accurate with the utterly contemporary. But when the looks filter down, what we have is fun, not fashion. The reason ‘20s style is the perpetual party theme that is so easy to do — with something spangly, a gold T-bar shoe and a cheap wig. Almost every woman looks like she’s having a good time when you add a feather boa.
A few years ago, I was reminded of the power of ‘20s dressing thanks to Eyjafjallajokull. Remember the volcano erupted? To cut one of my all-time favourite stories short, I was halfway through airline online check-in when I realised I needed a swift plan B to reach Venice. I hitched a ride on the Orient Express, a fun-filled flapper heaven (other than for me: I didn’t have time to theme-pack). The only mirrors on board are make-up sized, which means no one has a full-length view. Everyone thus dresses how they think they would like to look and, thanks perhaps to some dry martinis, everyone looks lovely. Not fashionable, but superbly theme-party lovely.
What is lovely is how loudly Catherine Martin has acknowledged the roles Tiffany & Co, Prada and Brooks Bros played in her overall costume creation. When she brings her Oscar count to a trifecta, I’ll wager that, once she’s effusively thanked her collaborator in life and work, the film’s director Baz Luhrmann, she will name-check all the above. By so doing, Martin will be acting more than graciously — she will be setting right a wrong done when The Great Gatsby last garnered an Oscar, in 1974. If you recall that version at all, what you’re most likely to remember is Robert Redford’s clothes (Mia Farrow’s Daisy is a more misty memory). Yet when costume designer Theoni Alderedge caressed her Oscar at the podium, she did not thank Ralph Lauren, an omission that made clear the attention he had been getting for his suits had got right under her skin.
Aldredge was not the first costume designer to neglect to thank the input of fashion designers. When Edith Head collected an Oscar for Sabrina (1954), she seemed not to recall that French couturier Hubert de Givenchy was responsible for the new neckline that so flattered elfin Audrey Hepburn, igniting a trend. Givenchy didn’t stake his claim to the “Sabrina neckline” until years after Head’s death, even though those who’d worked with her at Paramount Pictures had, by then, confided that the costumes had been made up from Givenchy’s sketches.
As to the current Gatsby changing the way we dress, I doubt it. But acknowledging that you need creative collaboration to make something great? Well, that’s bang on trend.
All That Baz
A new film of The Great Gatsby recreates the glamour and decadence of the Prohibition era. Marion Hume meets the director Baz Luhrmann on the set, where — as in the novel — reality and illusion collide.
The Telegraph | April 2013
The Great Gatsby is a slender book. Yet you can be certain of a sweeping epic of a film in May. In F Scott Fitzgerald’s introspective novel, every utterance is weighed. This is not how things work in the world of Baz Luhrmann. You don’t even get through the question, ‘When did you first read the…’ before the 50-year-old director who brought us Strictly Ballroom, Romeo + Juliet and Australia is in full flow.
‘I was on my break after making Moulin Rouge, on the Trans-Siberian, and I don’t want to bag out Mongolia, but it was a bit lonely and that’s when I decided, I have to read The Great Gatsby. It was unbelievable! This was written when jazz was around and parents were arresting their children and putting them in court because they were so out of control. The orgy of money and booze! Only yesterday women were wearing hems down to their ankles and now they were wearing underwear as clothing!’
This, in Luhrmann-land (a magical place to be), counts as a short soundbite. Just as he makes films that seem to draw their megawatt dazzle straight off the mains, so does Luhrmann himself seem powered by an extraordinary voltage.
We are meeting in a mansion on the East Coast of the United States, where a wild party is in full swing, the bandmaster is spinning like a top and louche ladies are lounging on lilos shaped like floating zebras in a floodlit swimming pool. Beyond the garden, stumbling stragglers are enjoying their own inebriated merriment down on the beach. Way out in the distance a green landing light blinks from a dock. ‘What is Gatsby? What is a gangster? Who’s good? Who’s bad? Once you realise that everyone’s living a bit of a lie, then everyone finds it easier to live a very big lie. This…’ Luhrmann says with a vast sweep, ‘is the Prohibition. Just look at those bottles of Moët!’
While the Moët is the real McCoy, we are not, of course, at Jay Gatsby’s sumptuous home. Actually, we’re not even in America, but in Sydney, on one of the biggest sound stages in the world. A few miles across town, smack in the centre of one of the grittiest inner-city neighbourhoods, stands a real mansion (rather than one of putty and paint), called Iona, the headquarters of the global empire that is Bazmark Films. There, alongside those involved with Gatsby, another team is working on the live stage show of Strictly Ballroom, the 1992 film with which Luhrmann did nothing short of change the way more than 40 nations watch Saturday night television. It’s true – the BBC’s Strictly Come Dancing (and Dancing with the Stars, as it is known in other markets) was inspired by his love story of a gallumphing girl transformed in the arms of her dance partner.
‘A life lived in fear is a life half-lived,’ was the mantra of that film, which marked its then 29-year-old Australian director as one to watch. It remains the motto of Bazmark, and certainly taking on Gatsby is the act of a fearless man. To Americans it is something of a sacred text: it has been filmed five times before (as a silent movie in 1926; in 1949 starring Alan Ladd; most lusciously with Robert Redford in the lead role in a 1974 version with a script by Francis Ford Coppola; it was filmed for television in 2000 and again, with a modern twist, as G in 2002). Adding to that, Luhrmann is amping up the sexual tension to a hip-hop soundtrack by Jay-Z, and he is filming in 3D.
‘I just hope that we open the door to a new generation and we tell the story well,’ he says. ‘3D allows you to see awesome actors in the prime of their career going at each other. For me, it’s about watching actors act.’ He pauses. ‘The special effects look pretty good, too!’
The Great Gatsby follows a young Midwesterner, Nick Carraway (played by Tobey Maguire), as he arrives in Manhattan in the wild spring of 1922, at a time when the bond market is rocketing, bootleggers are thriving and morals are loosening. He rents a house in Long Island, next to the mansion of a mysterious new-money millionaire, Jay Gatsby (Leonardo DiCaprio), and across the water from the old-moneyed – and unfaithful – Tom Buchanan (Joel Edgerton), married to Carraway’s cousin Daisy (Carey Mulligan). He quickly gets caught up in a world of arrogant privilege and bears witness to its tragic consequences.
To the edge of the party stands the host. On cue he turns to face the camera. ‘I’m Jay Gatsby. I’m sorry, Old Sport, I thought that you knew that,’ DiCaprio says to Tobey Maguire. The pair do take after take. To keep things fresh, Maguire starts feeding deviations on the script to his friend, but with 3D, every possible camera angle is covered, and rudimentary lip-reading reveals his ad libs are rude. (‘Ah,’ Maguire says, chastened, when we meet later, ‘you saw?’) Yet DiCaprio is flawless. He turns, dazzles, holds a beat, then says again, ‘I’m Jay Gatsby.’
