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      Who Is Meg Bellamy, Who Plays Kate Middleton in ‘The Crown’?

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      When Meg Bellamy got the call that would change her life — the one telling her that after months of auditions, it was she, among thousands of hopefuls, who would play Kate Middleton in the final season of “The Crown” — she was already standing in the shadow of Windsor Castle. But she wasn’t looking the part of a royal just yet.“I was crouched in costume among the bin lorries of a delivery car park at Legoland,” Ms. Bellamy, 21, said at a London hotel suite last month. “Until that point, my most regular acting gig had been playing a red plastic brick.”In 2022, and with no professional acting experience, she was working as a performer at the theme park when she spotted a casting call on Twitter for the role of Kate Middleton. Competition to play one of the most famous women in the world during her college years was fierce. Thousands of young actresses were posting videos about their auditions. But after a neighbor remarked on her resemblance to Britain’s future queen, Ms. Bellamy, crushed after several drama school rejections schools, decided to try out for the part. Three weeks after sending a tape, she got a call — the first in what would be a several monthslong casting process.“I never really believed I would get the role, not in the beginning anyway,” she said. “But then with every round, I started to feel like I had a real chance, and that it might actually be mine to keep. When it was, I was completely shellshocked.”Now, more than two years after that call, Ms. Bellamy’s trajectory from obscurity to the brink of stardom appears to be well underway. Last week, she appeared on the front of The Daily Telegraph, which used a still from the series that recreated the moment in 2002 when Ms. Middleton, on a charity fashion catwalk in a daringly sheer dress, was rumored to have first turned the head of Prince William.This week, ahead of the release of Part 2 of “The Crown” on Dec. 14, Ms. Bellamy was on the red carpet at the London premiere in a creamy Valentino column gown — 24 hours after attending the Fashion Awards, where she wore a blazer dress with a suit and tie by Huishan Zhang.And for months she has been courted by big fashion names like Gucci and Dior — she attended Dior shows in Paris in July and September — which have a habit of snapping up emerging talent with juicy contracts before they ascend to heights of celebrity. After all, if a fashion house can’t hire the Princess of Wales to sell lipstick and handbags, perhaps the unknown actress playing her to an audience of millions is the next best thing.Ms. Bellamy at a finale celebration of “The Crown” in London this month. “Until last month I’d never been to Hollywood,” she said. “Then I was not just there, but on a red carpet with people shouting my name.”Lia Toby/Getty ImagesMs. Bellamy at the annual Fashion Awards in London in December.Dominic Lipinski/Getty ImagesShe attended the Los Angeles premiere in November.Michael Tran/Agence France-Presse — Getty ImagesOver its six seasons, the casting of “The Crown” has largely been anchored by a constellation of established performers, though it has also boosted the sparkly careers of several new faces, including Emma Corrin, who played Princess Diana in Season 4. What was it about Ms. Bellamy that prompted executives to take a chance on her for this role?“We found that there was an openness to her, an intelligence and a sweetness to her, and a chemistry between her and Ed McVey, who plays Prince William,” said Robert Sterne, the casting director for “The Crown.” “You wanted to go on the journey with Meg. You wanted her to tell you the story.”Doing Kate JusticeMuch has already been made of the parallels between Ms. Bellamy and Ms. Middleton, beyond their delicate features and masses of glossy auburn hair. How both were raised by close families in the royal county of Berkshire. (Ms. Bellamy was actually born in Leeds, in Yorkshire, and has a light Northern twinge that still lingers on some of her vowels.) How both were extremely sporty at school, with a particular love of lacrosse. (Ms. Bellamy, who said she was academic, was also head girl, which is similar to a class president.)But unlike the Princess of Wales, who studied art history at the University of St. Andrews, Ms. Bellamy didn’t attend university. After a number of star turns in school musical productions, including Sandy in “Grease” and Scaramouche in “We Will Rock You,” she wanted only to act. She is acutely aware that people wait a lifetime for a break like hers, which came months after leaving high school.Before the six month shoot, Ms. Bellamy spent months preparing to play Ms. Middleton. She watched documentaries and read newspaper clips compiled by researchers. She also worked with movement and voice coaches to perfect her performance. She took home costumes — a nostalgic Noughties-inspired wardrobe of low-rise flared jeans, peplum tops, chunky belts and fringed suede knee-high boots — to wear as she practiced her lines.Ms. Bellamy as Kate Middleton and Ed McVey, who plays Prince William, in a scene from “The Crown.” Netflix/The Crown“I must have looked insane,” Ms. Bellamy said. “I would be dressed as her, reading a book about her and trying to sound like her while walking around the house.” She noted that while there is endless footage of Ms. Middleton after she formally joined the royal family in 2011, there is little — beyond a handful of paparazzi photographs — from her time at St. Andrews, where she first befriended and then fell in love with Prince William.“Her first press interview was when she became engaged at 29, so she was something of a blank canvas,” Ms. Bellamy said. “I spent a lot of time thinking about what she would have been like before she knew where life would take her and that William would become her husband. I hope that I’ve done Kate justice.”At the same time, she added, it was nice to remove the layer of complexities that come with being a royal and just play her as a girl who’s going to university and falling in love.When photographs of Ms. Bellamy and Mr. McVey filming at St. Andrews emerged this spring — and ever since then — there was intense online interest in her private life and next career steps. (So far, Ms. Bellamy has yet to announce her next role.) Lately she has been working with the stylist Felicity Kay to hone her public image and build a brand for herself.Has being thrust into the spotlight given her a vague notion of what it must be like to be a royal?“It’s something I’ve been thinking about, especially as we’ve done more press ahead of the release,” she said. “I really can’t imagine the level of pressure royals face day to day. I mean, until last month I’d never been to Hollywood. Then I was not just there, but on a red carpet with people shouting my name.”She added: “But I keep telling myself that this is something I’ve always dreamed about. You have to remember that, before all of this, I wore a school uniform and could only afford high-street brands like Primark.” More

