Coney Island Mermaid Parade 2017 Boardwalk Style

Summer is here in Brooklyn when the Coney Island Mermaid Parade hits the boardwalk. The creative mermaid costumes, sexy sea outfits, and marine creatures parade in this grass roots 35-year tradition. It originated within the artist and circus folk community.

The costumes range from simple bikinis, seashells, and netting to elaborately constructed wearable floats. There is a lot of skin, but the parade is family friendly. While colors and sparkle are the norms, there are a few Gothic fashion lovers in the mix. Mystical creatures of all sorts are mixed in, like unicorns and satyrs. There are a lot of pop culture hybrids, like "Clamilton The Musical", Wizard of Oz and Alice in Wonderland mermaid group costumes.

This year, I saw a lot more protest outfits. There were the "Handmermaids of Gilead" in tribute to The Handmaid's Tale to raise awareness of feminist issues. There were several environmental protest looks, ranging from saving the oceans, the EPA and other organizations. A Trump impersonator getting caught in a net was a visual punchline. Performance groups sang and danced protest messages along the parade that were supportive of the Women's March.

My look incorporated a Diane Von Furstenberg blue wave wrap dress mixed with tentacles and paired with a mermaid crown I made. I walked and photographed the parade. What I love most about walking along the Surf Avenue route and boardwalk is the ecstatic expressions on everyone's face. Everyone is so happy to dress up as a fantasy creature or see others dressed as one. The crowd is incredibly diverse. People of all genders, ethnic, shape, orientation, and physical abilities are well represented and supported. I was pleasantly surprised to see minimal corporate sponsorship, so the parade really felt it was put on by creatives for creatives.

The Coney Island Mermaid Parade is an event you need to experience at least once in your lifetime. I highly recommend you dress the part to fully experience the fun. If you do, get ready for me to catch you in my lens!
Photos by Mariana Leung

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Cosplay Trends of NY Comic-Con

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FAB Exclusive: Lily Collins Chats Rules Don't Apply

 I had the privilege of attending a screening of the upcoming film Rules Don't Apply. It is a drama romance of two fresh-faced Hollywood newbies who are brought together through their employment with Howard Hughes. Warren Beatty wrote, directed and starred as the eccentric mogul.

Lily Collins plays ingenue Marla Mabrey under contract to screen test for Howard Hughe's new film The movie sheds light on the inside stories of the countless young females who were subjected to excessively controlled lives just for the opportunity of becoming a star.

If you love the aesthetic of vintage Hollywood, this is a movie for you. Marla Mabrey's makes an angelic impression with her first look when arrives onscreen in a layered peplum jacket from costume designer Albert Wolsky. The light colored outfits that the hopeful starlets wear reflect the optimism of the actresses in the beginning. The darker colors and sharper silhouettes reflect how many of them quickly learn how Hollywood is not the fantasy they thought it would be.

I loved that Lily Collins played Marla as initially innocent and naive, but fiercely principled and self-aware. When thrust into awkward situations with Howard Hughes and his staff, she continually sought to take back control of the situation through questioning and wit. 

I got to chat with her about how she approached this role at the screening. She was intrigued in reading about the many nameless women who experienced what Marla Mabrey experienced. She sought to bring depth and heart to the once hopeful starlets that history had forgotten. 

Ms. Fabulous: What was your inspiration for your performance as Marla Mabrey?

Lily Collins: I felt a connection with her (Marla Mabrey) when she first came to "Hollywood" to audition. I was "naive" because I am always a positive thinker instead of the negative. There is a lot of politics that go into Hollywood, but she is very passionate and determined as I am, but she didn't have the bigger picture. She needed her Mom there to help her. Her moral compass was very strong, but Hollywood is there to test all that. Through the trials and tribulations that she went through, she was forced to overcome that and deal with what it takes to be in Hollywood, and decide if she agrees with what she wants it takes. Luckily, she learns a lot about herself in the journey.

Ms. F.: You had mentioned earlier that you had read books about some of the women who had lived this experience. Were there specific stories of an actress that struck you?

LC: No, Marla was more an amalgamation of women who came back from Hughes that struck me, that these stories were true. That they would come with their Moms and live there for weeks, months, years. It struck me, who would do that today? But women did because they had that hope of the dream. It was shocking, yet commendable.