The subtitle of the novel, written in 1925, was ‘The tale of a man who built himself an illusion to live by’. As an actor DiCaprio has proved himself a master of the illusion that is movie-making, ever since, as an already-seasoned performer of 18, he almost stole What’s Eating Gilbert Grape? from Johnny Depp. DiCaprio has since become a screen star so consistently outstanding (he has been nominated three times for an Academy Award, for Gilbert Grape, Blood Diamond and The Aviator) that it is beginning to look like bad manners that he has never received an Oscar.
As we learn in the novel, Gatsby, born James Gatz, is a poor boy who has willed himself wealthy to get the girl he has always loved, and is now the subject of endless speculation. In fiction, strangers trade Gatsby stories; outside in the long, hot Australian summer of filming, it is ‘Leo’ who is the fodder. Girls hold vigil where he is alleged to be staying. If he appears in public, there’s a feeding frenzy; if he doesn’t, the paparazzi seek him here, seek him there, perhaps egged on by some sense of entitlement – of a film budget rumoured to be AU$120 million (£82 million), some $50 million is being funded, indirectly, by the Australian public in the form of tax concessions.
Even my silver-haired aunt has a Leo story. Her dreadlocked surfer-dude handyman disappears for weeks, only to come back looking as sleek as an otter because he has landed the job of Leo’s body double. This proves a useful barometer for gauging if the star is on set or has left town: when DiCaprio, a committed environmentalist, headed off to visit the widow of the Crocodile Man, Steve Irwin, Auntie Jean got her lawn mown.
On set, too, it is DiCaprio about whom everyone is curious. Very few international reporters have been allowed access. ‘I wonder if we’ll meet Leo?’ the reporter from Munich whispers. ‘I hope so!’ swoons the one from Spain. Yet as we walk between sound stages, DiCaprio, who, unusually for a film star, is far taller than you’d expect, walks directly towards us. He neither evades nor engages. Extraordinarily, only two of us even register that it is him.
When a novel is loved, the challenge is to make a retelling sizzle. The executive producer, Doug Wick, secured the rights for Luhrmann, who, he believes, will make a story so many people know by heart feel fresh once more. ‘If a young person sees this, they better think it’s a cool party. Baz knows how to throw a party,’ Wick says.
Luhrmann’s given name of Mark was ditched not long after he left Herons Creek, a dot on the map of New South Wales where his father ran the petrol station and the cinema. The boy became the man who maintains an Outback-scaled theatricality. When Baz and his costume and production designer wife, Catherine Martin, married on the stage of the Sydney Opera House in 1997, legend has it that the celebrant descended by zip wire.
An Australian in a beanie hat shuffles up. Joel Edgerton snared the role of the entitled and athletic Tom Buchanan after Ben Affleck pulled out when his passion project Argo got the green light. When Edgerton (recently seen in Zero Dark Thirty) met Luhrmann the director gave him a copy of the book. ‘I’ve never been a big reader in my life. I don’t hold books as precious as a lot of other people do,’ Edgerton says. ‘I dropped it into my bag and went to meet a friend and I was like, “Baz gave me a copy of the book,” and my mate said, “Give me a look at that.” And it was a very, very special copy, which I didn’t understand all that much – you know, when books are printed and what edition they are – and then I felt terrible that I’d shown such ignorance or arrogance.’
Edgerton must project both – as well as the faintest hint of a heart – in the role of a hard-muscled, flinty, white supremacist whose other girl is Myrtle Wilson (played by a fellow-Australian, Isla Fisher), the blousy bride of a garage mechanic. ‘Tom’s socio-economic background is different from mine, although I do plan one day to be as rich as Tom Buchanan,’ Edgerton says, laughing. ‘Working with Baz, he’s basically Wikipedia. He provides you with all the doors and rooms and avenues and pathways to understand the world from etiquette to language to design to everything else.’
Edgerton (of Bankstown, NSW, far removed from posh) has grasped the differences between old money and new wealth. ‘Have you seen my house yet? Make sure you wipe your feet. My house is like the White House. Gatsby’s house is like Disneyland, all about the glitz and glamour, and mine’s all elegant and pure. And then Myrtle’s apartment is like my Nana’s been decorating. On crack. It’s the tackiest little apartment you’ve ever seen. Yes, Tom likes shagging her, but every time he walks in he looks around and goes, “Oh, God, not another ornament.”’
Outside on the lawn, where the air is heady with the scent of roses, a lithe girl in an oyster satin trouser suit is casually swinging a strand of pearls. ‘I have some beautiful rings, too,’ she says, extending her hand by way of a hello. The character is Jordan Baker, a golf pro who has an affair with Carraway; the actress is Elizabeth Debicki, an ingenue straight from drama school. ‘Baz saw me and he asked me,’ she explains with Jordan-like nonchalance.
Scott Fitzgerald was a customer of Tiffany & Co, the most famous jeweller of the Jazz Age. Thus despite it being highly unusual and fraught with risk to use real gems on a film set, Catherine Martin spent months working with the company to reissue a few original 1920s designs and to come up with others with an Art Deco feel. ‘There’s something about knowing that they’re incredibly expensive. It makes you move your hands differently,’ Debicki says.
While the rest of the little press posse goes back to Gatsby’s house, I sneak off to meet Charlie – no other name is given, and when I notice his muscles, I dare not ask. After the double-locked doors, past the CCTV cameras, Charlie opens a safe like a pro, slips on black cotton gloves and starts opening Tiffany-blue boxes. ‘See here, Daisy got this when she was a little girl,’ he says, cradling a silver locket in his enormous hand. I’m rather more taken by what Daisy gets as a grown-up. There’s an exquisite bejewelled brace of feathers on a plaster-pink ribbon. ‘It sits, like this, on her head,’ Charlie says, demonstrating on himself, somewhat incongruously. ‘It is in what will become a famous scene, where she’s standing in the sun, looks across and sees Gatsby.’
Two days later I return to catch up with Catherine Martin. It is now December 22, steaming hot outside and tense indoors because everything must wrap by lunchtime if Carey Mulligan is to make it back to England for Christmas Eve. ‘Fine jewellery is called fine jewellery for a reason,’ Martin starts. ‘Case in point: Daisy’s headpiece. It’s an archival piece that was made in the late teens. And I thought that was perfect, it could almost have belonged to her mother and then she gets it. It has been remade by Tiffany, but we also use genuine pieces.’
One of these is a jabot pin carved from rock crystal embellished with onyx and diamonds. It is among Tiffany & Co’s most treasured artifacts, and it is Charlie’s main job to protect it. Yet when Jordan Baker meets Nick Carraway she shows off the precious pin stuck casually into her hat. Among the many pieces that have been created specially for the film are cufflinks, a signet ring and the silver handle of a cane, each of which carries Gatsby’s monogram of a daisy, his permanent aide memoire for the reason he is so passionate about the trappings of wealth: because he believes the girl he loves requires them.
