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    Ice Spice at the Grammys: Y2K Brand Baby Phat Makes a Comeback

    A major moment at the Grammys showed how far the streetwear brand Baby Phat has come — and how it helped change what constitutes high fashion.Ice Spice was born on Jan. 1, 2000, so it seems fitting that her personal style has often involved Y2K fashion. The rapper leaned heavily into the era at the Grammy Awards on Sunday, wearing custom Baby Phat. She arrived in a fur-lined denim jacket and a matching maxi skirt that trailed behind her as she walked the red carpet.Baby Phat was started by Kimora Lee Simmons in 1999. The label, rooted in hip-hop culture, largely influenced women’s streetwear in the decade that followed. Baby Phat was worn by celebrities like Missy Elliott, Lil’ Kim and Jennifer Lopez and was beloved by women and girls of color for its celebration of Black identity and style. Its items were relatively affordable yet still had an aura of glamour.But in its heyday Baby Phat never had a big presence on red carpets. The brand’s aesthetic — a mishmash of fitted denim, fur, oversize logos, chains and jewels that Ms. Simmons described as “ghetto fabulous” — was not exactly reflective of high fashion in the early 2000s.Since then, though, streetwear and hip-hop have only become more influential at even the most rarefied houses. That was on display at this year’s Grammys, where Lil Durk, Peso Pluma and Beyoncé were among the stars who wore items designed by Pharrell Williams for Louis Vuitton.Ms. Simmons developed Baby Phat as an expansion of Phat Farm, a brand owned by her ex-husband Russell Simmons, who sold both labels in 2004. Ms. Simmons, who left Baby Phat in 2010 only to buy it back almost 10 years later and install herself as chief executive, said that Ice Spice’s wearing the brand on a major red carpet was “a full circle moment” that would help Baby Phat finally get the recognition it deserves.“We don’t always get our shine,” said Ms. Simmons, 48, who is Black and Asian. “But I do it for the culture — make no mistake.” She added that Baby Phat’s Grammys appearance 25 years after the brand’s founding was a testament to its enduring appeal.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Best Red Carpet Fashion At the Grammys: Taylor Swift, Victoria Monét, Miley Cyrus

    The music industry’s biggest stars attended the 66th Grammy Awards in Los Angeles in attire as varied as their songs and albums. Much of that attire — whether it was a cutout gown or a sheer shirt — exposed midsections.Dua Lipa and Miley Cyrus were two of the many who chose outfits with metallic tones, perhaps in hopes of earning a golden statue to match. Gracie Abrams, Paris Jackson and others opted for black, while Kylie Minogue and Bonnie McKee were among those in red, one of the most popular colors seen on carpets this awards season. (Ms. McKee complemented her red dress with a nest of fiery hair.)Several of the night’s most memorable looks reminded viewers that there’s nothing wrong with replaying old hits. Laverne Cox, the E! host who interviewed stars on the red carpet, wore a structured Comme des Garçons dress from 2015, and Olivia Rodrigo chose a white Versace gown that is almost 10 years older than she is.The Grammy Awards are known to be a fashion playground, and this year’s event was no exception. But the following 22 looks (three of which belonged to the members of boygenius) stood out more than most, for better or worse.Miley Cyrus: Most Barbarella!Don’t send her through a metal detector.Mario Anzuoni/ReutersSome people saw Cleopatra. Others saw Barbarella, or Princess Leia in her Jabba the Hutt period. Whatever the references, the “Flowers” singer’s metal mesh by Maison Margiela was marvelous.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    2024 Awards Season Fashion: All the Stars Dressed in Red

    Viewers of award shows might have noticed a trend in recent years: Some of the red carpets have been colors other than red.But that doesn’t mean the color has been absent from the carpets. This year, red has been among the most popular colors worn by celebrities. Selena Gomez, Ayo Edebiri, Barry Keoghan, Dua Lipa, Meghann Fahy, Charles Melton, Michelle Yeoh, Suki Waterhouse and Margot Robbie are just some of the stars who have worn shades of red at recent awards shows like the Emmys and the Golden Globes.Danielle Brooks, an actress in “The Color Purple,” is another star who has chosen red — specifically, a bright-pinkish shade that lit up with every camera flash as she walked the purplish-red carpet in her strapless gown at the Globes. Of the dress, Ms. Brooks told Vogue: “Red is a power color and I am feeling powerful.”The following assemblage of red looks includes her gown and many more, from sleek and simple column dresses to over-the-top ensembles.Simply RedSarah Snook, a star of “Succession,” received the Emmy award for lead actress in a drama series in a crimson Vivienne Westwood ball gown with a corseted bodice, nipped waist and sweeping skirt.Amy Sussman/Getty ImagesVelvet shoulder bows added whimsy to the cherry-red silk Rodarte gown the actress Janelle James wore at the Emmys.Neilson Barnard/Getty ImagesAt the back of the halter-neck Carolina Herrera gown that Emily Hampshire chose for the Emmys was a giant bow with ribbons that trailed behind the actress as she walked.David Swanson/EPA, via ShutterstockThe actress Julianne Moore kept it relatively simple at the Golden Globes in a strapless Bottega Veneta gown with a full skirt and a pointy scoop neckline.Mike Blake/ReutersZuri