Ms. F: I am a big costume fan, that first outfit with the layers of peplums!

LC: Ah yes. That was the first look we tried on. Right away I knew that was Marla!

We made multiple of them. 

Ms. F: And today, a much more contemporary look. It's lovely. I hate to ask this, which designer are you wearing today?

LC: This is Zuhair Murad. 

Ms. F: Thank you, Lily!

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Cirque Du Soleil - Luzia in Toronto

Enjoying some time in Toronto and I was treated to the beautiful treat that is Cirque Du Soleil's newest production LUZIA. This production was inspired by Mexican Culture. The name Luzia is a combination of the Spanish words for light and rain.

This show opened with the central clown suspended from the top like he had a parachute mishap. He was surrounded by a field of traditional marigold flowers. When he landed, it transformed into a scene with a butterfly dancer with wings that spread out past the width of the stage. She runs while the stage rotates around with a metallic horse puppeteered by several performers behind her. The giant round disk is a constant symbol for many things like the Aztec calendar, sunset, moon or film reel.

Both set designer Eugenio Caballero and costume designer Giovanna Buzzi were careful not to appropriate the culture directly and settle for stereotypes. They changed up the color palettes, from monochrome to super bright. They brought in animal motifs. There was a giant Papel Picado cylinder acting as a patterned veil, playing with the scale of what is usually a delicate paper party decoration. My favorite costume was the diva's dress of white and red flowers. The designers used innovative tech, the almost 100 flowers open and close as she sings, attached to individual little motors. 
The show is the most beautiful performance art of intricate choreography and design. It is merely a bonus that the cast performs feats of physical wonders. There was one contortionist that was so flexible that he left the audience white-knuckled in their seats.
The other major theme and design element was the use of rain and water. The downpour was used for dramatic effect in several acts both for humor and stunning visual effect. With tricks of lighting, it looks like the tent was raining all sorts of symbols and narratives into the stage. There was a tiny pool in the middle in some acts to represent Mexican cenotes. The pool was used to very sexy effect with the long-haired, shirtless aerialist who swung his hair through the water as he dipped and soared through the air.

I have been a fan of Cirque du Soleil for over 20 years. I have attended a different production almost every year as a cherished family outing. Every year I think that yes, it will be gorgeous, but they can't possibly surprise me. Every single year I am wrong. The set design, production, and costumes of LUZIA blew me away and had left me with tons of inspiration.

More from Ms. Fabulous:

The Looks from Lady Gaga's Art Rave Ball

Exclusive Interview With Costume Designer Colleen Atwood

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NYWIFT Gala: Celebrating Designing Women in Film and Television

I was fortunate to attend the NYWIFT gala celebrating the achievements of women in film and television Monday. Costume designer Sarah Edwards, hair stylist Rose Chatterton and makeup artist Anita Gibson were honored for their work. Gender disparity is rampant throughout the entertainment industry. It was an empowering night to watch successful women encouraging others to support and mentor other creative women.

Sarah Edwards is the costume designer behind the recent Teenage Mutant Ninja Turtles: Out of the Shadows. Star Will Arnett was hilarious in character as "himself" in his speech about Edward's talent as he took an interest in anyone who makes him look. Her favorite look for the movie was the armor-like costume for Shredder (far right). She is also behind the costumes of Michael Clayton, Last Days of Disco, The Devil's Advocate among others. She also oversaw the looks for The Secret Life of Walter Mitty with Ben Stiller. She remarked the subtle difference in dressing Stiller in frumpier versions of the same outfit in his real life scenes versus the sharply tailored versions of his fantasy sequences to define the character.

Legendary actor Ray Liotta remarked on the talent of hairstylist honoree Rose Chatterton in his presentation. He noted that in the initial reviews of his show Shades of Blue, the press actually complimented his hair in their articles. That's memorable hair. In my chat with Chatterton, she noted the most challenging days are the long ones, chasing down talent in humidity and wind. She actually looks to her clients for discovering the best in hair products. They are often gifted new beauty items and then share their favorites with her. In addition to the show Shades of Blue, she created the retro looks for Factory Girl and Indiana Jones and the Kingdom of the Crystal Skull.