Martin’s unbreakable rule has been, ‘Never one feather only. This is not a flapper-themed 21st-birthday party. My aim,’ she says, ‘is to express the true nature of the period through an eclectic combination of things that have a real point of reference.’
This does not mean that she is a stickler for historical accuracy. Part of Martin’s genius (she has won two Oscars, after all, one as production designer, the other as costume designer, both for Moulin Rouge) is how she mixes modern pieces that reference the past in order to make that past seem current. ‘You can’t live your life in fear of the fashion police,’ she says as we flick through racks of delicious dresses by Prada.
‘You have to do what’s right to tell the story and what you believe makes an ethereal moment.’ Like those inflatable zebras in the pool, I say, thinking back to how the eye-popping stripes added even more verve to the party scene. She stops in her tracks. ‘Leonardo was saying to me the other day, “Those zebra lilos didn’t exist,” and I said, “Yes, I have a picture of them.” Here it is.’ (I take the photocopy, glad that Leo and I have at least connected somehow.)
As I leave, I spy Carey Mulligan, slumped on a chair as her final scene is set up, wearing a breathtaking crystal-encrusted Prada party dress with a hideous pair of Crocs. The clock is ticking. I ask her if the Tiffany rock on her finger has helped her to ‘find’ the flighty, beautiful Daisy? ‘I do find myself staring at her ring,’ she replies. ‘I mean, I would never spend more than £100. I would never in a million years imagine actually owning this, so it does throw you into that world. Have you met Charlie who follows me around? The whole notion of Tom and Daisy is that Tom seduces her and wraps her in jewellery. He contains her with his money. They have become a couple because she wanted a great sense of wealth and superiority and he ensnared her with these things.’ She twirls the ring on her slender finger. ‘You feel the weight. In the scenes between Daisy and Gatsby, the engagement ring Tom gave her becomes such a weighty thing.’
In the end, Mulligan will catch her plane. DiCaprio will leave town and my aunt will once again have a gorgeous garden. ‘So we beat on, boats against the current, borne back ceaselessly into the past,’ is how Scott Fitzgerald ended his finest work. As to how Luhrmann ends what promises to be his – and does so in 3D – remains a mystery until next month.
The Great Gatsby is out on May 16. Tiffany’s Ziegfeld Collection celebrates the company’s collaboration with Warner Bros and Bazmark Films on The Great Gatsby (tiffany.co.uk)
Nobody was more surprised than Michael Kowalski when he got the top job at Tiffany. As Marion Hume writes, during his watch the retailer has made some radical moves in its quest to sell fine jewellery in a ‘democratic’ way.
The Austalian Financial Review | November 2012
by Marion Hume
What a swell party it was. The brass band was swinging, the singers were crooning, the dance floor was hopping, fuelled by champagne. Above the granite and marble of the imposing main floor, a towering interior was lit Tiffany blue, while views out of vast windows showcased the rainy night sparkle of the streets of Manhattan. They say the opening of the worldrenowned Tiffany & Co. store at the corner of 57th Street and Fifth Avenue in 1940 was a glorious affair, despite the US being on the brink of entering World War II. The above description is not, however, of 1940 but 2012. The vast views were photographs to bring Manhattan to Prague, in the Czech Republic, to celebrate the opening of the American jeweller’s latest global store. That said, the vibe was glamorously retro, a warm contrast to the usual chilly fashion parties where guests dripping in borrowed brand merchandise are more intent on Instagramming than kicking up their heels.
Tiffany should have ended its 175th birthday year with an even more marvellous party – one that was supposed to feature movie stars, Moet, two inflatable zebra lilos and a fabulous pool party. For December was to have seen the Tiffany marque writ large across cinema screens in 3D. But Warner Bros stalled the release of Baz Luhrmann’s The Great Gatsby, for which the jeweller has provided scores of sparklers, until May 2013. Surely news of the delay was exactly what Tiffany did not want for Christmas? “Not at all!” laughs Michael Kowalski, Tiffany’s quietly spoken chairman and chief executive, when we meet on the morning before the Prague party in the leafy garden of one of the Czech Republic’s swankiest hotels.
Kowalski, it must be said, is not a swanky kind of guy, despite the locale. Bespectacled, married to the same woman for 35 years, you’d read the 61 yea rold more as the dependable numbers guy than the CEO, which, in a way, would be right. His route to the top was finance and, when he reached the pinnacle in 1999, at age 48, he claims no one was more surprised than himself. He still doesn’t act much like other CEOs – although he has a car and driver while in Prague. “I actually prefer to rent my own car because just the act of understanding where a store is, in relation to airport or downtown and navigating by yourself, gives a sense of awareness and familiarity. Or I’ll take the subway,” he says. On the way back from the Prague party, he’ll offer several guests a chauffeur-driven ride, meaning he will perch in the centre rear seat.
In Prague, Kowalski gives a warm opening speech, he works the red carpet, he shakes hands. He doesn’t appear shy; instead he’s utterly comfortable that he’s made a commitment to this in a schedule that has him travelling at least 40 per cent of his time. He even seems to be a little dazzled by the elegance of the party. This isn’t his natural milieu. “We do what we need to do to manage and promote Tiffany,” he says, “but on a personal level, I like to stay under the radar.”
But while Kowalski, personally, won’t regret that December isn’t a whirl of red carpet movie premieres, surely the delay is a blow for a business that had geared up to maximise the best bit of brand promotion since 1961, when Audrey Hepburn immortalised Holly Golightly in Breakfast at Tiffany’s. “It has been actually fine for us,” Kowalski counters. “It would have been sort of piling on to the holiday season in those weeks where it’s absolutely impossible for us to put more people in the stores.” You see, in the US, Tiffany pretty much is Christmas, in no small part due to years of seductive advertisements featuring snowflakes, lovers and the brand’s blue boxes tied up with white bows. “Quite frankly, and since we’ve seen some of the trailers, the delay has helped us because it gives us an opportunity to build a more robust product endorsement,” says Kowalski.
Prices of pieces with a Jazz Age theme will range from entry-level to stratospheric. That’s how it has always been at Tiffany, the American jeweller Kowalski calls ‘democratic’, by which he means that money, or the lack thereof, is not a bar to crossing the threshold of its stores. Australia got its first Tiffany store in 1994, far earlier than most European cities, because our way of life chimes with store environments that are relatively relaxed compared to other highend international jewellers. You can simply walk in, whoever you are, whatever you do. Let’s not forget that the Holly Golightly of Truman Capote’s novel Breakfast at Tiffany’s was what was known euphemistically as ‘a good time girl’, before Hepburn’s portrayal sweetened her into a good girl. As Golightly says of the Fifth Avenue flagship store: “Isn’t it wonderful? Nothing bad could ever happen to you in a place like this.”