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      A Hallmark Christmas Movie Costume Designer Shares His Secrets

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      Keith Nielsen, who oversaw costumes for four Hallmark Christmas movies out this year, shares his approach to dressing festively. (It does not involve ugly sweaters.)Several years ago, Keith Nielsen was feeling less than cheerful when a friend told him about an internship opportunity with the costume department of the TV series “Mozart in the Jungle.”After graduating from the Ringling School of Art and Design in Sarasota, Fla., in 2015, he had hoped to find a job that merged his interests in fashion design and entertainment. When he couldn’t, he started working in retail. He said he had begun to feel depressed about his career by the time his friend mentioned the internship.His only experience in costuming had been on student films, but Mr. Nielsen, who said his grandmother had taught him to sew, got the internship. “On the ‘Mozart’ set, I listened and learned,” he said.Mr. Nielsen, now 30, worked on the show through its final season, rising from an intern to a costume coordinator. Afterward, he started to get more costuming jobs, including for productions at the Westchester Broadway Theater, now closed, and for the TV movie “My Adventures With Santa,” which was released in 2019.The movie tapped into Mr. Nielsen’s longtime fondness for Christmas, he said, and since then, he has been hired as the costume designer for about a dozen TV Christmas movies.This year, he oversaw costumes for four films: “Mystic Christmas,” a romance set in Mystic, Conn.; “Where Are You Christmas?,” a largely black-and-white movie that imagines a world without the holiday; “A Merry Scottish Christmas,” which was filmed at a castle in Scotland; and “A Biltmore Christmas,” which was filmed at Biltmore House in Asheville, N.C. All were for the Hallmark Channel.In “A Biltmore Christmas,” the actress Bethany Joy Lenz, left, wears a reworked Carolina Herrera gown. Hallmark MediaWorking with the theater helped prepare him to take on films, he said, because he learned how to better manage fittings and deadlines while becoming more familiar with outfits from different historical periods.“Keith has a deep understanding of fashion, culture and history, and an uncanny taste and style, especially for period pieces,” said Dustin Rikert, the director of “A Merry Scottish Christmas.” Mr. Rikert also worked with Mr. Nielsen on “Next Stop, Christmas,” which was broadcast in 2021. Costumes Mr. Nielsen created for that movie included the outfits worn by a time-traveling train conductor played by Christopher Lloyd.The director John Putch, who worked with Mr. Nielsen on “A Biltmore Christmas” and on “A Holiday Spectacular,” a 2022 movie featuring the Radio City Rockettes, noted his love of details. “Keith is into the shoelaces and socks people don’t see,” Mr. Putch said.Mr. Nielsen, who lives in Manchester, Conn., said many of his costume ideas originate from what he jokingly described as “my 12-year-old gay-boy mind.” (He declined to provide specific wardrobe budgets for films he has worked on as a costume designer.) In the edited interview below, he discussed the aesthetic influences that have inspired his work and the ways he has conjured the holiday spirit through clothes.Christopher Lloyd, left, and Keith Nielsen on the set of “Next Stop, Christmas.”via Keith NielsenHow do you source costumes?I read a script about four times and let my imagination run. Many holiday films are made in three weeks or fewer, so I often only have a couple of days to get fittings done.When I was costuming for theater, I started seeing old Broadway shows and going to warehouses that I still use. The vendor Right to the Moon Alice is where I get vintage items. I also get them from Ann Roth, an Oscar-winning costume designer, who has amazing pieces at her warehouse in Pennsylvania.Hallmark likes color and saturation. To get that freshness on camera, sometimes I recreate a garment so it doesn’t look like it has been sitting in a closet for 70 years.Do you ever buy clothes off the rack?I shop at outlets and online. I like J. Crew, Banana Republic and, for suits and coats, Brooks Brothers. Kate Spade has bags in bright reds and greens. I don’t like ugly Christmas sweaters.One costume in “A Biltmore Christmas” started as a Carolina Herrera gown that was bought from the RealReal. We had several fittings to re-drape the skirt, add a double-tulle layer and create a gathered bust that draped around the back. When I turn an existing garment into something else, I call it Frankenstein-ing.What has inspired your approach to costuming?I am a sap and love nostalgia and old Hollywood. Bill Travilla’s costumes for Marilyn Monroe are some of my favorites, especially those for “How to Marry a Millionaire.” I also like Arianne Phillips, who has designed costumes for film and for Madonna. I admire her breadth of work. I never want to get pigeonholed.How do locations like Biltmore House influence your process?I walked through the mansion to get ideas from the space. I remember looking at the colors of the wood paneling and of the limestone. Window shades are kept at a certain level and rooms are kept dimly lit to protect the things inside from light. It’s very romantic and cozy, and I wanted wardrobes that communicated warmth and coziness using colors besides red and green.To create a gown and a kilt worn by the stars of “A Merry Scottish Christmas,” I pulled together a bunch of tartans that went with the tapestries, candles and dark wood at the castle. We settled on MacDonald of Glencoe, a tartan with holiday-like jewel tones. The pattern was digitally printed on the fabric used to make the gown, and the kilt was made with a traditional wool tartan.What are some challenges with costuming holiday films?It’s the little things. All clothing sizes have changed: Vintage shoes are narrower than shoes are today, jackets fit differently, and girdles are gone. It’s hard to find people to do embroidery and beading.But I like classic and timeless looks because Christmas movies are watched over and over. More

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      12 African Artists Leading a Culture Renaissance Around the World

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      In one of his famed self-portraits, Omar Victor Diop, a Senegalese photographer and artist, wears a three-piece suit and an extravagant paisley bow tie, preparing to blow a yellow, plastic whistle. The elaborately staged photograph evokes the memory of Frederick Douglass, the one-time fugitive slave who in the 19th century rose to become a leading […] More

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      in Theater

      Hundreds of Shadow Puppets Were Stolen. A Bystander Helped Crack the Case.

