The costumes in the TV series Minx play a vital role in capturing the essence of the 1970s. From bell-bottom pants to vibrant colors and bold patterns, each outfit helps to build the world of the show and reflects the personalities of the characters. Created and written by Ellen Rapoport, Minx follows the story of an earnest young feminist named Joyce, played by Ophelia Lovibond, who teams up with a low-rent publisher, portrayed by Jake Johnson, to create the first erotic magazine for women.
Lead actress Ophelia Lovibond emphasized the significance of fashion in the show, stating, “Costume’s massive character – it’s a huge part of the show. It’s something that our viewers have enjoyed digesting.” The costumes not only contribute to the overall aesthetic of the series but also reflect the growth and development of the protagonist, Joyce. At the beginning, Joyce is portrayed as buttoned up and conservative, but as the first season progresses, she starts to let loose and shed her inhibitions.
Lovibond further explains, “You see Joyce quite buttoned up, and towards the end of Season 1, she starts to kind of release the pussybow. But she’s still in three-piece suits, she still uses her clothing as a sort of armor.” Joyce’s clothing choices serve as a form of protection and empowerment as she navigates the challenges of entering a male-dominated industry. As the character becomes more confident and successful, her wardrobe evolves, reflecting her newfound self-assurance.
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The actress also highlights Joyce’s fear of being undermined and not taken seriously if she dresses too femininely, saying, “She’s been frightened of looking too like a woman in case she’s undermined and not taken seriously. But now that she has got that firm footing in that kind of business world, she feels comfortable
The box-office hit “Barbie” has taken the world by storm, setting new standards not only in cinema but also in the world of fashion. As the movie captured the hearts of audiences worldwide, its distinct style and vibrant aesthetic also captured the attention of fashionistas and designers alike. Immediately, runways and high streets started showcasing Barbie-inspired ensembles, reflecting the film’s unique blend of nostalgia and modernity. This influence underscores the enduring power of Barbie as a cultural icon, proving that she can still reshape the world of fashion, even decades after her debut.
Plus-size women are embracing the iconic Barbie fashions. Bold colors, chic accessories, and the unmistakable Barbie Pink have become staples in their wardrobes. These women are redefining standards, showcasing that the Barbie aesthetic is versatile, inclusive, and empowering for all.
Here are four plus-size Barbie-inspired outfits for every size-date-outfit-ideas” data-ylk=”slk:occasion;elm:context_link;itc:0″ class=”link “occasion to add to your wardrobe.
Brunch is the occasion to spend time with your girls and enjoy mimosas! But it is also a time to flaunt one’s fashion sense. Slipping into a trendy outfit transforms the gathering into a fashionable affair. Donning a chic ensemble can elevate the experience, making it more than just a meal but a stylish rendezvous.
Dressing stylishly for work not only enhances one’s professional image but also boosts confidence. A well-tailored suit, a crisp blouse, or a pair of sleek shoes can make a world of difference. Incorporating statement accessories and choosing outfits that reflect both personality and the job’s demands can set a positive tone for the day. Being fashionable at work bridges the gap between personal style
PARIS – Fresh off his victory at Wimbledon, tennis player Carlo Alcaraz is serving up his first campaign world-number-one-tennis-player-carlos-alcaraz-brand-ambassador-1235715136/” data-ylk=”slk:as a Louis Vuitton ambassador;elm:context_link;itc:0″ class=”link “as a Louis Vuitton ambassador.
Breaking Friday on Vuitton’s digital channels, the campaign sees the Spanish wunderkind in athletic poses — here a serve, there a forehand follow-through — while wearing tailored clothing and evening attire.
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It’s an opportunity for the French luxury brand to speak to a sports-loving audience — and to remind consumers that its fashion offer extends to timeless business wear, modern tailoring and tuxedos, some with tonal jacquard thistle motifs.
The majority of fashion brands highlight runway designs in advertising campaigns, while Vuitton communicates on an array of product lines. This time its more formal men’s wardrobe for spring-summer 2024 gets the spotlight.