When Charles Tiffany and his brother-in-law John Young set up their stationery and fancy goods emporium at 259 Broadway in New York City in 1837, an early policy dictated that not only was it fine to ask the price, most of these were displayed in plain sight. This policy meant Tiffany was the first fine jeweller to include the price tag when advertising engagement rings. In the contemporary context, it means the price appears within the first product details online (for instance: Tiffany Enchant Scroll Pendant $20,000).
Some things, though, are priceless, such as the cushion cut, 128.54 carat, sunburst yellow diamond purchased in 1878 by Charles Tiffany and housed on the ground floor of the Fifth Avenue store. On an earlier shopping spree to Paris, he bought the French crown jewels (up for sale due to revolutionary turmoil). It was in Paris that Tiffany was entranced by a fashionable hue known as Nattier blue, after the painter JeanMarc Nattier. “The company has a team of people making sure the blue never changes, hunting down anyone who abuses it,” says Kowalski. It is at Kowalski’s insistence – he has strong environmental principles – that these days the blue box is green; that is, made from Forest Stewardship Council certified paper.
Tiffany, for all its sparkle, has always taken a radical lead. Kowalski says that the brand realised early on that, to expand, it had to break down the intimidation inherent in selling fine jewellery: “I’m sure when we opened a store in a mall in New Jersey, now one of our top 20 stores in the world, there were New Yorkers who were appalled, like: ‘My gosh, they’re opening a store in New Jersey! What could they be thinking!’ People were far more likely to walk through that wide door in a mall and once they were through that threshold, it was like: ‘Gosh, nothing bad is happening, I haven’t been asked to leave, did someone say can I help you?’ ’’
The high-end jeweller with the common touch also lost no time tapping into the feminist Zeitgeist: early in the 1970s, when ads for a fragrance called Charlie showed confident women in pant suits striding through the streets of New York, Tiffany signed a modern visionary, Elsa Peretti, who found her design inspiration in street stall donuts and coffee beans. Until then, the most famous designs were those by Jean Schlumberger, a Frenchman whose opulent creations were adored by Jacqueline Kennedy and Elizabeth Taylor. Today, Tiffany collaborators continue to surprise. While collections by Paloma Picasso are not radical, the jeweller carries a line of bold, demanding pieces by the architect Frank Gehry.
Outside it doors, Tiffany sometimes generates shockwaves. “We do scandalise our competitors,” laughs Kowalski, recalling the tremors that greeted the news it was moving into ecommerce in 1999, a year before Natalie Massenet launched Neta Porter. Online sales now account for about 6 per cent of worldwide sales, making it the number two store after New York. It even has an app that allows ring sizing, although Kowalski holds with his decision not to sell diamond engagement rings online “because of all those tactile things where you really have to hold it in your hand”.
Nor does he tweet: “Tiffany tweets but CEOs tweeting, that’s asking for trouble.” Not that he avoids controversy: “I know there are many people in the mining world and in the jewellery world and in the supply chain who think that I’m some sort of radical environmentalist who is pursuing his own personal agenda to save the world. But that’s simply not true.” Tiffany does not sell coral or rubies because they are as closely tied to nefarious practices as blood diamonds. As for diamonds, Tiffany’s can be traced pretty much to the square metre of earth they came from. (Of note: Tiffany’s yellow diamonds come from the Ellendale mine, in the far north of Western Australia.) Few knew until recently that platinum is controversial – although not Tiffany’s stock, which comes either from a single mine in Montana in the US, or is recycled.
“We have come up against some real industry opposition; it’s been disappointing in many ways,” says Kowalski. “I’m making a judgment based on what I believe our customers want, and it’s no different to the judgment I make about advertising or design. It’s all part of the brand DNA. One of the things that customers expect when they walk through those doors is that nothing terrible has happened in creating this diamond ring. I’m not suggesting that’s the first thing that they ask about, but consumers should be able to absolutely assume that to be the case.” Tiffany has won rare praise from Global Witness, which campaigns against natural resourcerelated conflict and corruption, for “one possible model of what major diamond jeweller retailers and manufacturers should do”.
Luck played no small part in Kowalski’s rise to the top. “It’s always better to be lucky than to be smart. In my own case, it was bizarre,” he says. Kowalski was working in financial planning at Avon, which had purchased Tiffany in 1977. “I had been there for about five or six years and I was just bored. I went to see the guy who had hired me, and said, ‘It’s been wonderful, but I really have to move on from here.’ And he said, ‘You got a job to go to? Because I’ve just learnt that there’s going to be an opportunity to head the financial planning department over at Tiffany, would you have any interest?’ And I said, ‘Why not?’”
Six months later, when Avon decided to sell Tiffany, it fell to Kowalski to oversee the sale. The success of the subsequent managementled leveraged buyout was dependent on liquidating inventory, so Kowalski was asked to move to merchandising and take responsibility. “We had to put in place those basic financial disciplines,” he says. “That’s where the lucky part came in. I was in the merchandising division and moved up, so no, I never thought I would be CEO.”
Would he at least concede he’s a successful one? “I’ll tell you the obvious trajectory of sales growth. It was US$120 million with seven or eight stores [when he started in 1999]. Last year, it was US$3.6 billion with 247 stores, and almost half a billion dollars in profit.” From less than a dollar at the time he took over as CEO, the share price hovers around $US63. Like Kowalski, several key executives have put in years with the company and many hold stock. “There’s this great sense of financial accountability. There’s an incredible sensibility to legacy and tradition yet we’re analytical, disciplined, factbased and very collegial. We have a great culture of respect and you know, you never raise your voice.” When the Gatsby party season kicks off next year, don’t go looking for Michael Kowalski. “I much prefer anonymity,” he says. “I walk into a party and I really try to avoid talking about Tiffany because once the cat is out of the bag, it’s hard to bring the conversation back to any common ground.”
No faking it on the Gatsby set
On a sunny day on the set of the The Great Gatsby at Sydney’s Fox Studios in December 2011, director Baz Luhrmann’s voice can be heard through a bullhorn. He is revving up more than 500 extras gathered for a party scene in the Gatsby mansion, complete with sunken pool and revellers on lilos. Time and again, Leonardo DiCaprio turns towards Tobey Maguire, repeating: “I’m Jay Gatsby. I’m sorry, old chap, I thought that you knew that,” each time flashing a megawatt smile and an onyx signet ring featuring a daisy motif.
Luhrmann had identified Tiffany as a ‘must get’ collaborator several years before production began. In a nice fit, Gatsby’s author F. Scott Fitzgerald was a Tiffany customer. Luhrmann’s partner, the double Oscarwinning costume designer Catherine Martin, spent months with the jeweller’s inhouse designer, Jim Stonebraker, in New York. Stonebraker had to “go through hundreds of hoops because, exacting as I am, Baz is even more exacting,” says Martin. “Just being able to say, ‘Hmm, I think I’d really like a platinum cigarette case in enamel with diamonds and pearls’, and that was no problem, was fabulous.”