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      Many of the puppets were still missing, however, after the theft of a U-haul truck in San Francisco holding props for the critically acclaimed Persian epic “Song of the North.” It was unclear if the show would go on.Inside the U-Haul were nearly 500 handmade shadow puppets and dozens of masks, costumes and backdrops — the culmination of three years of painstaking labor, which, on Sunday evening, came to life in a balletic performance before a crowd of hundreds at a theater in San Francisco.On Monday morning, the puppeteers awoke to find the truck gone.At first, they hoped the truck, parked at a Comfort Inn in the city’s northeast, had been mistakenly towed, said Hamid Rahmanian, 55, an Iranian American artist and the creator of the show “Song of the North,” an adaptation of the Persian poet Ferdowsi’s 10th-century epic “Shahnameh” that combines shadow puppetry, animation and music.But when hotel employees reviewed the security camera footage, it quickly became clear that the truck had been stolen. “My face dropped — my hands became cold,” Rahmanian said. Then, more than 48 hours later, on Wednesday morning, he received a call: A resident had spotted the truck in the city’s west, and notified the police. Rahmanian rushed to the scene to find years of careful work strewn about the truck in a “shamble.”The thieves appeared to have rifled through the boxes inside the truck, throwing some things away, and destroying others, he said, noting that while the full scale of the damage was unclear, at least 200 puppets were missing, and all of the costumes were gone.The next stop on the show’s global tour was Seattle, where a performance was scheduled for Friday. It was unclear whether the show would go on.The San Francisco Police Department said that it had received a call Wednesday morning from a resident in Richmond, northeast of San Francisco, about a “possible recovered stolen vehicle.”The police confirmed it was the same U-Haul and were investigating. No arrests had been made. The department did not offer more information about the contents of the security camera footage.Rahmanian, who moved from Iran to New York three decades ago to pursue a career in graphic design, said he had created “Song of the North” over several years in an endeavor to adapt the “Shahnameh,” or “Book of Kings,” for a Western audience. “There is a misrepresentation of Iranian culture, and everything is very much politicized,” he said. “Iran is like a symphony. But we only hear one note.”His work has garnered glowing reviews and audiences in places including China, Poland and Iowa. The puppet performances can take years to lay out in storyboards and to design and choreograph, Rahmanian said, noting that “Song of the North” involves 352 frames and an ensemble of nine people whose actions must be precise to the inch. For the 83-minute duration of the show, he added, “they work like a Swiss watch.”The laborious, costly work has not been very lucrative, he said, noting that he preferred to keep ticket prices affordable so that families could attend the shows. “There is no sane person” who would do this kind of work, he said. “The math doesn’t work.” In part, that is why he and his team decided to rent their own U-Haul instead of hiring outside contractors, he added, saying, “We thought we’re going to save a little bit of money.”The puppets don’t “have any value for these thieves,” their creator, Hamid Rahmanian, said through tears.Richard Termine Just after 8:30 p.m. on Sunday, he and his team loaded their wares into the truck, which was parked near the Fort Mason Center for Arts and Culture, where Sunday’s show was held. They drove it less than a mile to the Comfort Inn, where they arrived at 9:13 p.m., Rahmanian said, noting he had felt anxious, given San Francisco’s reputation for crime, but told himself it was going to be fine in a parking lot.The next morning, the truck had disappeared.U-Haul did not immediately respond to requests for comment on Tuesday evening, but Rahmanian said that after the truck was stolen, the company had told him that it was not fitted with a GPS device and that it could not be located. Choice Hotels, which manages the Comfort Inn, also did not immediately respond to requests for comment.Abbas Milani, a professor of Iranian studies at Stanford University, said in an email that Rahmanian’s work offered an “antidote to the dangerous delusions of stereotypes” through an empathetic portrayal of Iranian culture. Rahmanian’s adaptations of the Shanameh, he added, “offered a rich tapestry of the joyous, even epicurean culture of Iran.”Rahmanian said he was particularly buoyed on Sunday evening, as the audience lingered in the lobby to discuss the show — which begins with a warrior imploring two armies to stop fighting. Two of the enemies then fall in love, he said, noting that “Song of the North” was ultimately a tale of forgiveness.It felt “cosmic,” he added, to wake up the next morning to find that even art didn’t appear to be safe from the ugliness of the world. “It doesn’t have any value for these thieves,” he said through tears on Tuesday evening, before the truck was located. “They’re going to open it up and realize, oh my god, it’s just puppets.”On Tuesday, Rahmanian said he would not press charges against those who stole the truck. He added, “I forgive you.” More

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      in Movies

      How the Queen of Denmark Shaped the Look of Netflix’s “Ehrengard: The Art of Seduction”