Hall, an actress and a television host, chose a fishtail Oscar de la Renta gown for the Golden Globes that had oversize bows running down its back.Michael Tran/Agence France-Presse — Getty ImagesYes chef! Tom Colicchio, a star of “Top Chef,” turned heads at the Emmys in a chili-colored tuxedo jacket from the Italian label Isaia.Ashley Landis/Associated PressDarker ShadesAt the Golden Globes, the actor Barry Keoghan styled his checker-print Louis Vuitton tuxedo with pearly accessories.Michael Tran/Agence France-Presse — Getty ImagesThe singer Dua Lipa attended the Critics Choice Awards in a Prada dress with a textured, ruched fabric that evoked flower petals. Her dyed hair matched the gown’s pinot-noir shade.Michael Tran/Agence France-Presse — Getty ImagesRoses appeared to be blooming along the neckline of the strapless Armani gown the actress Meghann Fahy wore at the Emmys. Embroidered crystals gave the look some shimmer.Amy Sussman/Getty ImagesAt the Critics Choice Awards, the actor Charles Melton ditched the traditional penguin suit for this spicier Valentino style in a shade of cinnabar.Jordan Strauss/Invision, via Associated PressThe actress Christina Applegate, who has multiple sclerosis, walked onto the Emmys stage to present an award in an oxblood velvet tuxedo dress by Christian Siriano and Dr. Martens on her feet. The crowd reacted with a standing ovation.Mario Anzuoni/ReutersA deep burgundy shade set the actor Matty Matheson’s tuxedo apart from others worn at the Golden Globes.Amy Sussman/Getty ImagesFor the Emmys, the actress Abby Elliott chose a skintight Alexander McQueen dress with a unique three-peak neckline.Robyn Beck/Agence France-Presse — Getty ImagesSome 450,000 wine-colored sequins were used to embellish the body-hugging Oscar de la Renta gown that the actress Selena Gomez wore at the Emmys.Neilson Barnard/Getty ImagesJoana Pak, right, wore a short-sleeve, mock-neck gown in a rich shade of claret at the Emmys, which she attended her husband, the actor Steven Yeun.Richard Shotwell/Invision, via Associated PressA neck scarf topped the shimmering, garnet-chain-mail Moschino dress that the actress Juliette Lewis chose for the Emmys.Mike Blake/ReutersBrighter TonesAyo Edebiri, a star of “The Bear,” wore a scarlet column Prada gown with an iridescent layered train at the Golden Globes, where she won the award for best performance in a television musical or comedy.Robyn Beck/Agence France-Presse — Getty ImagesFor the Golden Globes, the actress Michelle Yeoh chose a fiery Bottega Veneta gown with a sculpted silhouette and a split-structured bodice.Valerie Macon/Agence France-Presse — Getty ImagesA flowing train enhanced the elegance of Camila Morrone’s corseted Versace gown at the Emmys. (The actress attended the awards with her father, who modeled for Versace in the 1990s).David Swanson/EPA, via ShutterstockDanielle Brooks’s look at the Golden Globes, which was designed by Moschino and Gabriella Karefa-Johnson, featured a floor-length stole and a fishtail skirt.Amy Sussman/Getty ImagesThe television host Mona Kosar Abdi opted for a Cinderella-style ball gown by Rita Vinieris at the Golden Globes.Amy Sussman/Getty ImagesJoining the television host Jimmy Kimmel on the Emmys carpet was his wife, the screenwriter Molly McNearney, who wore a rippled column dress and a matching vermillion clutch.Neilson Barnard/Getty ImagesJill Latiano Howerton, an actress and the wife of the actor Glenn Howerton, joined her husband on the Emmys carpet wearing a cascading chiffon dress with puffed sleeves and cutaway sides.Frazer Harrison/Getty ImagesReds That ShineThe actress Katherine Heigl, who had not attended the Emmys since 2014, made her return to the awards show this year in a strapless Reem Acra gown and a coifed blond bob that evoked old Hollywood glamour.Frazer Harrison/Getty ImagesAt the Golden Globes, Ms. Gomez wore a ruby-red Armani dress with an asymmetrical full skirt, a high-neck halter top and black, crystal-embroidered flowers on its peekaboo bodice.Allison Dinner/EPA, via ShutterstockThe actor John Krasinski paired a raspberry-colored, double-breasted jacket with blackberry-colored pants at the Golden Globes.Amy Sussman/Getty ImagesAfter arriving to the Golden Globes in this Sophie Couture gown with a gargantuan skirt, the model and television host Heidi Klum described herself as a big blond tomato in an interview with WWD.Mike Blake/ReutersRed With Something ExtraThe actress Suki Waterhouse showed off her pregnant belly at the Emmys in a Valentino gown with side cutouts and an oversize bow at the waist.Richard Shotwell/Invision, via Associated PressFor the Critics Choice Awards, the actress Emily Blunt chose an Armani gown that was covered in fire-engine-red paillettes and had large rose embellishments along its single shoulder and back.Phillip Faraone/Getty ImagesGrenadine-colored sequins added sparkle to the singer Mandy Moore’s chest-and-back-exposing Elie Saab gown at the Critics Choice Awards.Jordan Strauss/Invision, via Associated PressA bouquet of red rosettes blossomed along the neckline of the off-the-shoulder Balmain gown that Margot Robbie wore at the Critics Choice Awards.Michael Tran/Agence France-Presse — Getty ImagesThe actress Florence Pugh is known for taking swings with her fashion. Her look at the Golden Globes — a voluminous sheer Valentino gown dotted with poppies and worn over red hot pants — was no exception.Allison Dinner/EPA, via ShutterstockFor the Critics Choice Awards, the actress Vanessa Morgan chose a cherry-red Zuhair Murad mini dress with a shiny lace bodice and a cascading