It is unusual, and risky, to use real jewellery on a movie set. “What’s crazy [is] my wife walking onto the set wearing a $2 million bracelet,” Luhrmann recalls of a shoot which had to include bodyguards and gems in locked boxes inside a safe within a safe room. “Tiffany has been phenomenal in that they open up the world of decadence. You can have fake diamonds but the real ones are just so much better.” Adds Martin: “We used every single piece because everyone loved wearing them. I would go, ‘Do you want to wear any jewels today?’ And they would reply, ‘We want to wear them all.’ ”
The Siblings of Chopard
AFR | September 2011
by Marion Hume
Could you work with your brother or your sister? For every entrepreneur who shrugs, “Sure”, there’s another who snaps, “not until hell freezes over.” For Caroline Gruosi-Scheufele and Karl-Friedrich Scheufele, the response is, “we’ve shared an office for 25 years.” These sibling co-presidents of the Swiss watch and fine jewellery company, Chopard, are German-by-birth, Swiss by choice, (having braved the rigors of gaining a Swiss passport).
But it would be misleading to imply they have been locked in each other’s company for quarter of a century- during which time Chopard, based in a suburb of Geneva, has grown into a glittering name. “If I am in Geneva for a week, I feel I am not doing anything,” says 49-year-old Caroline, when we chat at the 64th International Cannes Film Festival. “I’m always travelling. My brother and I are very different in character and we are complementary,” she adds.
“Maybe I’m more spontaneous. He would sit more and think and analyse things.” When we meet at the Chopard Headquarters, where about 750 craftsmen are hard at work (the company employs a total of 1,700 people and has more than 120 boutiques and 1600 points of sale), her older brother concurs: “Each of us has very specific areas where we excel.”
The Chopard story is not just a tale of two siblings, it’s a tale of two families; the Scheufeles, German goldsmiths for four generations; and the Chopards, who sold out in 1963 to Caroline and Karl-Friedrich’s parents. Chopard was established by a Swiss horologist named Louis-Ulysse Chopard in 1860 and, when it comes to watches, it turns out 75,000 a year.
I am more fascinated by Chopard’s fine jewellery, launched in 1990. And, more specifically, I’m intrigued by how soon after Uma Thurman’s apperance at the opening night of the Cannes film festival the cascades of emeralds she wore on her ears were sold. (Answer, first serious interest logged within minutes of her appearance, sale concluded the following morning. “And we could have sold them five or six times,” says Caroline of these red carpet one-offs that sold for €270,000.)
By now, it is lunchtime at Cannes. Elegant women, some looking a little the worse for wear after a Chopard-sponsored glittering after-screen beach party the night before, are nibbling on the chilled seafood pasta, served buffet-style on the penthouse terrace of Hotel Martinez. For those whose surnames do not end in Thurman, De Niro, Pitt or indeed Jolie-Pitt, this is where EVERYONE stays during the festival. It’s where you hop into the lift as the doors are closing, say “press seven please for the Chopard lounge,” only then to realise your lift operator is Oscar winner, Adrian Brody.
While Chopard has a presence at the Academy Awards as well as the French Cesars amd the British BAFTAs- and now, thanks to a current push into Australia, is targeting the AFIs as well- it is here at Cannes that the brand has pulled off its greatest coup. While no single commercial brand is particularly associated with the Oscars and the statuette, designed by an MGM studio art director remains almost unchanged since 1929, Chopard designs The Palme d’Or trophy.
Another prestigious Cannes award, presented each year by the biggest star in town to the young actor and actress who show outstanding promise, is called the Trophée Chopard. (Audrey “Amelie” Tautou, and Marion Cotillard are just two winners who have worn “lucky” Chopard jewellery ever since).
These close associations with the film festival have given the brand unequalled muscle on the Cannes red carpet, the scene of not one big night, but twelve. All this promotion comes at considerable cost (how considerable, no one in this private company will say). That it reaps rewards caused London’s Financial Times to highlight Chopard for its soft-sell “masterclass in the art of celebrity endorsement”.
The top floor of Hotel Martinez enjoys a sweeping view along La Croisette to the Palais des Festivals – as long as you can get past the squadron of security guards. Up here, there’s a beauty salon, a nail bar, a chill-out room, complete with both Grey Goose vodka bar and a bank of TV monitors, on which a montage of images of movie star plus Caroline Scheufele, movie star runs on an exhausting loop.
Outside on the terrace, a band, wittily titled The Gypsy Queens provides live music. As a visual centre piece, there is a pair of bejewelled stilettos under glass, billed as “the world’s most expensive shoes”, these the result of a collaboration with Italian shoe-maker, Guiseppe Zanotti. They are in such a small size that when Caroline Scheufele bounds onto the terrace to greet me, I look first at her tiny feet.
I have already decided I like Gruosi-Scheufele, who looks bright as a button, given she is the first (co-) president I have ever encountered whose PA has said, “she never does interviews before noon”. “I’m a night bird, I’m a natural party person,” she says as I take in flawless diamond earrings so massive (5 carat), that on anyone else, I would assume them to be fake. “They have no weight, diamonds have no weight, only gold has weight,” she tells me as she leads me to the VIP area of this already decidedly VIP terrace atop a VIP hotel (by now, I’ve cleared five security checks, three of which are operated by the hotel to keep fans at bay).
Through French doors, I can spy what must then be correctly called the VVVIP suite, where bodyguards protect a client from the Middle East who is being shown an emerald necklace. Of course, I’m supposed to be conducting an interview, not clocking a customer via eyes in the back of my head. But it certainly seems that, in the time it takes me to ask Scheufele a bit about her life in the family firm, a deal is reaching its conclusion. “Is that lady just looking?” I say, feigning innocence. “Buying,” Caroline confirms.
“Sometimes, we sell to the [movie star] who [has borrowed something for the red carpet]. I think it works when the celebrity is first of all choosing what she likes to wear and what she would wear anyway. Then it’s a natural thing. Sometimes, we sell to other clients who like what they saw.”
“But if that lady were a movie star, wouldn’t you give it for free?” I push.“Of course it happens I like to give presents because that would be an honour for the house. It means that people are really appreciating what we do. But they also buy. Jude Law was talking to me yesterday. He said he really liked his watch, and as he’s happy to wear it, he will buy it.” Behind her head, the Middle Eastern lady and her entourage prepare to leave. The necklace is sold.
The Cannes Film Festival has become a truly international gathering of the glam clan. While the late Liz Taylor was a paying customer, the lion’s share of jewellery purchasing power lies now in the Middle East and the BRICS economies, from whence plenty of wealthy customers, with just scant interest in the movies, show up for festival fortnight in their superyachts. There are other jewellers, with pop up shops along La Croisette and selling suites in smart hotels, but what is beyond debate is that Chopard is in the lead here, ever since, some 15 years ago, Caroline Scheufele took herself to Paris to meet with the festival president.