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      Once upon a time, there was a princess in Denmark who aspired to become an artist.Though she was the eldest child of the country’s reigning king, for the first 12 years of the princess’s life, only men had the right to inherit the throne. That changed when the Danish constitution was amended in 1953, and the princess became her father’s presumptive heir soon after turning 13. She continued to pursue her interest in art throughout her teenage years, producing drawings by the stacks before largely stopping in her 20s.Around the time the princess turned 30 — and after she had earned a diploma in prehistoric archaeology at the University of Cambridge, and had studied at Aarhus University in Denmark, the Sorbonne and the London School of Economics — she read J.R.R. Tolkien’s “The Lord of the Rings.” It inspired her to start drawing again.Three years later, upon her father’s death in 1972, the princess was crowned as queen: Queen Margrethe II of Denmark, to be specific.Margrethe, now 83, celebrated 50 years on the throne in 2022. But in assuming the role of queen, she did not abandon her artistic passions. As a monarch she has taken lessons in certain media, has taught herself others and has been asked to bring her eye to projects produced by the Royal Danish Ballet and Tivoli, the world’s oldest amusement park, in Copenhagen.Margrethe made 81 decoupages, a type of cut-and-paste artwork, that served as the basis for sets in “Ehrengard: The Art of Seduction.” Interiors at a castle in the film were based on this decoupage.NetflixHer paintings have been shown at museums, including in a recent exhibition at the Musée Henri-Martin in Cahors, France. And her illustrations have been adapted into artwork for a Danish translation of “The Lord of the Rings.” (They were published under the pseudonym Ingahild Grathmer, and the book’s publisher approached her about using them after she sent copies to Tolkien as fan mail in 1970.)Margrethe recently notched another creative accomplishment: serving as the costume and production designer for “Ehrengard: The Art of Seduction,” a feature film that debuted on Netflix in September and has wardrobes and sets based on her drawings and other artworks.The film is an adaptation of the fairy tale “Ehrengard” by Karen Blixen, a Danish baroness who published under the pen name Isak Dinesen. Set in a fictional kingdom, the story is loosely about a woman named Ehrengard who becomes a lady-in-waiting and foils a royal court painter’s plot to woo her.“It was great fun,” Magrethe said of working on the film in an interview in August at the Château de Cayx, the Danish royal family’s estate in Luzech, a village near Cahors in the South of France.“I hope that Blixenites will accept the way we’ve done it,” she said.Conjuring AtmospheresThe Netflix adaptation, a sort of fantasy dramedy, has been more than a decade in the making.JJ Film, the Danish production company behind it, approached Margrethe about working on the movie after she served as production designer for two shorter films it produced, “The Snow Queen” and “The Wild Swans,” which were both adapted from Hans Christian Andersen fairy tales. Those films, released on Danish television in 2000 and 2009, also featured sets based on artworks by Margrethe, who in 2010 became an honorary member of the Danish Designers for Stage and Screen union.For the Netflix film, the queen designed 51 costumes and made 81 decoupages — a type of cut-and-paste artwork — that were used as the basis for sets. (She was not paid by Netflix or JJ Film.) Her sketches, along with some of the clothes and many of the decoupages, are being shown at the Karen Blixen Museum just outside Copenhagen through next April. Afterward, there are plans to show them in New York, Washington and Seattle.The movie, an adaptation of the fairy tale “Ehrengard,” is loosely about a woman named Ehrengard who becomes a lady-in-waiting and foils a royal court painter’s plot to woo her.NetflixFor certain decoupages, the queen cut up images of interiors and pasted the pieces together to create new scenes, like this sumptuous room.Dennis Stenild for The New York TimesMargrethe based her costume designs on clothes from the Biedermeier period, which took place in parts of Europe from 1815 to 1848. Certain details, like leg-of-mutton sleeves, reflected fashion at that time.Dennis Stenild for The New York TimesTo compose the decoupages, the queen cut up images of various landscapes and interiors and pasted the pieces together to create new scenes, like a sumptuous sitting room and a rocky canyon with a fortress and a waterfall.“Sometimes it takes hours, and sometimes things want to come together and they do as you want them to do, and suddenly you’ve done a whole decoupage in an afternoon,” she said. “It’s kind of a puzzle.”She was guided by Blixen’s “very visual writing,” she said, noting that Blixen, as well as Tolkien and Andersen, were writers who also painted or drew.Bille August, 74, the film’s director, described the queen’s decoupages as a “tuning fork” that he used to build “a world that is detached from reality without being a full-on fairy tale.” (He compared the general visual style he sought to the tone of Baz Luhrmann’s “Moulin Rouge!”)“Conjuring that special atmosphere is perhaps the queen’s greatest achievement here,” Mr. August said.Scouts would seek locations that reflected the decoupages, which set designers would then style with props to further emulate the artworks. Elements in the decoupages that couldn’t be found were rendered using computer-generated imagery. Some decoupages were scanned and details from the artworks were added to scenes in postproduction.Blixen did not set “Ehrengard” in a specific time, giving Margrethe freedom to interpret the look of the costumes. She chose to base her designs on clothes from the Biedermeier period in Austria and other parts of central and northern Europe, which took place from 1815 to 1848.Anne-Dorthe Eskildsen, 56, the film’s costume supervisor, said she generally translated Margrethe’s sketches “one to one” when fabricating the garments, which were made with textiles and trimmings that the queen helped select.Bille August, left, the film’s director, described Margrethe’s decoupages as a tuning fork. “Conjuring that special atmosphere is perhaps the queen’s greatest achievement here,” he said.Jacob Jørgensen/NetflixMargrethe said that for one costume she had sketched — a dress in hunter green with pink paisley-like specks — she had hoped to find a sprigged fabric. “But we couldn’t find one,” she said, so the pattern was custom printed. Another costume designed for the film’s grand duchess character was inspired by a portrait of a French queen.