train that almost blended into the carpet.Frazer Harrison/Getty ImagesOne word to describe the button-front Sergio Hudson dress and matching red hair bow that the actress Rachel Brosnahan wore at the Golden Globes? Marvelous.Amy Sussman/Getty ImagesA puff of marabou feathers added drama to the structured ruby-red gown Michelle Peters wore at the Emmys, where she walked the carpet with her brother, the actor Evan Peters.Neilson Barnard/Getty ImagesSequined sleeves and panels gave a playful touch to the actress Tantoo Cardinal’s otherwise simple gown at the Critics Choice Awards.Frazer Harrison/Getty ImagesThe actress Alex Borstein’s Emmys ensemble had a lot to look at, including roses and marabou feathers clustered at the shoulders. A gaping keyhole neckline and a long slit in the red skirt offered more than a peek at her black lacy bra and underskirt.Neilson Barnard/Getty ImagesElizabeth Paton, Anthony Rotunno and Stella Bugbee contributed reporting. More

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    Best Red Carpet Fashion At the Emmys: Suki Waterhouse, Jennifer Coolidge & More

    After being postponed because of labor strikes in Hollywood, the Emmy Awards returned on Monday night and with the ceremony came what might be the television industry’s biggest fashion show.Though the carpet was gray, there was no shortage of red, a color that also proved quite popular at the Golden Globes this month. Bows, an inescapable accessory of 2023, held on as a favorite embellishment: Riley Keough had a black bow in her hair, while her “Daisy Jones and the Six” castmate Suki Waterhouse and the “Abbott Elementary” actress and screenwriter Quinta Brunson each had them on their gowns. (Ms. Waterhouse’s sat beneath her baby bump.)The ceremony was honoring television programs broadcast last year, which gave viewers a chance to catch up with casts like that of “White Lotus” season two. Some of its members seemed to use the occasion to pay homage to the show’s setting by wearing Italian designers: Meghann Fahy chose a rosette-laden strapless gown by Armani (that was red); Simona Tabasco donned full-skirted, floral Marni; and Jennifer Coolidge wore a sheer dress by Etro.Amid a carpet full of feathers, beads, sequins, diamonds and plenty of well-tailored suits, the following 15 outfits stood out from the rest (for better or worse).Aubrey Plaza: Most Dangerous!Looking sharp.Neilson Barnard/Getty ImagesThe actress and a star of “The White Lotus” had a colossal pin stuck through her pale yellow-green Loewe look. If the accessory looked familiar, it might be because the “Past Lives” director Celine Song had a similarly large pin through her Loewe skirt at the Golden Globes.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber?  More

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    ‘Mean Girls’ Costume Designer Talks Cast Wardrobe and Addresses Critics

    Some people have roasted the outfits in the new film, but there were reasons the Plastics got a Gen Z spin. (Among them: social media, fast fashion and the pandemic.)When fans first glimpsed outfits in the new adaptation of “Mean Girls,” they were not shy with feedback on the film’s pink miniskirts and mesh bustiers.On social media, some said the costumes looked cheap, as if they had come from fast-fashion retailers. Others said they did not lean heavily enough on the Y2K style of the original “Mean Girls,” released in 2004. And one online commentator said the costumes seemed like an A.I. image generator’s clumsy response to the prompt: “What do trendy teenagers wear today?”The wardrobes for the film, which was released on Jan. 12, were not created by artificial intelligence but by Tom Broecker, the costume designer for “Saturday Night Live,” where he has worked for nearly 30 years. Mr. Broecker, 61, had no involvement in the original “Mean Girls.” He joined the crew of the adaptation after working with Tina Fey and Lorne Michaels — who were involved in both films — on costumes for “S.N.L.” and for “30 Rock.”Mr. Broecker said the criticism of his work had made him “super, super, super anxious” for the new film’s release. His goal was to reference — but not redo — the wardrobes from the original movie, which were created by the costume designer Mary Jane Fort, by imagining how its high-school-age characters might dress as members of Gen Z.He cited the “sexy Santa” costumes for a holiday talent show scene in both films as an example. In the adaptation, those outfits were influenced by Ariana Grande’s music video for the song “thank u, next,” he said, so he made them a little more sparkly than the plasticky red skirts in the original.More than 600 looks were created for the adaptation by Mr. Broecker and his six-person design team. In the edited interview below, he explains how they came up with the wardrobe — which, he said, should not be judged by trailers and teasers alone.