“I said to myself, I’m a cinema lover and that’s how the whole thing started.” That said, her personal taste in film, perhaps similar to that of many guests of sponsors who get the most-prized tickets to evening premieres, does not parallel those movies chosen to screen in competition, of which this year’s Australian entry, Sleeping Beauty was far from the most bleak and disturbing. Caroline’s favourite recent movie? “I liked that one with Julia Roberts in Bali….”
The Chopard HQ, just outside Geneva, betrays no hint of glamour. When you arrive at a cluster of squat grey buildings, the first thing they do is take away your passport. Inside, it is unexpected- that is if you expected the place where they kit out Jane Fonda, Kate Winslet, Carlize Theron, Penelope Cruz to movie-star fabulous. It turns out this place is fabulous, but in a different, hi-industrial kind of way.
After being ushered past enough steel rods, forged in Japan, to support a Shanghai skyscraper (here used to make watches), there is a machine so enormous that it looks like it should have been delivered instead to CERN, the European Organization for Nuclear Research, on the nearby Franco-Swiss border.
So perhaps it’s the scale of the next machine that I like: for in contrast, it is about equal to that of a top-loading ‘nana’ washing machine, (one of those cylindrical ones you had to drag out on wheels and then put the hose pipe out the window). This one is for smelting gold. Some 12 tonnes of it (current spot price, $US52,000 a kilo) is delivered here each year from the nearby UBS vaults. Hardly any jewellers smelt their own gold. Chopard does because, as my guide puts it, “it means we control baking the perfect cake.”
So in goes a bit of copper for a rosy hue, a bit of palladium, a sprinkling of pure silver for strength and then a pile of 24-carat ingots, which are much smaller than those bricks of bullion villains steal in heist movies. The machine heats up to 1,000 degrees. There’s a viewfinder on the top. But what you see through it looks less how you might expect molten gold to look, (my reference; chocolate ads on TV) and more like the view through the Hubble Telescope to Mars. Weird. Wonderful.
Inside the fine jewellery workshop, a craftsman is tweaking the beaks of a pair of jewel-encrusted humming birds, each hovering over a diamond earring. Another holds the empty casement of a dress ring containing a massive 102-carat sapphire secured on a mount full of tiny holes, each of which will be filled with marquise diamonds. Then there’s the strand of 133 perfect South Sea Pearls. When I ask if I might try it on, it weighs me down like a yoke. “We will make the setting very light, with diamonds,” says a master craftsman.
Karl-Friedrich Scheufele meets me in the Chopard museum, which houses 18th century pocket watches and (bizarre this), a fully-stocked bar. While he shares twinkling nut-brown eyes with his sister, his gestures are smaller. Yes, he’s content with running a business in Switzerland, “although our currency is quite strong at the moment and it may become more difficult for us in the next 6-8 months.”
Yes, he’s content with how Chopard is navigating these tough times, “although as we work with our own capital, certainly in our case, we are very careful.” And actually, he is glad his parents did not change the company name to Scheufele, “because we want our product to be the hero. We want people to believe in our brand name, respect it, cherish it. We as a family are not so important. We’re not really so keen about personal publicity.”
What Karl-Friedrich is obsessed by is provenance; a potentially sticky subject if you deal in gems. While the transit of diamonds is now tightly-controlled, it remains relatively simple to smuggle, say, banned Burmese rubies into the Thai supply chain. Karl-Friedrich aims to make Chopard completely transparent, pretty much from rock to ring, and the company is two-years into a three-year process to achieve that. “To be frank, this is not what our customers are asking us yet. But we must ask,” he says.
As to where those customers are, a growing number are in cities he’s still not sure how to pronounce, such as the Chinese coal-rich city of Urumqi. Australia is also on the radar for expansion, where the company hopes to stake a claim to both local custom and the upper end of the tourist market.
But there’s one family question i’ve yet to ask. Did these siblings have any choice of career? Karl-Friedrich pauses. “At one point, I wanted to pick up art as a main study in university. But then I entered into a jewelry apprenticeship and saw that it was also interesting and slowly but surely I found my way to the company.”Caroline has answered the same question at Cannes. “I would have liked to become a singer maybe,” she said, gazing over the Cote d’Azur. “Ballet was also something that I loved. But I had a choice. If my father had been producing lorries or cars, for sure, I would not be there.”
The AFR Magazine December 2010
Story by Marion Hume
What is old is new again, and the advantage for me, racking up fashion years (which multiply at twice the speed of dog years, by the way) is that I’ve been round this circuit before. What’s the biggest trend right now? The seventies. Where did my fashion consciousness awake? Bliss was it in that dawn to be alive and wearing leg warmers.
In the 1980s, some fashion wag dubbed the ‘70s, “the decade that style forgot”, which stuck, although it was wrong. In fact, the ‘70s were rich and diverse. In just ten years, I dressed my teens through hippy, glam rock, disco, punk and then, at last came chic, as captured with the ultimate ‘70s movie “American Gigolo” (it came out in 1980, but it was made in 1978).
Paul Schrader’s movie, which opens with a scene that succeeds in making even the Los Angeles freeway look glorious, wasn’t a hit in Kyoto, Japan or, if it was, Akira Isogawa – who despite still looking annoyingly youthful was very much alive in the ‘70s – managed to miss it. So, on his recent trip to London, I felt duty-bound to re-rig the video recorder (how clever to have kept that hidden away) and soon we were listening to the soundtrack by Giorgio Moroder and I was trying quite hard not to sing along to Blondie’s “Call Me”.
Much has been made of the scene in which Richard Gere prances around like a latter-day dandy (or, to be accurate, just like the male hooker of the title role), matching “griege” shirts with beige ties as if that were hard.
This is the fashion world’s no. 1. favourite movie clip and certainly, I will never forget watching it WITH Richard Gere (gray around the temples, even more handsome) at the Giorgio Armani retrospective at the Guggenheim in New York a few years’ ago. When I say I watched it with Gere, there were only four people in a room at the museum in which the high points of Armani’s movie successes were being projected on a vast screen. Alas, I must concede that Gere is unlikely to reminisce about me being there, but watching him watch himself was a thrill all the same.
But I realised, re-watching the celebrated scene with Isogawa instead that the familiar version has actually being clipped; this to omit the opening where Gere scrapes his finger through a mountain of cocaine and rubs it vigorously into his gums before he begins the Herculean task of working out what he’s going to wear. Since 1978, there have been moments at Armani shows when a little lift would not have gone amiss, but despite all you hear about us drug-addled fashionistas, I’ve never seen anyone go that far since.