“She was wearing a lovely get-up,” Margrethe said. “It seemed to me exactly what the grand duchess should be wearing.”Certain elements of the costumes, like leg-of-mutton sleeves, reflected fashion at the time of the Biedermeier period. “I quite like that style,” Margrethe said. “I’ve been interested in style and in the history of style and costume for a very long time.”Other details were less historically accurate: Some dresses had waistlines that were slightly lower than those typical of that era, to give them a more flattering fit.Mikkel Boe Folsgaard, 39, the actor who played the court painter, Cazotte, said that when Margrethe saw an early version of his costume, she thought it lacked color. “And she was clear about exactly which colors she wanted to see,” he added.The actress Alice Bier Zanden, 28, who played the title role of Ehrengard in the film, said that at a costume fitting attended by Margrethe, the queen’s enthusiasm was palpable. “You’re just smitten by it,” she said.Sidse Babett Knudsen, 54, who played the grand duchess, described the queen’s presence at the fitting this way: “bare legs, beautiful shoes, nice jewelry — smoking away.” (Margrethe has made no secret of her fondness for cigarettes.)Scouts would seek locations that reflected the decoupages, like this one Margrethe made using clippings from images of landscapes. NetflixMs. Knudsen added that she felt comfortable “clowning around” in front of Margrethe, who has generally been popular in Denmark. According to a 2021 poll by YouGov Denmark, she was the most admired woman in the country (the most admired man was Barack Obama), and in a 2013 Gallup poll conducted for Berlingske, Denmark’s oldest newspaper, 82 percent of participants agreed or partly agreed that the country benefits from the monarchy.Her critics have included members of her family. Prince Joachim, the younger of her two sons, bristled at her recent decision to shrink the monarchy by stripping his children of their royal titles. In 2017 her husband, Prince Henrik, announced that he did not wish to be buried beside Margrethe because he had never been given the titles king or king consort. (He died six months later.)Helle Kannik Haastrup, 58, an associate professor of film and media studies at the University of Copenhagen, who specializes in celebrity culture, said that some detractors have dismissed Margrethe as “a Sunday painter.”But to other people, Professor Haastrup added, the fact that Margrethe is a head of state with a “side hustle” has made her more relatable.‘Honestly, She Can’t Stop’Margrethe sketches and makes art at the chateau in France and at studios at Amalienborg Palace and Fredensborg Palace, the royal family’s residences in Denmark. She described the studios as places “where I can let things lie about,” adding, “I try to clear them up occasionally — but not too often!”“I work when I can find the time,” she said, “and I seem usually to be able to find the time.”“Sometimes, I think people are at their wit’s end because I’m trying to do these two things at the same time,” Margrethe said of her royal duties and her creative undertakings. “But it usually works, doesn’t it?”Annelise Wern, one of the queen’s four ladies-in-waiting, said, “Honestly, she can’t stop.”In the 1980s, when she was in her 40s, Margrethe took weekly painting lessons. She has mostly concentrated on painting landscapes with watercolors and acrylics — or “lazy girl’s oils,” as she called them.The queen said that when she started to make decoupages in the early 1990s, she didn’t know there was a name for the artworks. “I called it ‘cutting and sticking,’” she said.Dennis Stenild for The New York TimesThen, in the early 1990s, she started cutting up pages from The World of Interiors magazines and catalogs from auction houses like Christie’s and Sotheby’s and using the paper cutouts to decorate objects.“I didn’t even know there was a smart name for it,” she said, referring to decoupage. “I called it ‘cutting and sticking.’”Since then, her relatives have occasionally been “smothered in decoupage,” as she jokingly put it. And in needlepoint, which she had learned as a girl and picked up again later in life.Her colorful needlepoint designs, some of which were recently featured in an exhibition at the Museum Kolding in Kolding, Denmark, have been fashioned into purses for family members and have been used to upholster fireplace screens, footstools and cushions for the royal family’s yacht, Dannebrog, which shares its name with the Danish flag.Margrethe’s taste for bold colors can be also seen in her wardrobe. In a 1989 biography of the queen by the Danish journalist Anne Wolden-Raethinge, Margrethe said: “I always dream in color. At full blast. Technicolor. Everywhere. Every shade.”Her clothes often feature vivid prints and fur trims, and are almost always accessorized with jewelry. Among the items in her personal collection are gold pieces by the Danish jewelers Arje Griegst and Torben Hardenberg, whose designs are both baroque and gothic-punk, and costume jewelry like plastic clip-on earrings she found at a Danish drugstore.For her 80th birthday, in 2020, Margrethe had a gown made using velvet that she had requested be dyed a particular shade of sky blue. A floral raincoat she had made with a waxed fabric meant for tablecloths, which she picked out at the department store Peter Jones & Partners in London, has inspired other fashion designers’ collections.“I usually am quite deeply involved,” she said of having clothes made for her.Ulf Pilgaard, 82, a Danish stage and screen actor, has parodied the queen some dozen times over the decades. (He was knighted by Margrethe in 2007.) “I always wore earrings and a necklace and very nice colorful outfits,” Mr. Pilgaard said.For his last turn as Margrethe, in 2021, he wore a bright yellow dress with oversize pearl earrings and a chunky turquoise ring. At the end of the performance, she surprised him onstage.“People got on their feet and started roaring and clapping,” he said. “For a few seconds, I thought it was all for me.”Margrethe wore a pantsuit in the red color of the Danish flag (and the Netflix logo) to the film’s premiere in Copenhagen last month.Valdemar Ren/NetflixAt the premiere of “Ehrengard: The Art of Seduction” in Copenhagen last month, Margrethe wore a pantsuit in the red color of the Danish flag (and the Netflix logo), along with a hefty turquoise brooch and matching earrings by Mr. Hardenberg, who before starting his namesake jewelry line made costumes and props for theater and film productions.Nanna Fabricius, 38, a Danish singer and songwriter known as Oh Land, who has worked alongside Margrethe on recent productions at Tivoli, said, “I think a very big part of why the queen is so liked is because she does things.”“We aren’t totally surprised when she makes a Netflix movie,” she added.“She’s kind of what Barbie wants to be,” Ms. Fabricius said. “She does it all.” More