Anita Gibson was a powerhouse of energy at this event. Her favorite beauty products are to work with nails. She initially succeeded in film by excelling in films like Inside Man and Tyler Perry movies as an expert in working with diverse casts. That became more poignant when she worked on Kerry Washington playing Anita Hill in HBO's Confirmation. In the 1990s, cosmetics options for women of color were limited. Gibson reflected that in creating her look for Washington during the testimony scenes. She illustrated the stress Anita Hill's character endured in using waning lipstick and a lack of facial makeup as Hill's testimony wore on.

The entire creative team in costume, hair, and makeup for the tv program The Affair was honored at the NYWIFT awards. Star Maura Tierney presented the award to the enthusiastic ensemble. What is subtle, but fascinating about this show is that the same storylines are told from multiple characters perspectives. This requires major diligence and precise creative choices to style onscreen.

Costume, hair, and makeup are always admired when the project is a fantasy or time period. However, helping to build the characters for realistic situations and real life is more intricate with less appreciation. I noticed that all the women honored this night had that in common. The characters they styled had to be believable in all scenes, even if they were the same scenes shot differently.
NYWIFT, the New York Women in Film and Television is proof that there are many hard-working, successful creatives in the field. Entertainment may be a cutthroat industry, but talented people are happy to prop each other up.

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FAB Exclusive: Secrets of The Good Wife's Costume Department

The Good Wife comes to an end tonight. In addition to being an excellent program, the show served as style inspiration for professionals, proving how fashionable "work" clothes can be. I lived out a fan's dream when I was cast as a reporter in the series finale. Even as a lowly background actor, I experienced the incredible level of detail the wardrobe and costume designers put in to dress every single person on set. 

As a result, I got to chat with Daniele Hollywood, a key member of The Good Wife's Emmy-nominated costume team. She gave us an exclusive interview where she dishes on The Good Wife's favorite designers, secrets on dressing their favorite characters and what not to wear as an extra:

Ms. Fabulous: The Good Wife has a reputation for being one of the best-dressed programs on television. Did your team set out to make such a fashion statement when setting the look of the show?

Daniele Hollywood:  Yes! Dan Lawson, the Costume Designer for The Good Wife, wanted it to look chic and stylish right from the start. We didn't want it to look like a typical law show. So from the beginning, we were shopping and creating looks that were on very elegant, modern and suitable for an upscale law firm. Dan's vision was to make the women look feminine. He didn't want the women dressed in boring suits that emulated men's suiting. For example, we never used pinstripes or plain navy, or gray suiting. We searched for feminine shapes, with design detail that accentuated the female figure. 

Ms. F: Was there a specific plan for dressing each major character? Certain cuts or colors? (We always loved Lemond Bishop and Kalinda's look!)

D.W.: Early on we found the peplum shaped jacket was very useful in accentuating Julianna's figure and so we sought that out for quite a few seasons. Julianna Margulies looks amazing in architectural suiting so it was our job to find designers who were manufacturing that look. We found that Akris, Giorgio Armani, Christian Dior, Escada to name a few were our go-to labels for creating that her ultra feminine silhouette. 

Diane (Lockhart) played by Christine Baranski looks amazing in everything! She's so tall and lean there's nothing that she can't pull off. At the beginning of the season, we'd have three solid racks of clothes and two, and we'd end up with two and a half racks that we wanted to keep. Christine loves fashion, so it was always fun to shop, and have fittings with her. 

Mike Coulter as Lemond Bishop

Lemond Bishop (played by Mike Coulter) was usually dressed in very steely, silvery tones. I think that really supported his icy, drug lord character. Dan costumed him in peaked lapel suits. In the beginning, we weren't sure how long his character would be on the show, and due to budget constraints, we put him in Sean John suits which looked great on him and were very reasonably priced. As his character evolved and became a serious plot point, we started dressing him in Canali suits which just happened to be making peak lapel suits that season. As the shopper for the show I was always thrilled when I could find the perfect suit or outfit to solve the requests of the Costume Designer, the script, and the requirements of the character.

Dan really trail-blazed with Kalinda Sharma's look (played by Archie Panjabi). No one ever looked so sexy and provocative yet professional on TV in my opinion. Dan wanted her look to be seductive yet professional. She was dressed in leather and lace. Soft and hard. So we set out to shop leather jackets in rich colors worn over form-fitting tops, and usually a black mini skirt and her signature black knee hi boots. She's dressed kind of like a superhero. 