“You’re only getting the bread crumbs,” he said, “when you really want to have the whole 10-course meal.”What did you think of the costuming in the original film?When I saw it then, I thought, This is fun, this is high school in 2004. Watching it now, I go, Oh my God, those poor girls were so sexualized. But that’s 2024 eyes looking at 2004. I know they didn’t feel that way at all, but you look at it now and realize that the world has changed.Where did you look to find inspiration for how Gen Z is dressing?We were very influenced by Instagram and TikTok, and by celebrities like Billie Eilish, Jenna Ortega and Sydney Sweeney. I have a niece who graduated from high school in Indiana last year. I looked through her closet and her Instagram. And I live near N.Y.U., so packs of students walk by my apartment all the time in light-wash, straight-leg jeans, white Nike sneakers and crop tops.What did those references reveal about how people dress now?The early aughts are very influential in the visual landscape of clothing right now. Sometimes I would show Tina certain things and she’d say, Oh my God, I think I wore that before.Other things have changed. Gender fluidity is a big thing for kids. And everyone wants to be comfortable, especially after the pandemic. So I dressed the high schoolers in the movie in athleisure, like North Face, Patagonia and Champion hoodies.Fast fashion has changed how young people shop. How much of that did you include?Probably more than we should have. Two brands we used were Cider and Princess Polly. I stayed away from Shein, but I did find a piece or two secondhand.I kept saying that we have to get into the mind of a high-school student, and that’s how they shop. The directors got rid of a mall scene that was in the original because kids don’t go to the mall anymore.After visuals from the new film were released showing Regina, center, in Isabel Marant trousers and a Bardot mesh corset top, some fans moaned that the film’s costumes looked like A.I.’s idea of how trendy teens dress.JoJo Whilden/Paramount PicturesHow did you differentiate costumes for the Plastics — the three popular girls — from those for the students they reign over?Everyone in the high school has big bags and sneakers, except for the Plastics, who have little purses and heels. They are different than the people who are weighed down by their books and grounded to the floor with their shoes.Did you spend more of your budget on clothes for the Plastics?Basically the Plastics got all the money. For Regina George (Reneé Rapp), we did Isabel Marant, streetwear like Off-White and a lot of vintage stuff. Tom-Ford-era 1990s Gucci was the inspiration for her homecoming dress.Regina’s black homecoming dress with a front leg slit was inspired by clothes Tom Ford designed for Gucci in the 1990s, a decade that has influenced Gen Z style.Jojo Whilden/Paramount PicturesWhy do you think people have reacted so strongly to the costumes in the adaptation?I didn’t realize the nostalgia for the original. It’s hard to have something stand on its own when something exists that people love. But this is not that, and 2024 is not 2004. We have changed how we feel about a lot of things. As the tagline says, this isn’t your mom’s “Mean Girls.” More

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    The Stories Behind Emma Stone’s Costumes in ‘Poor Things’

    The designer Holly Waddington breaks down how Emma Stone’s Bella Baxter evolves onscreen, from her childish knickers to her cage-like wedding dress.The designer Holly Waddington had wide latitude in envisioning the costumes for “Poor Things,” Yorgos Lanthimos’s mad comedy starring Emma Stone.“The only brief really was that he didn’t want it to be overtly like a period drama” — the script is set in the 1880s — “and he didn’t want it to be overtly like a science fiction film,” Waddington said. In the movie (a Golden Lion winner at the Venice Film Festival and now an Oscar contender), Stone is a scientist’s creation who evolves from a childlike naïf to a sexually and politically liberated woman.The Greek-born director Lanthimos, known for his surrealist vision, gave Waddington only one reference image: a young designer’s take on “inflatable trousers,” Waddington recalled. When puffed up, they “created this really exaggerated shape, just incredibly curvaceous.” She worked with other departments, like production design and hair and makeup, to finish the look for Stone’s Bella Baxter, whose life changes on a Grand Tour of cities like Lisbon.A lot snapped into focus when Waddington learned that Bella would have long, jet-black hair; an Egon Schiele painting was Lanthimos’s inspiration for that, she said, and it informed her color palette. Another thing to consider, in a movie with a lot of sex scenes: How the clothes come off. “I had many slightly awkward conversations with Yorgos about it,” she said. “He was asking me, how does she have sex in these? I was probably a bit embarrassed. But he’s not, at all.”Waddington knew her Victoriana; she spent years working in a costume house, specializing in archival ladies fashion. But for this film, she cut loose the corsetry — a scary prospect at first, she said, because corsets give period clothes their shape — and mixed eras and materials. Early on, Mrs. Prim, the medical assistant turned nanny, chooses Bella’s wardrobe; then she finds her own style. “The clothes needed to really change with her,” Waddington said.Beyond that, Lanthimos offered conceptual freedom. “He just doesn’t need to have a whole back story,” she said. If it looked good, it flew. Bella’s statement sleeves are already having a moment.In a video interview from her London home, Waddington discussed how, and why, she dressed Stone in three key moments of the movie. These are edited excerpts from the conversation.1. Bella at HomeThe costumes Stone wore in early scenes that took place at home captured her in a more childlike persona.Searchlight PicturesThat look in the house is all based around the idea of her being a very young child at this point. And she’s being dressed by Mrs. Prim, who finds her really annoying. The clothes are not baby clothes, they’re womanly, but applied in this slightly ad hoc fashion, because she has the physicality of a child. Very quickly, things have dissembled