While Gere gets the glory, actually, it is Lauren Hutton who fascinates in the movie now. Hutton began the ‘70s as both gap-toothed girl next door and the world’s first supermodel and ended them (lucky her) kissing Gere and wearing satin blouses which look so utterly “now”. While Gere’s outfits changed menswear in what was then the future (think of a Hollywood agent in the ‘80s and you’ll imagine him wearing a beige Armani suit), Hutton’s outfits were a sartorial lament to a softness that was already disappearing and has taken 30 years to return. In between, womenswear has had a harder edge, starting with the “me me me” styles of the ’80s.
Why is softness back? It’s partly due to the achievements of a band of women who prefered dungarees when Hutton was wearing grey silk and who manned the barricades to fight for the equality we all now enjoy by law. Today’s designers – many of them women – are, largely, the first generation to be the children of working mothers and they are working mothers themselves.
Hence the 70s looks at Celine, Chloe, McCartney. But who I wonder, is going to reissue the fabulous soft trench coat Hutton slips off in the movie? We’ll have to wait for next season’s shows for that.
A guide to the 1970s
Think the Seventies was all about the maxi-dress? Think again. From slick pantsuits to the delicate crepe dresses of Yves Saint Laurent, via the punky pins of rockers’ garbs, this diverse decade has influenced a roll-call of designers for autumn.
BY MARION HUME | 05 OCTOBER 2010
Why are Seventies styles all over the stores right now and, judging by the current round of catwalk shows, staying around next season? Given the original styles were so diverse, there is no short answer. But try these explanations for starters.
Silhouettes and soundtracks
It’s easier to spell out the vast range of looks through sounds of the Seventies. Think Isaac Hayes’s theme from Shaft ; now think Slade; now the Jackson Five; Abba; Rod Stewart; and Bob Marley. If you are old enough, was it Ziggy Stardust segueing into The Sex Pistols for you? Or David Cassidy to Bruce Springsteen? T-Rex to the Jam? Cher’s Gypsys, Tramps and Thieves to The Hustle ?
“The fundamental difference now is the focus on luxe,” says Bridget Cosgrave, fashion director of Matches. Her Seventies memory? “My mother wafting around in silk kaftans to Donna Summer’s I Feel Love .”
It’s all about your mother
The most influential collection of the Seventies – and as important now – was Yves Saint Laurent’s reinvention of memories of his mother, Lucienne, in the crêpe dresses, palazzo pantsuits and platform sandals she wore in the Algerian sun when he was a boy in the Forties. Unfortunately, those styles reminded fashion scribes at his 1971 show of the Nazi occupation of Paris. But just as the old guard hated the collection, the young, like Paloma Picasso, adored it. Those silhouettes were worn by Linda McCartney, the late mother of Stella McCartney, who is in turn now influenced by her mother. As is Phoebe Philo by hers.
“It’s striking how a crop of principally British, thirtysomething designers are re-exploring the easy, chic clothing their mothers once wore,” says Penny Martin, editor-in-chief of the trendy magazine, The Gentlewoman . “Several of them – Phoebe Philo at Céline and Stella McCartney, for instance – are now working mothers themselves and recognise the need for clothes that don’t make them look idiotic. The palette – caramels, flesh tones, pragmatic black and white – as well as generous silhouettes inspire confidence and warmth in those wearing them. Women genuinely look and feel great in these clothes.”
Many designers were teenagers in the Seventies, and you never forget your first fashion love. A 17-year-old Tom Ford moved to New York City just as Halston was at his height. At Ford’s womenswear comeback this September, “the ambience of the showing was pure Halston,” says Kate Betts, contributing editor to Time .
Marc Jacobs was familiar with the best designs of the Seventies; aged 15, he started working at Charivari, then Manhattan’s most cutting-edge boutique. Meanwhile, Stefano Gabbana was yearning to afford more than just the stickers at Milan’s Fiorucci. Albert Kriemler now helms his family’s label, Akris. When he was a teen, his father was producing clothes for the ultimate Seventies label, Ted Lapidus – clothes which influence the slim silhouettes in mustard and burgundy in Kriemler’s collections today.
First love never dies for the shopper, too. In 1976, Mimma Viglezio looked so great in her Lee Cooper burgundy corduroy flares, she won the “Miss Arse” competition at her Swiss high school. “It really was called that,” insists the former executive vice-president of Gucci Group, who is now a leading luxury world consultant, adding, “I still love high-waisted flares. When you are not 16 any more and your tummy is not quite so flat, a high waist is more flattering than risking a muffin top!”
Karen Walker, the designer, was in Auckland rather than New York when CBGB and Studio 54 were at their zenith. “But I love the Seventies as the last age of underground hedonism,” she says. Although the influence of punk has been enormous – there were studs, leather and zips at Balmain last week, set against the sound of Sid Vicious doing My Way – it was a fashion blip at the time. In 1977, Zandra Rhodes somehow made safety pins sweet, but real punks wore Millets and DIY, which is why the rare few who could afford Westwood/McClaren items have since sold them for a fortune.
The thrill of the old
It was in the Seventies that fashion’s looking-backward-to-go-forward dynamic kicked off. In 1971, Cecil Beaton curated an exhibition at the V&A called Fashion, An Anthology , which celebrated styles of previous decades and had the knock-on effect of making wearing vintage smart.
“Today, dealers charge up to £100 for rare and beautiful clothes in perfect condition,” wrote a surprised Georgina Howell in 1975. “Now, in London, you can find a whole range of fashion within a stone’s throw – tweedy, ethnic, Hollywood, classic, glamorous, executive, nostalgic…” Should you be in search of Seventies originals, you’re too late; designer scouts long ago scooped up “inspirational” YSL pie-crust cuff satin blouses. Look for lesser-known labels such as Stephen Burrows or bang-on-the-ethnic-trend Mexicana – Princess Anne packed a Mexicana gown for her 1973 honeymoon.
So to answer how to get the look, well, which look exactly? To narrow it down, you could rent the right films. Everything Julie Christie wears in Don’t Look Now (1973) looks right. Roman Polanski’s Chinatown (1974), although set in 1937, features Faye Dunaway looking very Céline. If you want a Gallic twist, try the early work of French actress Dominique Sanda.
Then there is Lauren Hutton, who began the Seventies as the multi-million-dollar model girl next door, and ended it looking as if she was about to be crushed by the hard-edged Eighties. American Gigolo (made in 1978, released in 1980) is best remembered because Richard Gere’s wardrobe kick-started Giorgio Armani’s dominance in menswear, but it’s Hutton’s flicky hair, blouses and leg-elongating nude mules that are so very now.
The Lost Explorer: Tim Walker’s flight of fancy
The Vogue fashion photographer Tim Walker has made a dark film, The Lost Explorer, that features 300 canaries
The Telegraph Magazine | 12 Aug 2010
By Marion Hume
My lemon-curd-and-honey vision just got darker,’ Tim Walker, the fashion-photographer-turned-filmmaker says of his first short film, The Lost Explorer. You may know Walker as the creator of Vogue shoots featuring white rabbits, powder-pink Persian kittens or stately homes covered in balloons. Yet for his first film he was drawn to an unsettling story in the 1989 collection Blood and Water and Other Tales by Patrick McGrath, whom Walker calls ‘the apocalyptic Roald Dahl’. The story begins with a child, Evelyn, played by 14-year-old Olympia Campbell, stumbling on a tent among brambles at the bottom of her garden. Inside, an explorer is dying of malaria and clutching a revolver.