Ms. F: How much of a character's look was created directly from what was happening in the script for a scene?

 D.W.: It's essential that we derive the look of the characters based on what's written in the script. The design team which consists of the Costume Designer, and two assistants all read the script. It informs all our decisions. There are also meetings between the Costume Designer, and the director, and a production meeting which also inform us on what needs to be addressed for the characters in each episode. 

Me, in jewel-toned dresses (both Byron Lars)

Ms. F: Among background actors, The Good Wife is known for having the strictest wardrobe

standards. Were there general policies for dressing a large group? (I overheard that all jackets had to be closed, certain colors would be consistent for the same scenes, etc.)

D.W.: Yes, we did have strict standards for the background. We wanted to the background actors to always look polished, except when we did bond court. We asked that the women wear dresses or pencil skirts, well fitting jackets with pumps. We avoided men's shirts with collars on women and preferred a smooth shell or blouse under a jacket with a statement necklace instead. We dressed the background actors in jewel tones so that they had some color, and we avoided black because it makes the actors disappear onscreen. We were very particular about making sure men's shirts fit well at the neck, and we avoided out of date three button suits on the men.

Ms. F: What was your favorite look or creative accomplishment for your work on the series?

Karolina Zmarlak Suit on Julianna Margulies

D.W.: This is a tough one because there were so many. Working on The Good Wife for seven seasons has been the crowning jewel of my career so far. But there are a couple of very key moments. We got nominated for best Costume Design Emmy in season two. CBS flew our whole team to Los Angeles for the Emmy's. It was an amazing experience to be included and honored for our work on the show. 

I loved working with the talented Karolina Zmarlak, who created the green suit that Alicia wears when she finds out Will has been killed. We found a beautiful mossy green stand collar jacket at Saks by Karolina. We contacted her, and she made a matching pencil skirt. I loved working with Karolina. She is such a generous and talented lady. I'm sure she's going to become a household name one day. 

Ms. F: Were there any favorite fashion designers or particular labels that The Good Wife team loved to use? 

D.W.: We used many fashion labels, but we really did well for the women with Dan Lawson's label DL35, Akris, Armani, Escada, Karolina Zmarlak, Dior, Roland Mouret, Antonio Berardi, Lafayette 148 and Ferragamo to name a few. 

For the men, we had custom made suits from Isaiah for Will Gardner, Brooks Brothers for Peter Florrick, and Paul Smith for Eli Gold. Carey Ago's suits were custom-made by Martin Greenfield. We used a lot of Canali and Z Zegna on our visiting guest stars.

 It's important to mention here that at the very beginning of the series our budget was tight, so we bought less expensive designers and tailored the heck out of them. When you have the luxury of having an amazing tailor you can transform the most inexpensive garment into a truly flattering ensemble.

Ms. F: What projects are you working on next?

D.W.: We're currently working on CBS's new comic thriller "BrainDead" set in the world of Washington Politics. Created by Robert and Michelle King, who are Executive producers, and creators of "The Good Wife". The series airs June 13th at 10/9c. 

Ms. F: Thanks Daniele!

Watch the series finale of The Good Wife tonight

 Sunday May 8, 2016 at 9 PM/8PM Central on CBS.

 Stills from The Good Wife from CBS

Check out The Most Stylish Work Places on TV
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Geeking Out on the Costumes of The Wiz Live

Oh yeah. Finally caught The Wiz Live today and bam! The production was fantastic. I expected no less considering the talent, but being the fashion girl that I am; the costume design was what blew me away.

Paul Tazewell's Costume Designs Were Over the Top Fantasy

I loved how costume designer Paul Tazewell brought in all sorts of historic fashion and costume references into this show. If you are a Broadway fan, you are already familiar with his work in shows like "In The Heights" (shout out to my 'hood), "Caroline or Change" and "The Color Purple." The difference is that those productions were grounded in reality. Tazewell's designs for The Wiz were over the top fantasy. (Ironically he had already costumed this production once for high school).

I drooled over Mary J. Blige making an entrance in this cyber-goth ballgown as Eviline. The evil witch silhouette and hair was a bit Queen Elizabeth I, while the rubbery tubes reminded me of The Matrix. Uzo Aduba as Glinda, the good witch, was described by Tazewell as a "ball of light". I don't know if most viewers noticed the lit fibre-optic threads she was wrapped in or the hand embroidered crystals sparkling over her skin or the gold horsehair skirt ruffles that helped them look like they were floating on air.