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      in Theater

      Franne Lee, Tony Winner Who Also Costumed Coneheads, Dies at 81

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      She worked on “Sweeney Todd” and “Candide” and also on the early seasons of “Saturday Night Live,” contributing to the look of the Blues Brothers and the Killer Bees.Franne Lee, a costume and set designer who while doing Tony Award-winning work on Broadway in the 1970s also made killer-bee suits and cone-shaped headwear for early “Saturday Night Live” sketches, helping to create some of that era’s most memorable comic moments, died on Sunday in Atlantis, Fla. She was 81.Her daughter, Stacy Sandler, announced the death, after a short illness that she did not specify.Ms. Lee did some of her most high-profile work in the 1970s while in a relationship with the set designer Eugene Lee. She collaborated with him on productions including an acclaimed “Candide,” directed by Harold Prince at the Chelsea Theater Center in Brooklyn in 1973. It moved to the Broadway Theater in Midtown Manhattan the next year and ran there for 740 performances.“The production has been designed by those experts, Eugene and Franne Lee,” Clive Barnes wrote in The New York Times, reviewing the Broadway incarnation, “and they have knocked the innards out of this respectable Broadway house and made it into an obstacle course of seats, musicians’ areas, catwalks, drawbridges and playing platforms, with one conventional stage thrown in at the end of the space for good measure and convenience.”The Lees shared the 1974 Tony Award for scenic design, and Ms. Lee won another for costuming, her specialty. As the story goes, one person who saw that “Candide” was a young producer named Lorne Michaels, who was creating an unconventional late-night show for NBC. He was impressed and brought the Lees in as designers on the show that, when it made its debut in October 1975, was called “NBC’s Saturday Night” but soon became “Saturday Night Live.”The original “S.N.L.” cast quickly made its mark with outlandish sketches, and Ms. Lee was integral to the look of those now famous bits — dressing John Belushi and Dan Aykroyd in black when they became the Blues Brothers, turning cut-up long johns into the yellow-striped Killer Bee costumes, and more.Dan Aykroyd, left, and John Belushi as the Blues Brothers on “Saturday Night Live.” Ms. Lee designed their costumes.Edie Baskin/OnyxIt was costume designing on the cheap. Ms. Lee’s father, a tool-and-die maker, came up with the bouncy springs that were the Killer Bees’ antennae, which she finished off by sticking Ping-Pong balls on the ends. John Storyk, who first met Ms. Lee in 1968 when both worked at the short-lived Manhattan club Cerebrum, recalled in a phone interview dropping by the Lees’ apartment and seeing on her work table the beginnings of the cones that became the defining feature of the Coneheads, the extraterrestrials who were a recurring presence on the show in the late 1970s and later got their own feature film.In an interview for the book “Live From New York: The Complete, Uncensored History of Saturday Night Live as Told by Its Stars, Writers and Guests” (2002), by Tom Shales and James Andrew Miller, James Signorelli, a longtime “S.N.L.” producer, said that Ms. Lee influenced fashion beyond the studio walls.“The way Franne Lee, our costume designer, dressed Lorne for the show suddenly became the way everybody in New York was dressing,” he said. “Lorne used to come out onstage wearing a shirt, jacket and bluejeans. Nobody had ever seen it. But before you knew it, everybody was sitting around in Levis and a jacket.”Laraine Newman, an original “S.N.L.” cast member, recalled one time when Ms. Lee herself became part of the action — not on the show, but during a photo shoot Ms. Newman was doing with Francesco Scavullo, the noted fashion and celebrity photographer. Ms. Newman was working a vampire look, complete with fangs.“Franne found me this incredible Edwardian black lace dress,” Ms. Newman said by email, “and we did wonderful shots with that, and then Scavullo had this idea that Franne should be my victim, and so there are shots of me like biting Franne’s neck. It was so hard not to laugh because Franne was making these faces trying to look horrified or drained of blood. It’s a wonderful memory, and it still makes me laugh when I think about it. She was so very talented.”Len Cariou, left, and Angela Lansbury in the original Broadway production of “Sweeney Todd.” Ms. Lee won a Tony Award for her costumes.Martha Swope/New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman CenterThat talent earned Ms. Lee another Tony Award in 1979 for her costume designs for the original Broadway production of “Sweeney Todd,” the Stephen Sondheim musical about a murderous barber who has his victims made into meat pies. The show was directed by Mr. Prince, who Ms. Lee said initially told her he was reluctant to take on the project despite her urging.“He told me: ‘You’re crazy, absolutely crazy! You can’t do a musical about people eating people,’” she recalled in a 2002 interview with The Tennessean newspaper. “‘I said, ‘Why not?’”Frances Elaine Newman was born on Dec. 30, 1941, in the Bronx to Martin and Anne (Marks) Newman. Her father had a small machine shop on Long Island, and her mother was an offset printing supervisor.Ms. Lee was studying painting at the University of Wisconsin, her daughter said, when she discovered her love of theater and costume design. She was married to Ralph Sandler at the time and relocated to Pennsylvania when his job took him there, doing costume and design work for local theaters. The couple divorced in 1967, and Ms. Lee relocated to New York.“Franne and I both answered the same ad,” Mr. Storyk said, recalling how they found themselves working at Cerebrum. Mr. Storyk designed the club; Ms. Lee was what was called a guide, leading patrons through the place, which promoted consciousness-raising and featured various interactive environments. It closed in less than a year.Ms. Lee, though, continued to pursue her theatrical interests, creating costumes for groups including Theater of the Living Arts in Philadelphia. She also met Mr. Lee. Among their earliest collaborations as scenic designers — with Ms. Lee still credited as Franne Newman — was a version of “Alice in Wonderland” staged by the director André Gregory in 1970 that drew rave reviews.Ms. Lee in 2015.Amber Arnold/Wisconsin State JournalThe two became a couple and Franne adopted Mr. Lee’s name, though the nature of their relationship remained hazy; Patrick Lynch, a longtime aide to Mr. Lee, said the two were never formally married. (Mr. Lee died in February.) In any case, their personal and professional partnership continued until 1980, the year Ms. Lee left “Saturday Night Live.”She continued to design costumes for shows in New York in the 1980s and ’90s, including a few short-lived Broadway productions and, in the mid-’90s at the Public Theater, Christopher Walken’s examination of the life and legend of Elvis Presley, “Him.”She also tried the West Coast for a time, working on a few television shows and made-for-TV movies. In 2001 she settled in Nashville, where she was involved in founding Plowhaus, a gallery and artists’ cooperative. She later lived in Wisconsin, and since 2017 she had lived in Lake Worth Beach, Fla., about 65 miles north of Miami, designing costumes for theaters in that area.In addition to her daughter, from her marriage to Mr. Sandler, Ms. Lee is survived by a son from that marriage, Geoffrey Sandler; a son with Mr. Lee, Willie Lee; a brother, Bill Newman; six grandchildren; and a great-granddaughter.The frugal D.I.Y. ethos of her “S.N.L.” years stayed with Ms. Lee throughout her costume-designing career. In 2018 she worked on costumes for a production of Conor McPherson’s thriller “The Birds” (based on the same source material as the Alfred Hitchcock movie) at the Garden Theater in Winter Garden, Fla. It required a wedding dress, which she bought at a thrift shop for $45.“I’m a senior citizen,” she told The Orlando Sentinel, “so if I go on Wednesday, things are half price.” More