The story the adventurer then whispers to Evelyn comes not from McGrath’s book but from Walker’s memory. ‘Ages ago someone told me how, in Victorian times, there were canary clouds over the Atlantic,’ he says, referring to the days when a taste for exotic birds meant that clippers sailed back from Africa loaded with cages. Halfway home, they would release the birds, which would soar over the sea, until, too tiny to reach land, they would drop back down to the ship and a life of captivity.
Walker was determined to capture this on film. ‘It was the toughest scene,’ he says. ‘We could afford only 300 canaries, and at the end, the animal wrangler retrieved 287. He put down nuts and seeds and five more appeared, then another seven. By the time the last one came down, it was dusty brown from being up in the rafters.’
According to Robbie Ryan, the Irish cinematographer who worked on Andrea Arnold’s Fish Tank, whom Walker employed as director of photography, ‘300 canaries can look like three on film.’ He jokes that he had to pay them double to fly round twice. ‘Tim’s a breath of fresh air, though,’ he adds. ‘He’s so open and he was sponging it all up, because his day job is nothing compared to being on a film set.’
While a normal day for Walker might involve staging a shoot in an art deco mansion in India that hasn’t been used since the days of the Raj, the challenges of film proved much greater. ‘I’ve always been about building the story through the visuals, and I had to learn to sacrifice some visuals to tell the story.’ As for his decision to hire someone else to hold the camera, he told me, ‘That was weird, but I knew I needed to see the whole picture. Robbie’s about realism, and when you mix that with the way I view the world, you get magical realism, and we both were so excited by that. My photography can be so sweet and it needed someone to push things the other way.’
Making the 20-minute film seemed like an epic in itself: ‘I wanted to launch straight into a feature film, but friends said, “No, you’ll get drowned,” ‘ Walker says. ‘I was thinking, “I can do big epic fashion shoots, what’s the difference?” But they were so right, in every way.’ The shoot lasted eight days with a cast of six and a crew of more than 40.
The story is simple: disgusted yet fascinated by the Lost Explorer, played by a craggy, dirty-looking Richard Bremmer (Lord Voldemort in Harry Potter and the Philosopher’s Stone), Evelyn befriends him, keeping his existence, death and burial a secret from her parents. It is a fairy tale with a gently shocking end but it is filled with elements of Walker’s imagination, from shadows of moths fluttering against the tent to close-ups of Evelyn dreamily playing among the sheets on the washing-line. And, of course, there is the ghost-ship scene with the canaries.
Shona Heath, who has created the sets for many of Walker’s fashion fantasies, worked as his costume and production designer. This meant finding authentic pre-First World War tent canvas, and liberally applying coffee, honey and Marmite to age props. The key difference between working on the film and on a fashion set was, she says, ‘a lot less Sellotape and glue. You can’t improvise on film. There was one job I did with Tim where I made hats out of cakes, which he took on the plane to Ireland, and not one survived, so I made some paper clover hats instead. But being true to a story means you can’t walk too far off the path, so suddenly a kind of discipline appeared while normally in Tim’s photography the crazier the better.’
Walker was born in 1970 on the Devon-Dorset border, ‘among hedgerows and cliff paths, in the world Cath Kidston has channelled into her empire’. His mother is the cookery writer Lorna Walker (Clever with Cream, The Complete Bread Book), who, together with his late father, Colin Walker, renovated old houses, and he and his older brother Rupert grew up baking, making camps and building dams and tunnels. (Rupert is currently the programme sponsor for Network Rail’s multimillion pound refurbishment of Reading station.)
Walker’s early ambition was to make films, ‘but at art school,’ he says, ‘everyone else was making funny, tight little shorts and I made this 20-minute film and everyone laughed when they weren’t meant to.’ He began his career as a photo­grapher after coming third in a photography competition for the Independent. He then spent a year immersed in the Cecil Beaton archive during an internship at the Cond Nast library and completed a photography degree at Exeter University before spending another year assisting Richard Avedon in New York. His first fashion commission, for the Independent, was joyfully radical. In an era when every young snapper wanted to find another waif-like Kate Moss, he chose a silver-haired senior clad in Oxfam finds.
He shot his first story for British Vogue 15 years ago, at the age of 25, and has since become a regular fixture in the American and Italian editions, too. His fashion photographs have a sense of theatre and magic about them, and he gleefully goes against the grain of all those images of skinny girls looking glum. The pictures always have a sense of narrative.
Walker’s fashion images, collected in the 2008 book Pictures, speak of a world of enchantment & watching the bee tapping against the window, the smell of mothballs in the wardrobe, going through it to Narnia,’ as he puts it. He loves rambling country piles ‘where you can trample on the roses, and inside there’s ticking mattresses stacked up and up and up and the dusty badminton set by the door. In London we know where stuff is because we have so little space, but when I shoot in houses in Northumberland, in Suffolk, people say, “I haven’t been in this room for five years…” ‘
Walker’s own home is over several floors of an industrial building in Shoreditch, east London. Inside, the urban edge is softened with gingham and bunting. Every inch is adorned on the bare brick walls posters of John and Yoko rub shoulders with advertisements for village fêtes, geraniums jostle on window sills with pottery toadstools, and puppets hang from joists.
Walker began filming The Lost Explorer in February and has been editing it with Valerio Bonelli, who worked on Ricky Gervais’s Cemetery Junction; he is also collecting a series of film stills for a new edition of the story. While the budget for a one-day advertising shoot can easily top £100,000, that’s chump change for a film, despite the fact that everyone, even actors of the calibre of Toby Stephens and Dexter Fletcher, who have supporting roles, worked for free. ‘But that was the amount I needed,’ Walker says. ‘I went round to people I’ve worked with for years and begged, “Can you help?” and Mulberry was brilliant.’
The quintessentially British brand will host a London Fashion Week screening of The Lost Explorer in September; it made its debut in Locarno, Switzerland, this week, and will be screened on the international film festival circuit. Gela Nash, one half of the Juicy Couture partnership (Walker shoots its advertising campaigns), also gets honourable mention for her support.
Walker’s next plan is for the feature film he dreams of making. Currently in his sights is Iain Banks’s The Wasp Factory. ‘It has been in and out of being optioned. I don’t know where it’s at now. But that would be the dream project,’ he says.
Walker’s next plan is for the feature film he dreams of making. Currently in his sights is Iain Banks’s The Wasp Factory. ‘It has been in and out of being optioned. I don’t know where it’s at now. But that would be the dream project,’ he says.