While press photos showed the major glamor pieces like the ones above, the supporting cast costumes were just as spectacular. When Dorothy first arrives in Oz, the pleated pieces are reference Japanese designer Issey Miyake. Amber Riley's character AddaPearl had a bright blue contrasting costume that read techno-geisha. She had the voluminous wig flowing coat with medallions that were reminiscent of kimono shapes and Japanese crests without aping them. Designers, THIS is how you design with a culture that you're inspired by, without cultural appropriation. Take the spirit, pay tribute but don't just regurgitate it. Redesign and update.

Speaking of redeeming cultural appropriation, how fabulous was that voguing number at the emerald city? The stage looked like a neon green (and LED embroidered) runway inspired by 1990s Thierry Mugler. However, voguing was NOT Madonna's dance craze. Vogue balls and competing vogue houses originated in African-American and Hispanic neighborhoods with communities that were largely marginalized during gritty times in New York City. The movement hit its peak in the years after The Wiz movie debuted. I caught the end of this era when I first moved to NYC, watching dancers voguing on the top floor of Webster Hall like they were rock stars. This might have been just a creative choice by the director, but others saw it as reclaiming a part of LGBT culture.

In looking back at the original movie version of The Wiz (I not fortunate enough to see the original Broadway version), I was a little disappointed that the NBC production lost all of that grittiness. The movie terrified me as a child, but rewatching it as an adult, I appreciated seeing the real New York locations, a little worn, still edgy. It gave the movie soul. Tony Walton created the costumes for the movie back then. Eviline's costume was still spectacular, though not as glam as Mary J. Blige.

The lion's fur was more afro to the 2015's dreads. The tin man was more colorful in Walton's design like he was cobbled together from found metals and cans. Ne-Yo's tin man had an industrial look, but shinier and polished. Michael Jackson's Scarecrow had a wild, boho artist vibe while 2015's scarecrow was made to look like a collage of artsy hipster findings. 

Queen Latifah as the wizard made her entrance in what Tazewell intended to be an androgynous, severe look. Think Grace Jones, but much more green. When she revealed herself towards the end, it was in an elegant, but very mundane look that was almost jarring next to all of the other costumes. She looked like she was an executive who had walked onstage to interrupt the show. Shanice William's Dorothy costume was more of a chic urban school look. She had the cranberry colored moto jacket paired with a high-fashion plaid skirt with the sharpest pleats I have ever seen. I was a little disturbed by uber-masculine Common's sparkling emerald suit, but he still looked hot. 

So thank you for indulging in my nerdgasm over The Wiz Costumes. The show was a mix of my love of NYC club nostalgia, costume and fashion design and geekery over Broadway musicals. I hope the show's success is only the beginning of many more creative collaborations on television.

Costume portraits by Paul Gilmore / NBC, Screenshots from NBC, movie stills Universal Pictures

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Blogger Love: Your Most Glam Halloween

The top trending costumes there are very much at the top of most fashion trends lists as well! Dramatic makeup, Empire, Scream Queens, over-the-top nightlife looks. This week's link round-up from the Independent Fashion Bloggers community was centered around stylish inspiration that you can work into your costume tonight:

• A Handful of Stories: Two Unbelievable Makeup Looks for Halloween
• Anakin and His Angel: Star Wars Cover Girl | Kylo Ren Inspired Makeup
• A Preponderance of Fashion: DIY Halloween Costumes for Women
• Banarsi Designs: 7 Street Style Scarf Looks to Steal Now
• Cat Eyes & Skinny Jeans: {Beauty Boards} Magic Wands
• Dresscode:HighFashion: 10 High Fashion Looks for Halloween 2015
• Epouser La Mode: One Sweater 4 Styles!
• Fashion Blender: Sandals of Love
• Greige Market: How to Dress Like a Grown Up
• Happy. Pretty. Sweet.: Halloween in Your Closet | Dorothy Gale
• La Vintage Vida: The Fitting Room Chronicles | Channeling Stevie Nicks
• Lil Miss JB Style: Longline Vest
• Mama in Heels: How to Wear Faux Fur without Looking Like Chewbacca
• Modavracha: Stoles | Will Get You Noticed But Keep You Warm
• Ms. FABulous: Fashion Underground | The World of Susanne Bartsch
• MySelf Expressed: Twice as Nice | Oversized
• Sheela Writes: Get Your Sheet On
• Tell Me, Y…: This Camera Will Help You Take a Killer #OOTD Photo on Your Own
• We Are Ready Made: To the Next 1000!!
• Wish and Wear: Covet Monday | Something Sweet

