Hating Baz Luhrmann’s The Great Gatsby will be easy. Every intermediate reader has read it and loves it and wants to protect it. I’ve read it dozens of times and devoted nearly 20 years to writing about Fitzgerald, his characters, and their clothing. I’ve long imagined Gatsby’s closet, Daisy’s pearls, and Jordan’s knitwear. I know what they look like to me.
What I want to know is: “What do they look like to Baz Luhrmann and costume designer, Catherine Martin?”
F. Scott Fitzgerald’s text goes hand-in-glove with visual interpretation: mascara-laden flappers sobbing as the party ends; a lilac tricorn hat tipped just the right way so you can’t see her eyes; the long strides in white flannel pants across Gatsby’s lawn. There are few examples of complete ensembles in the novel. Creative interpretation is required—interpretation being the key word.
Costume is fundamentally different than fashion.
What I want to know is: “What do they look like to Baz Luhrmann and costume designer, Catherine Martin?”
F. Scott Fitzgerald’s text goes hand-in-glove with visual interpretation: mascara-laden flappers sobbing as the party ends; a lilac tricorn hat tipped just the right way so you can’t see her eyes; the long strides in white flannel pants across Gatsby’s lawn. There are few examples of complete ensembles in the novel. Creative interpretation is required—interpretation being the key word.
Costume is fundamentally different than fashion.
- 4/19/2013
- by Contributor
- Clothes on Film
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