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      in Movies

      Summer Fashion Inspired By Eric Rohmer’s Films

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      The outfits featured in the late French filmmaker’s work, celebrated by a new Instagram account, offer an antidote to all that is plastic and pink.She’s rolling in the grass dressed in sunflower yellow, kissing a man about whom she’s passionately ambivalent (“Boyfriends and Girlfriends,” 1987). She’s strolling through the countryside in a fleecy blue sweater, having no fun at all (“The Green Ray,” 1986). She’s lounging on a beach in a red bikini and ivory bucket hat, about to embark on a confusingly ambiguous friendship with the shirtless Frenchman she’s observing (“A Summer’s Tale,” 1996).This is summer love, Eric Rohmer-style: It isn’t easy, but it sure is chic.The outfits featured in the late French filmmaker’s works have long been celebrated, and continue to build a following, now quite literally, on an Instagram account called @Rohmerfits, which debuted in May.Rohmer’s films, which spanned the 1960s to 2000s, were famous for their unhurried plots: Characters bounce around France, in between the countryside, the seaside and the city; they analyze their romantic entanglements; they read Balzac; they seduce and irritate each other — and they do it all while wearing Mediterranean-blue sweaters, high-waisted jeans, billowy cotton shirts and pops of red.“There’s just this air about them where you want to be within them,” Alexandra Tell, the creator of @Rohmerfits, said of the costumes. The characters are “often on vacation, so you want something that’s sort of breezy that you can move in,” she said. “His clothes aren’t extravagant, but they’re elegant in this easy, ineffable way.”The secret to such aesthetic ease may lie in Rohmer’s devotion to naturalism. Like his contemporaries Jean-Luc Godard and François Truffaut, Rohmer, who died in 2010, began as a film critic. These critics-turned-auteurs “were very much against a sense of artificiality that stemmed from the shooting in studios,” said Ludovic Cortade, a film scholar who teaches French cinema at New York University.Amanda Langlet plays Margot in “A Summer’s Tale” (1996). Rohmer often asked actors “to come up with several costume options that would reflect their own tastes,” said Ludovic Cortade, a film scholar.via The Criterion ChannelAn extension of that naturalism, Professor Cortade said, was Rohmer’s decision not to use costume designers for many of his films, and instead asked actors “to come up with several costume options that would reflect their own tastes, which was a great strategy to convey a sense of authenticity.”The aesthetic is a sharp contrast to movies like the upcoming “Barbie,” which will be released this month. While “Barbie” plays with literal plastic, Rohmer did the opposite. “Maybe the ‘Barbie’ world is more reflective of our reality,” Ms. Tell said, while Rohmer’s earthy naturalism now “feels like more of an escape.”Though the looks were fastidiously curated by Rohmer, they never felt forced, Professor Cortade said. In “Boyfriends and Girlfriends,” for example, a marigold tank top and belt, as worn by Blanche, who is played by Emmanuelle Chaulet, match the color of some orange juice in a glass cup. “You can see the wrinkles in the clothes,” said Ms. Tell, a 32-year-old writer and curatorial assistant who lives in Brooklyn. “It’s very tactile.”The outfits’ simplicity allows audiences to focus on the characters and their relationships as they grapple with complex questions of morality and love. Though Rohmer’s tone could be witty and farcical, his films astutely tackled “the challenges of personal interactions and the awkwardness behind that” — a dynamic that has only been heightened with the advent of digital technology, Professor Cortade added.In “Boyfriends and Girlfriends,” a marigold tank top and belt, as worn by Blanche, who is played by Emmanuelle Chaulet, match the color of some orange juice in a glass cup.via MetrographIn “The Green Ray,” Delphine is wearing a crimson blazer when she says to a friend, played by Rosette, through sobs: “I need a real vacation.”via The Criterion ChannelOnce she does go on vacation, Delphine wanders around morosely, lonely and dressed in all blue.via The Criterion ChannelIn other words, it’s Rohmer’s blend of aspiration and realism that keeps his films — and costumes — so fresh, Ms. Tell said: His characters, like Margot in “A Summer’s Tale,” played by Amanda Langlet, wear clothes you would wear, but better styled. They too have challenging so-called situationships, but with the handsome Gaspard, played by Melvil Poupaud, and amid the backdrop of a grassy path.In one scene in “The Green Ray,” Delphine, played by Marie Rivière, moans about going on vacation with her family after a breakup. Clad in a glorious crimson blazer, Delphine says through sobs: “I need a real vacation.” A friend, played by Rosette, convinces her to join a trip to Cherbourg, promising her they’ll “have fun and meet people.” Instead Delphine wanders around against the muted sun, morosely, lonely and dressed in all blue. More

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      in Television

      Does ‘And Just Like That …’ Signal the End of Stealth Wealth?