and come off. And this is just based on my own observations of children that, even if you’re going to a smart occasion, the clothes, especially from the waist down, often come off. It’s just a slightly discordant, uncomfortable way to dress a woman — like an anxiety dream about going to a job interview wearing a suit at the top and nothing on the bottom, just knickers.The knickers are almost like 1950s nappy covers and they’re highly textured — seersucker. And then there’s this big bodice, a very thick moiré taffeta. The thickness of the cloth is almost too thick for human scale, which is what you get when you look at dolls. Often their fabrics look like marzipan — like cake decoration. Also, the striations in the moiré look to me like the organic marks that you get in flesh.She wears this funny little bustle — one of my favorite things in the film. It’s based on an authentic late Victorian bustle cage which would have been worn underneath the dress to give it volume. What struck me is that it looked super sci-fi.2. Lisbon OutfitWhen Stone’s character arrives in Lisbon, she starts to undergo an awakening.Searchlight PicturesDuring the pandemic, the producers arranged for me to go and meet Emma. I took many different renditions of sleeves with me — big sleeves, medium sized. I took lots of different kinds of knickers. I had an idea about how I wanted it to progress, but it was really in that fitting, trying all these shapes on Emma, that I was able to say, OK, we definitely need a bustle, we need these special 1930s tap pants, which I had just thrown in the suitcase at the last minute. They were a departure from the babyish knickers. In Lisbon, they’re silky and fluid — they’ve grown up and they’re sexy.I knew that I wanted her to step out of the hotel in something really discordant. And I was thinking of that scene in “Taxi Driver” when Jodie Foster steps out into the streets of New York in these hot pants.The ruffly top is based on a modesty piece for Victorian dresses — they filled in the décolletage, but on their own they’re just like a little dickey or bib. And I like the idea that she would just wear that, in its own right, as a blouse. What she’s actually wearing is bits of underwear as her clothes.The boots are a little homage to André Courrèges. In early development, I looked at late ’60s-early ’70s sci-fi costumes, and space age modernism fashion. So those boots are based on this idea of her having her toes free, because she’s just uncontainable — she’s exposing every aspect of her, including her feet. The peep-toe boot would never have happened in Victorian society. They didn’t even show their ankles.The gold, yellow and sky-blue colors are definitely a combination that we associate with many fairy tale characters. She stepped into the world and it opened up to her, sort of a Disney version of how you imagine Lisbon, all pastel. I wanted the clothes to reflect that joy and optimism.3. Wedding DressStone’s character wears elaborate sleeves throughout the movie, including when she dons a wedding dress.Searchlight PicturesI liked the idea of it being a cage, with bands of tubing in delicate silk. So hopefully evoking this sense of entrapment, but you could still see through to her and see her body — that felt important. And also these sleeves.We had this book of patterns from the 1890s, my assistant got it from an antiques dealer on Portobello Market. Patterns from the actual period are much more extreme than how we imagined them. This is a very brief period in fashion when there were huge mutton sleeves. I thought they should be even larger — really massive. And Yorgos was really up for the big sleeves. The wedding dress sleeve is probably about a meter all the way around. They look like balloons.I struggled with the veil because I didn’t feel like it was quite the right thing for this character. But then I took it to Emma on the morning of the shoot, and she grabbed it and got it wrapped around her face in a knot.I quite like the fact that it’s see-through and light and big, and it’s also her favorite costume, because her body felt so free in it. More

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    Angelina Jolie and the Ghosts of New York Past

    Her new store, Atelier Jolie, occupies an unassuming building on Great Jones Street with an illustrious history.When Angelina Jolie opened her first fashion boutique in a squat, two-story building at 57 Great Jones Street in Lower Manhattan this month, she joined a long line of notable New Yorkers, including gangsters and artists, who lived or worked at that unassuming address.Atelier Jolie, which has an appointment-only fitting room on the second floor, sells clothes made from vintage and deadstock materials and offers Turkish coffee and Syrian mini pies in its chic cafe. “I hope to see you there, and to be one of the many creating with you within our new creative collective,” Ms. Jolie wrote in a founding statement. “Bear with me. I hope to grow this with you.”Atelier Jolie’s branding is tied to the artistic heritage of 57 Great Jones Street. Andy Warhol bought the building in the 1970s. Everyone from Keith Haring to Madonna dropped by. Jean-Michel Basquiat lived and painted in the upstairs studio loft, producing some of his most significant works, before he died there of a heroin overdose at 27 in 1988.Jean-Michel Basquiat and Andy Warhol, artists with ties to 57 Great Jones Street, at a 1984 benefit in Manhattan.Ron Galella Collection via Getty ImagesIf you dust off more of the structure’s past, you find the bones of New York. The brick building