Love Lace - Anna Karenina





Pastel Blue Moto Jacket: Zara - soldout (Also love this and this)
White Crochet Lace Top: Aeropostale - old (Also love this and this)
White Crochet Lace Skirt: Forever 21 
Red Ankle Cuff Heels: Zara - old (Also love this and this

Can you tell I'm really into Spring this year? So many of my photos are filled with beautiful blossoming flowers. I never used to like receiving flowers because I thought it was just a hassle. They sit pretty for a week and then you have to throw it out. I guess, as I'm getting older, I'm starting to really appreciate their beauty. 

By the way, Ebay sellers are being really crude about selling this Zara jacket. Yes, it's sold out, but it's not worth over $200. It's ridiculous how these people jack the prices so high. There's always an alternative, so check those out instead. 

For this post, we're going to talk about the film that won the Oscar's best costume design last year, Anna Karenina. Jacqueline Durran is the mastermind behind the gorgeous costumes. In an interview, she has mentioned that she didn't want any symbolism in the costumes, which is not often the case. Many costume designers strive to paint a story with clothing and usually try to hold meaning through the usage of color or silhouette. The most important thing that the director, Joe Wright, wanted to convey in the costumes was beauty and Durran accomplished that spectacularly. 


Two million dollars worth of Chanel diamond and pearl accessories completed the whimsical look of the costumes. Crazy right? 


The costumes were loosely based in the 1870s. It was more of a hybrid of the 1870s and the 1950s.


Vronsky's attire was simplified from traditional Russian uniforms to match the theatrical fairy-tale look of the film.


Did you know peacock feathers in theater is bad luck? This fur cape that Kiera Knightly wears is the only garment that has patterns on it. It's kind of funny because the film's setup is like a theatrical piece and she has this unlucky motif when she's about to meet her future lover. 


Interestingly, Joe Wright didn't want any surface details on the costumes: no lace, no patterns. 


Joe wanted 50s couture and wanted Durran to apply that era to the 1970s. (The 1950s' silhouette is known to be the most flattering with the cinched in waist and A-line skirts.)



When Anna was in the black dress, she was confident and proud in the beginning of the movie. By the end of the film, you see her change. She's completely different. She became very insecure and vulnerable. Even though Durran hates symbolism in costumes, this was one exception. She needed to make the two dresses very different. 


Hope you guys enjoyed this post. Talk to you guys soon.

Love,

Maggie S.

You Might Also Like

0 comments

Follow by Email

Flickr Images