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      So does the pop culture and fashion wheel turn.And just like that, stealth wealth, the aesthetic made viral by “Succession,” with its toxic billionaires in their Loro Piana baseball caps and Tom Ford hoodies locked in a C-suite cage match to the death, has been swept off screen.In its place: logomania, branding that can be seen from whole city blocks away and accessories that jangle and gleam with the blinding light of bragging rights.The outfits, that is to say, of Carrie and Co. in Season 2 of “And Just Like That …,” the “Sex and the City” reboot come recently to Max — the streamer that, as it happens, also gave us the Roys in their greige cashmere. Both shows are set in New York City, the home of strivers and entrepreneurs, of “Washington Square” and Wharton, of constantly evolving social castes highly, and literally, invested in their own identifiable camouflage.If watching “Succession” was in part like engaging in a detective game to suss out what character was wearing what brand, so insider were the fashion politics, watching “And Just Like That …” is like attending brandapalooza: the double Cs and Fs and Gs practically whacking you on the head with their presence. (Warning: Spoilers are coming.) All the over-the-top fashionista-ing is back. The room-size closets!It’s the yin to the “Succession” yang: a veritable celebration of the comforting aspirational dreams of self-realization (or self-escapism) embedded in stuff that may actually be the most striking part of an increasingly stale series. Certainly, the clothes, which often serve as their own plot points, are more memorable than any dialogue.Well … except maybe for that instantly classic line in Episode 1, uttered by Lisa Todd Wexley (Nicole Ari Parker) on her way to the Met Gala in reference to her gown and feather hat: “It’s not crazy — it’s Valentino.” But that’s the exception that proves the rule.Lisa Todd Wexley stopping traffic on her way to the Met Gala in Valentino.Craig Blakenhorn/MaxThere is Carrie (Sarah Jessica Parker), with her multiple Manolos and Fendis, self-medicating with shopping, returning home one day with six Bergdorf Goodman bags. Charlotte (Kristin Davis) toting her Burberry doggy poop bag (also possessed of a Burberry apron and Burberry ear muffs) and bemoaning the fact that her teenage daughter hocked her Chanel dress to fund her musical aspirations.Lisa Todd Wexley dropping her kids off for camp in a bright green Louis Vuitton jacket and scarf. And Seema (Sarita Choudhury), the character that passes for a restrained dresser thanks to her penchant for neutrals (and the occasional animal print), loudly lamenting the theft of her caramel-colored Hermès Birkin — one of her totems of self, ripped directly from her hands.Lisa Todd Wexley dropping her children off for camp in Louis Vuitton.Jason Howard/Bauer-Griffin/GC ImagesSeema with her caramel-colored Hermès Birkin.Jose Perez/Bauer-Griffin, via GC ImagesThere is Loewe and Pierre Cardin; Altuzarra and Dries Van Noten. There is also an effort to repurpose clothes, like Carrie’s wedding dress, in order to promote the virtues of rewearing, but it’s pretty much lost in all the rest of the muchness. There is a dedicated Instagram account on which the costume designers Molly Rogers and Danny Santiago share their finds, with 277,000 followers. @Successionfashion, by contrast, has 184,000.All of which means what, exactly? Is the era of quiet luxury, so recently embraced by TikTok, already at an end? Have our attention spans, so famously abbreviated, moved on? Has the physics of fashion exerted its force and produced an equal and opposite reaction to an earlier action?As if. In many ways, the fashion in “And Just Like That …” seems to protest too much. In part that’s because it seems like a regurgitation of the fun that came before, which was itself a reaction to the minimalism of the early 1990s, which itself was born in that decade’s recession.The fact is, no matter how much lip service has been paid to quiet luxury or stealth wealth or whatever you want to call it, and how it is 2023’s “hottest new fashion trend,” it was never a recent invention. It has been around since way back when it was referred to as “shabby chic” or “connoisseurship” or “old money,” all synonyms for the kind of product that didn’t look overtly expensive but was a sign of aesthetic genealogy — the difference between new money and inherited money that fashion co-opted and regurgitated to its own ends. Just as more obviously coded consumption has been around since Louis Vuitton plunked his initials on some leather back in 1896 or since Jay Gatsby started tossing his shirts.Note the Fendi bag on the back of Carrie’s chair.HBO MaxFind the Burberry-branded doggy poop bag tucked on Charlotte’s arm.HBO MaxWe’ve been declaring the “end of logos” and, alternately, the “rise of stealth wealth” for decades now. There are cycles when one is more ubiquitous than the other (usually having to do with economic downturns when flaunting disposable income is not a great look), but they exist in tandem. They help define each other.Consider that during the current economic uncertainty, exactly the kind of environment that tends to fast-forward the appeal of low-key high-cost items, the most successful global brands have remained the most highly identifiable: Louis Vuitton, Chanel, Hermès. Or that in his recent debut for Louis Vuitton, Pharrell Williams introduced a bag called Millionaire that costs — yup — $1 million. (It’s a yellow croc Speedy with gold and diamond hardware.)What is more interesting is, as Carrie and the gang continue on their merry wardrobed way, how clichéd both styles now seem, how performative. Once they have trickled up to television, it’s impossible not to recognize the costume. Or the fact that whichever look you buy into, they are simply different ways of expressing wealth, in all its decorative strata. And wealth itself never goes out of fashion. More