once housed mobsters and bare-knuckle boxers.It was built in the 1860s, architect unknown, and its first known use was as a stable, according to Village Preservation, an advocacy group. Great Jones Street, a two-block lane in NoHo named after the lawyer and politician Samuel Jones, was a home for the city’s affluent merchant class that counted the mayor and diarist Philip Hone among its early residents. During the Civil War, the 69th Regiment gathered on the street to march toward a steamer on the Hudson. Crowds looked on as the young men headed off to battle.As Manhattan grew and wealthy residents moved uptown, the neighborhood began its slump into a skid row. At the east end of Great Jones Street lay the Bowery, a once-reputable boulevard that had become a notorious thoroughfare lined with brothels, beer gardens, flophouses and pawn shops.An 1897 map of Great Jones Street, which was named after Samuel Jones, a New York lawyer and politician.Lionel Pincus and Princess Firyal Map Division, New York Public LibraryThe Bowery of old.The building became a saloon and dance hall, the Brighton, which The New York Times called a “notorious dive.” The place was nearly blown to smithereens in 1901 after some men making a beer delivery disturbed a gas jet in the cellar. When the establishment’s owner, Charles Deveniude, went to investigate, he lit a candle. The explosion was heard “several blocks away,” The Times reported, and Mr. Deveniude suffered burns to his face, hands and shoulders.The Brighton was sold a few years later to Paul Kelly, whom The Times described in a 1912 article as “perhaps the most successful and the most influential gangster in New York history.” In a nod to his Italian heritage, Mr. Kelly, a onetime pugilist born Paolo Antonio Vaccarelli, renamed the saloon Little Naples.Mr. Kelly ran the Five Points Gang, one of the most feared street gangs of its day, and Little Naples served as his association’s headquarters and as a gathering place for the city’s political elite. He was an enforcer for the corrupt Democratic political machine, Tammany Hall, and his henchmen helped provide paid voters, known as “floaters,” to cast ballots for Tammany candidates. The gang’s members included future underworld leaders like Lucky Luciano and Al Capone.A 1905 article in The Times recounted a “desperate fight” at Little Naples in which a man was killed and several others were wounded. “Scores of shots were fired, but as far as is known to the police, only one man went to his death,” the paper reported, adding: “His body was found in the saloon nearly half an hour after the smoke of the battle had cleared away. There was a bullet wound in his left breast.” The man was discovered with his legs protruding from a swinging bathroom door. His dog, a spaniel, was whimpering beside him.The Times further reported that one of Mr. Kelly’s lieutenants, John Ratta, was wounded in another shootout at the saloon that same week. He refused to cooperate with the police, saying only that he “slipped and fell so hard on a bullet on the floor that it entered his flesh.” The Times noted: “Ratta will live to carry a revolver, and he says he will settle the difficulty in his own way.”The June 9, 1912, edition of The New York Times included a detailed report on the murderous goings-on at Little Naples, a night spot that once occupied the Atelier Jolie building.The New York TimesIn later decades, the building housed metalwork and kitchen equipment supply businesses. Don DeLillo wrote Great Jones Street into the annals of American literature in 1973, when he named his third novel after the street. The book’s narrator-protagonist, a disillusioned rock star, Bucky Wunderlick, slums it in an apartment there: “I went to the room in Great Jones Street, a small crooked room, cold as a penny, looking out on warehouses, trucks and rubble.”Mr. Warhol purchased 57 Great Jones Street in 1970 under the corporation name Factory Films Inc., according to a report by the New York City Landmarks Preservation Commission. In 1983, as he became a mentor to Mr. Basquiat, who was then a fast-rising art world star, Mr. Warhol rented the upstairs loft to him. In the next few years Mr. Basquiat produced works including “King Zulu” and “Riding With Death.”“Jean-Michel called,” Mr. Warhol wrote in his diary on Sept. 5, 1983. “He’s afraid he’s just going to be a flash in the pan. And I told him not to worry, that he wouldn’t be. But then I got scared because he’s rented our building on Great Jones and what if he is a flash in the pan and doesn’t have the money to pay his rent?”After Mr. Basquiat’s death, the building’s exterior became a mecca for street artists to leave tributes to him, and the site has been marked with renditions of his crown motif and “SAMO” graffiti tag ever since.The Warhol estate sold the building in the early 1990s. After that, as the gentrification of the neighborhood accelerated, and nightlife hot spots like B Bar and the Bowery Hotel thrived, a referral-only Japanese restaurant with no listed phone number, Bohemian, occupied the address. It was concealed, speakeasy-style, behind a butcher shop.In 2022, the building was put on the rental market by Meridian Capital Group for $60,000 a month. Its landlord, according to property records, is the noted real estate appraiser Robert Von Ancken, whose services have been used by New York real estate families including the Trumps, the Helmsleys and the Zeckendorfs. Reached by phone, Mr. Von Ancken clarified that he had bought the building with his business partner, Leslie Garfield, who died last year, and that he now owns the property with Mr. Garfield’s family.