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Pratt Fashion Costumes for Screaming Mimi's

Do you need some last minute inspiration for Halloween ? Legendary vintage store Screaming Mimi's hosted a costume design competition for Pratt fashion design students this holiday.

The famous East village shop has been the go-to source for stylists, drag queens, collectors and hard core fashionistas since 1978. It counted Cyndi Lauper as an ex - employee and clearly contributed to her early look.

The fashion design contest was to design a costume for the theme of "Under the Sea". The eight finalists included Elizabeth Gee, Deanna Parlagreco, Jean-Baptiste Riviere, Sophia Roces, Victoria Tom, Cindy Tran, Yadira Nelson, and Anthony Williams. You can see the retro influences in their costumes that are reminiscent of vintage Coney Island Mermaid parades or the prom from Back to the Future.

The judges of the costume competition included editors Lynn Yaeger from Vogue, Mickey Boardman from Paper Magazine and Screaming Mimi's owner Laura Wills. 

If you want an on-trend, one of a kind look as your Halloween costume, head on down to Screaming Mimi's for a Pratt Institute creation. Or, if you feel like your own stylist,  put together something incredible with treasures you find there yourself.

photos from Screaming Mimi's

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Cosplay Trends of NY Comic-Con 2015

NY Comic-Con has come and gone. Like fashion week, each season brings its own trends for cosplay and Halloween costume inspiration.

Batman has been one of the most popular brands of Comic-con every year though I dare say the villains are more popular than the hero himself. Harley Quinn remains the most popular character of female cosplayers, but I also see the trend of women dressing up as the male characters as well. I don't know if it is a feminist reaction to all of the "sexy" looks and the attention it gets, but I find it pretty cool. The other trend is dressing is very gritty, scary, realistic versions of the villains (rather than the bright, flamboyant cartoon versions). I don't know if this is the influence of videogames like Arkham Asylum or the upcoming Suicide Squad movie, but Halloween should be interesting this year.

Doctor Who is more popular than ever. The British phenomena was always on slow burn through the geek community but hit critical mass with the 11th Doctor. Then, there was a big interest in the previous ten incarnations going back 50 years. I saw cosplayers, both men and women dressed as Doctor Who from all eras. Companions to Doctor Who were also popular, including the blue TARDIS itself.

When you think fanboy, Star Wars is usually the first brand that comes to mind. Is there a more loyal fan base than the one from these games, movies or cartoon show? Unless you live under a rock, I'm sure you are well aware of the new movie coming out. Hell, just announcing the trailer will air or be ahead of another movie is enough to guarantee the success of any other show. While the classic Star Wars characters are always well represented in cosplay at Comic-con (there are entire armies of Storm Troopers walking around) fans have branched out into creative variations of characters. There was the death scene version of Darth Vader/Anakin Skywalker, fans that deliberatey dressed as characters in animated style, Steampunk versions, peripheral alien characters, etc. Even before the new movies are released characters from it were on the NY Comic-con floor.

photos by Mariana Leung

Deadpool and Arrow. If there was one breakout character for 2015, it would be Deadpool. The character made his big screen debut in X-Men Origins: Wolverine with Ryan Reynolds back in 2009, but he doesn't appear in his own movie until 2016. Why is it so popular? Ryan Reynold's too brief role as the "Merc with a mouth" was memorable and funny. While a Deadpool movie was announced way back then, it seemed to have been put on the backburner until test footage leaked in 2014. Fans loved the mix of violence and sarcastic wit. The movie was back on and teasers that have been released since have made this one of the most anticipated movies for next year. The costume works for guys and gals of all shapes and sizes. It lets you be as badass as you want from behind a mask, perfect for someone who is normally shy.