Photographer Dan Jackson captured Alcaraz at the Hôtel de Maisons, the 18th-century mansion on the Rue de l’Université in Paris that the late designer Karl Lagerfeld called home for more than 30 years.
A 21-page look book, dispatched with the press release about the Alcaraz campaign, depicts models in the same Rococo rooms as Alcaraz, but captured by photographer Thomas Lohr in static poses, and toting a range of leather goods, including portfolios, briefcases and backpacks.
“As an athlete, it is not every day we get to dress up, but there are special occasions and it feels good to show up looking and feeling great,” Alcaraz told WWD. “I think as I have grown up, I definitely have more appreciation for a well-tailored suit.”
The sportsman called working with a brand like Vuitton a “dream come true,” with the Jackson photo shoot a highlight so far.
For Greta Gerwig‘s barbie” data-ylk=”slk:Barbie;elm:context_link;itc:0″ class=”link “Barbie, she needed to paint the world pink to achieve the correct aesthetic that has caught the attention of audiences around the world. With less than two months until the premiere of the live-action film, the teasers have unveiled a fantasy land, leaving fans in awe of the production behind the film.
In a recent profile on Architectural Digest, production designer Sarah Greenwood, set decorator Katie Spencer and director Gerwig explained how they managed to capture the essence of Barbie and specifically, Barbie’s iconic Dreamhouse. Gerwig said, “I wanted the pinks to be very bright, and everything to be almost too much.” She shared that “the ‘kid-ness’ was paramount” in evoking the feeling she has never forgotten from Barbie since she was a little girl.
In order to achieve the whimsical Barbie world, she needed a whole log of pink — pink props, sets, clothes, anything you can find. Greenwood said that in the effort to design a pink world, they needed the signature shade the company Rosco admitting that they sold out at the end, “The world ran out of pink.” After the conversation with the trio, the Los Angeles Times confirmed with the VP of global marketing at Rosco, Lauren Proud, who said, “They did clean us out on paint. There was a this shortage and then we gave them everything we could.”
The Barbie live-action film starring Margot Robbie and Ryan Gosling will be painting theaters in pink starting on July 21.
With a few mystifying teasers and less than two months until the premiere of the live-action “Barbie” film, audiences still don’t know exactly how the film will unfold. But the production team has started to reveal insight into the film — including how they caused an international pink paint shortage.
In a recent barbie-dreamhouse-a-fuchsia-fantasy-inspired-by-palm-springs/amp” data-ylk=”slk:Architectural Digest profile;elm:context_link;itc:0″ class=”link rapid-noclick-resp”Architectural Digest profile with production designer Sarah Greenwood, set decorator Katie Spencer and director Greta Gerwig, the group explain that they set out “to capture what was so ridiculously fun” about Barbie’s world, but especially that of Architectural Digest’s subject: Barbie’s Dreamhouse.
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“I wanted the pinks to be very bright, and everything to be almost too much,” Gerwig stated. She shared that “the ‘kid-ness’ was paramount” — evoking the feeling of never forgetting “what made [her] love Barbie” as a young girl.
“Why walk down stairs when you can slide into your pool? Why trudge up stairs when you take an elevator that matches your dress?” said Gerwig.
To achieve that whimsy, Barbie’s world needed to become just that — Barbie’s world. The only way the production team believed they could achieve the task was to create a world of pink props, sets, clothes and anything that was placed within the film’s frame.
That’s when Greenwood knew she needed to obtain that signature shade from the company Rosco until there was nothing left. “The world ran out of pink,” said the production designer.
Before running Rosco out of pink paint, Greenwood, Gerwig and the team built a set on the Warner Bros. lot in London, pulling inspiration from the Palm Springs’ Kaufmann House, San Francisco Queen Anne Victorian manse, Wayne Thiebaud’s paintings, as well as film history’s “Pee-wee’s Big Adventure” and Gene Kelly’s “An American in