“When we first occupied the space, we didn’t really know much about the artist who’d been living there, because he wasn’t as well known then,” Mr. Von Ancken recalled. “There were all these drawings on the walls. We rented it as it was. A tenant painted all over it. That was all lost.”He added: “The building has been getting graffitied over for years. I’ve tried repainting the front, but I eventually gave up. It’s clearly still very important for young artists, even today, to put their mark on that facade.”About a year ago, Ms. Jolie and her teenage daughter Zahara started scouting for a downtown retail space, and their wanderings brought them to 57 Great Jones. They felt an immediate communion with the building, Ms. Jolie said in an interview with Vogue, so she quickly rented it. As the store approached its opening date, one of her sons, Pax, helped spray-paint the Atelier Jolie logo onto a canvas draping the doorway.Angelina Jolie, the latest tenant of 57 Great Jones Street, outside the building in August.Mega/GC Images, via Getty ImagesOne recent night, a security guard manned Atelier Jolie’s entranceway while two young employees explained the shop’s mission of promoting sustainable fashion to a visitor. Upstairs, in the same space that the Five Points Gang used as a meeting place, another employee worked on a laptop in the fitting room.Outside, a couple stopped to read the plaque that memorialized Mr. Basquiat’s residence at the address and noted its early use as a stable. Then they reminded each other that they were running late for a hard-to-get dinner reservation at a nearby restaurant. More

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    On ‘Survivor,’ the Clothing Choices Are More Deliberate Than You May Think

    Contestants’ wardrobes are more deliberate than you may think.Year after year, with each new crop of “Survivor” castaways, it’s easy to see that they’re meant to represent a familiar cross-section of archetypes.Even in their off-the-rack tank tops and cargo shorts, characters like the cranky old military vet, the arrogant corporate executive and the pharmaceutical rep next door are recognizable on sight.That’s no accident: While the conventions of reality TV encourage viewers to believe that these contestants arrive with whatever hastily selected items they can grab, their clothing is carefully vetted and assembled with producers and wardrobe staff to maximally portray players’ personalities and emphasize the show’s “Robinson Crusoe” mise-en-scène.Since it debuted in 2000, “Survivor,” which will soon finish airing its 45th season on CBS, has had an ever-shifting cast and has regularly introduced new twists for contestants as they compete to be the last person standing and win a cash prize. Over time, players’ wardrobes — dirt-crusted and minimal though they may be — have helped further plots and create through-lines in the series, which continues to draw among the highest ratings on network television.Jeff Probst, the host of “Survivor” and its executive producer and showrunner, said clothing was at the foundation of the show’s premise.“The idea is, what if you were shipwrecked with a group of strangers?” Mr. Probst said. “A lawyer’s clothing should look very different from a nurse, who looks different from a pizza maker.”Caitlin Moore, a “Survivor” casting producer, works alongside the show’s longtime wardrobe supervisor, Maria Sundeen, to help contestants select clothes for the show. It involves “a lot of going through the closets, trying to find the pieces that will work,” Ms. Moore said.“We are very much in a collaborative process, working together to come up with what really feels like a reflection of their own personality yet also meets the needs of production,” she added.For “Survivor: South Pacific,” producers asked John Cochran, who was then a student at Harvard Law School, to show up in a sweater vest to play up his Ivy League bona fides.Monty Brinton/CBS‘You Should Wear a Red Sweater Vest’John Cochran was completing his studies at Harvard Law School when he was cast in the 23rd season of “Survivor.” He and his mother were at a mall looking for practical attire that could get him through 39 days without shelter on the Samoan island of Upolu, he said, when he got a call from Ms. Moore.“We were, like, looking at REI camping stuff,” said Mr. Cochran, now 36 and a television writer in Los Angeles. “And Caitlin says, ‘We don’t know what you’re going to think of this, but we’re thinking you should wear a red sweater vest.’”Ms. Moore explained that red would be a color scheme for that season, he said. She was hoping to play up his Ivy League bona fides — and his nerdiness — with the vest, he added.Mr. Cochran initially balked at the request. “I’d never worn a sweater vest before,” he said. “I already exude nerdiness. I’m trying to downplay my ruddy complexion and rosacea and red hair.”Mr. Cochran, right, eventually ditched the pink collared shirt from “South Pacific” and just wore his red sweater vest as a tank top. “That was my ultimate act of rebellion,” he said.Monty Brinton/CBSBut in the first episode of “Survivor: South Pacific,” which was broadcast in 2011, Mr. Cochran could be seen furiously paddling a boat across that ocean in a crimson sweater vest, a pink collared shirt and khakis, the tropical sun beating down on his reddening face.This rather ridiculous image made the impression that Ms. Moore and her team had suspected it would, and when Mr. Cochran agreed to join the cast of “Survivor: Caramoan” the year after, it was a no-brainer that he would show up wearing the same attire.