The Arrow and supporting characters were popular for males who want the "hot guy" costume (along with GOT's Rob Snow, Ichabod Crane in Sleepy Hollow, etc). It's the male equivalent of females in skimpy superheroine cosplay intended to primarily make the opposite sex drool rather than true fandom. Lots of leather, an unshaven face, a mask and long hair is a look that most dudes can pull off with a enough swagger. Hope they got lucky.

Check out Top Cosplay Trends of NY Comic Con
by Ms. Fabulous at Mode

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Katy Perry's Super Bowl Style

Pop diva Katy Perry nailed her Super Bowl Halftime show last night. I’m not a football fan per se, but I was entranced by Perry’s spectacular costume style courtesy of fashion designer Jeremy Scott. Her concert looks were not just a feat of style, but also logistics as each costume design had to fit inside another for quick changes during the performance.

Katy Perry roared onstage on top of a giant metallic lion in an intricate flame suit. A frequent collaborator with Perry, Jeremy Scott took inspiration from the flame shoes of his previous collections. This outfit consisted of leather flames airbrushed with an ombre effect and bound in black leather, appliqued onto patent gold leather.

Her next look was revealed to be a cheeky beach ball dress to coordinate with dancing backup sharks, palm trees and a troupe of ladies that looked like they had escaped a Fanta commercial from 2003. The beach ball cups in her dress were amply filled…No deflate gate here.

Jeremy Scott Sketches

The choice of Katy Perry and surprise guest rapper Missy Elliot was not a frivolous one. Football as a sport has had several controversies with regards to assault and domestic violence. Showing strong women at the top of their game was a deliberate message.

Jeremy Scott insisted on the sparkling hoodie costume for Katy Perry to complement Missy Elliot (who looked and sounded great BTW). This look was not a part of the original lineup, but Scott felt the pop star really needed a look “to get her freak on”.

The immense amount of bling Perry wore can be attributed to accessories designer Erin Lareau. There were reportedly 22 000 crystals applied to Katy Perry’s costumes and bedazzled microphones for the night’s performance. Along with Lareau, the singer wore elaborate diamond pieces by Lorraine Schwartz.

The final costume, Katy Perry’s star spangled dress was actually a look by Jeremy Scott’s collection for Moschino. He used Mylar and holographic materials to create the stars that were applied to the slinky silver lame dress. The silhouette was very “Jessica Rabbit”. The intent was a mix of B-movie Science fiction and Old Hollywood glamour.

The look was perfect to watch Katy Perry soar into the sky on a shooting star. Her style, the fashion, the show was something dreams were made of!

Screenshots from NBC

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The Costumes of Lady Gaga's Art Rave - ArtPop Ball

 


I had the most amazing time last night at the Lady Gaga ArtPop Ball! I didn't think a high-ticket Madison Square Garden sized venue could evoke the Art Raves of my youth, but she made it happen and more.  The costumes in the concert were some of the most creative pieces I have ever seen in pop overseen by fashion director Brandon Maxwell and costume designer Perry Meek.

Lady Gaga opened with a golden angel type costume of wings, Swarovski encrusted body suit and huge metallic gazing ball embedded in her chest, courtesy of artist Jeff Koons.  Next, was the jewel encrusted seashell bikini paired with a massive hair style on the star while the dancers were clad in bright alien costumes.

My favorite costume had to be the Octopus design with inflatable tentacles.  The silhouette of this emulated the Vegas showgirl outfits with long train and dramatic headpiece.  The bright polka dot pattern made her look like an anime fantasy.  The inflatable elements on the her and her dancers costumes were very clever.  In addition to the visual statement of the shapes, the lightness of those pieces made it easy for them to maneuver them as part of their dance or looked great in motion as they moved across the stage.

Lady Gaga had a more stripped down outfit of black vinyl pant, top and green wig.  She did a full costume change right onstage from this outfit to the ravers outfit of crazy braided wig, vinyl babydoll dress and furry legwarmers.  The dancing stadium, outfit and pumping techno beats totally brought me back to nights at the Limelight in the 1990's.  Yes, I just dated myself, and yes, I have attended a few fuzzily remembered art raves back in the day.

Her finale look was a couture-inspired white and crystal dress paired with a long wig.  She gave a shout-out to fashion, Donatella Versace and a strutted the stage like a runway.  The hair was down her back like a wraith, the dress had elements of Thierry Mugler.  