“It was a fun journey to go on,” Ms. Moore said, “and to see him start to lean into it.”Mr. Cochran said he acquiesced to the producers’ vision for his wardrobe partly because, as a fan of the show, he recalled how other contestants’ attire had helped them connect with viewers.He pointed to Rob Mariano, who was rarely without a Boston Red Sox hat in his many “Survivor” appearances, and to Rupert Boneham, another contestant in multiple seasons, who was known for wearing a tie-dyed tank top. (When Mr. Boneham ran a third-party campaign for governor of Indiana in 2012, he evoked his “Survivor” wardrobe by occasionally wearing tie-dye accessories. He finished third in that election, which was won by former Vice President Mike Pence.)“Whether it’s a tie-dye shirt or a Boston Red Sox cap,” Mr. Cochran said, “these discrete, identifiable items become so linked to the person.” His red vest, he added, became “my ‘Survivor’ costume.”Sandra Diaz-Twine spent hundreds of dollars on clothes for “Survivor: Pearl Islands,” but a plot twist that season meant that most of the items couldn’t be used.Robert Voets/CBSLillian Morris, a Boy Scout leader, dressed in a full scouting uniform for the “Pearl Islands” season.Monty Brinton/CBSA Sartorial Plot TwistMr. Probst said that the biggest change to the show’s approach to wardrobe came with its seventh season, “Survivor: Pearl Islands,” which was broadcast in 2003.Before then, each contestant had been permitted a knapsack of clothing items, including some survival gear. But for “Pearl Islands,” the players, who included Mr. Boneham, were surprised to enter the competition with significantly fewer items than they had worked with producers to select.Once cast members arrived at the shooting location, Mr. Probst said, they were asked to dress in certain outfits they had brought to wear for press photos that would be used to promote the show. Mr. Boneham wore his tie dye. Lillian Morris, a Boy Scout leader, dressed in a full scouting uniform. Shawn Cohen, an advertising sales executive, was in an Armani suit.But instead of going to a photo shoot, cast members were plunged immediately into the game, wearing only the clothes on their backs.“Some of the most iconic looks of ‘Survivor’ came from that season,” Mr. Probst said.Sandra Diaz-Twine, the winner of “Pearl Islands,” said she was shocked when she realized that most of the clothes the production crew had approved for her to bring couldn’t be used.“I had charged like $500, $600, on my credit card,” said Ms. Diaz-Twine, 49, who lives in Fayetteville, Ark., and has appeared in several subsequent seasons of the show. “I wanted to make sure that I had a different clean outfit like every day. And then they say you’re jumping off the boat with just the clothes on your back. I was like, Oh my god, I charged all this stuff to my credit card.”Since then, “Survivor” has gone back and forth on what clothing — and how much of it — contestants may bring. “We always listen to players,” Mr. Probst said. “It’s a give and take.”Rob Mariano on “Redemption Island,” the show’s 22nd season.Monty Brinton/CBSBuffs, Underwear and SwimsuitsOne garment worn by all contestants who have appeared on the show is the buff: a scarflike band of stretchy cotton emblazoned with the “Survivor” logo. It is rendered in different colors each season and has become one of the series’s sartorial signatures.“There are clearly guys who have ordered a buff before they go on the show and have put it on in the mirror looking at all the different ways they could wear it,” Mr. Probst said.Parvati Shallow, 41, a recurring contestant who first appeared in “Survivor: Cook Islands,” the show’s 13th season, broadcast in 2006, said the buff is critical for players who have only so many clothes. “You can wear it as a shirt, a skirt, a headpiece, a scarf,” she said.After her fourth and latest “Survivor” appearance, in the “Winners at War” season broadcast in 2020, Ms. Shallow, an executive coach and yoga teacher in Los Angeles, made headlines for criticizing the show’s dress code on a podcast hosted by another “Survivor” alum. She said she was pressured to compete in her underwear rather than the bathing suit she had requested. (In the seasons before “Winners at War,” producers began to discourage wearing swimsuits.)“It was a point of contention with me,” she said in a recent interview with The New York Times. “I went back and forth with wardrobe. They said no, nobody was getting a bathing suit.”She ultimately went with patterned undergarments that gave the impression of a swimsuit, but said it was not a happy compromise. “I had just had a baby,” she said. “I was like, My body looks nothing like it used to look like.”Mr. Probst said in an email that Ms. Shallow’s characterization was not accurate. He added that the choice to move away from bathing suits on the show was a creative one. “‘Survivor’ wardrobe has always centered around the conceit that the players were shipwrecked and left only with the clothes on their back,” he said.For Ms. Diaz-Twine, returning to “Survivor” after winning the “Pearl Islands” season offered the chance to upgrade those clothes. In preparation for the show’s 20th season, “Survivor: Heroes vs. Villains,” she said, “for the first time ever, I bought a Victoria’s Secret bra.”“I won a million dollars,” added Ms. Diaz-Twine, who will appear with Ms. Shallow in the second season of “The Traitors,” another reality TV competition, which will be released in January on Peacock. “I can’t show up in panties from Walmart.” More