Back in my school days, I worshiped the tour costumes of Madonna from Jean-Paul Gaultier and Dolce & Gabbana.  She raised the bar in mixing culture and high fashion as the new standard for concert chic and Lady Gaga inherited this tradition with pride.
Photos by Mariana Leung

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Power Dressing - Game of Thrones Style

Tonight's the night when the most addictive, sexy, violent, geek-worthy show returns. HBO's Game of Thrones is a trendsetter in hair, makeup and fashion despite its historical and fantasy elements.

The stories of the characters are told in their dress and styling.  With Kevin Alexander as head of hair and costume head Michele Clapton, you can see where each of your favorite women is in their lives just by looking at their outfit or hair.

Cersei's public and private personas are shown in her relaxed wavy hair versus her elaborately braided looks.  Braids also show Daenerys initial innocence evolving into her allegiance with the Dothraki and eventually as leader.  Sansa's hair gets worse and worse as the Lannister family keeps chipping away at her with the exception of the staged wedding to Tyrion.

Fashion-wise, The Lannister family stay united in the stark, red and golds of their family colors.  Heavy leather and velvet evoke the weight on their family, the portrait collars on Cersei framing her face and ego.  The extra heavy layers on Sansa's dainty frame indicate the burden the family has buried her under.

Margaery Tyrell though, shows her own independence in the blue hues of her wardrobe, with subtle golds as a nod to her upcoming nuptials to Joffrey.  The plunging necklines are also there to seduce him away from his mother.  Michele Clapton designed Margaery's evolving character to show in the creeping briar rose and thorns to indicate her ambitious social climbing.  The wardrobe of Margaery shows increasingly rich fabrics also to show her increasing influence.  Both in Sansa's and Margaery Tyrell's wedding dress, the designer indicates that costume fans should pay close attention to the embroidery, where the character's entire life story is woven into the motifs.  Also, the train was made from hand cut rolled fabric and took 6 people several weeks to make (custom of course!)

Photos: Helen Sloan/HBO,Keith Bernstein/HBO

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Exquisitely Evil: Bond Villain Style

The best villains in movies had great style.  No one does flamboyant evil than a James Bond Villain.  This theme is being celebrated in Exquisitely Evil: 50 Years of Bond Villains at the International Spy Museum in Washington D.C.

I enjoyed this exhibit over the weekend while learning about the history of espionage.  While the museum was curated to cater to the Hollywood idea of spies, the interactive design was highly educational and fun.

The Bond Villain exhibit was the start of the museum.  It highlighted costumes ad props worn in the film like Famke Janssen's curvy leather Russian operative uniform to Christopher Walken's tailored suit as Max Zorin.  For Bond villains, accessories are functional additions to your look.  Think lethal footwear that had switchblades or guns embedded and a "dream" mask worn by Toby Stephen's Gustav Graves in "Die Another Day".

Funny how life imitates art.  Many of the tricked out spy gadgets ended up inspiring real gadgets used in espionage.  I did see umbrellas that could shoot poison pellets that were used in actual assassination plots.  There were blades designed for close combat stitched into lapels.

One of the most important things a spy learns is their cover or "legend".  Both the International Spy Museum and 50 Years of Bond Villains proved that your costume and your looks are a vital part of that.

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Vivienne Westwood Romances the Vienna Ballet

The Vienna State Ballet rang in the New Year with opulent style.  British designer Vivienne Westwood created costumes for the ballet dancers performing during intermission at a New Year’s Day concert in Austria.   

The fashion icon’s tulle and post-punk tartan looks took inspiration from her Spring 2014 collection.  The romantic aesthetic was then pushed to functional fantasy as each costume was custom tailored to the dancers
in silk taffeta ball gowns or bespoke menswear. 

While some of the costumes initially looked to have traditional silhouettes, you can see the deeper, darker coloring in the rich taffeta hues paired with sexy, unusual ruching in the bodices and skirts.  Black satin ballet shoes often replaced traditional baby pink.  Super-short pleated miniskirts in plaid replace the conventional tutu prove that VivienneWestwood will always be punk’s Godmother.  

I can’t imagine a more gorgeous way to start 2014.  Can you?
Photos by ORF/Günther Pichlkostner

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