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From the neon brights and fingerless gloves of an '80s era Carrie Bradshaw on The Carrie Diaries to the high-class couture sported by your favorite Gossip Girl, costume designer Eric Daman has certainly left his mark on the small screen. He's also made the fledgling CW network a much more stylish destination, turning the little network into a big name when it comes to fashion. With The Carrie Diaries ending its run and Gossip Girl having signed her last "xoxo," Daman is likely to be in high demand for productions looking for his magic touch. Until he finds his next gig, the viewing public will remain in desperate need of styling tips from our television fashion idols. Thankfully, we managed to track down Eric Daman to ask our most pressing fashion questions, from how to adopt '80s trends without looking like a throwback, to what our favorite Gossip Girl characters would be sporting in 2014.
The weather is finally warm and spring has sprung, so what are your top tips for killing it sartorially this spring? What trends should we all keep an eye out for?
ED: "For spring this year, what's trending are pretty pastels in hi-tech silhouettes. Vintage bomber jackets are getting a modern makeover. Skirts are getting longer (the retro tea length is gaining popularity). And boxy tops in shift shape are giving the body con trend a run for its money. Carrie's 'Carrie Bag' would certainly be on trend with the giant designer DIY movement underfoot. The low heeled pump is seeing a moment in the sun, while the kaleidoscopic print is still on trend and being mixed with other print patterns for emphasis. Tribal stripes and fringe are enjoying worldwide appeal. Lace and open-weave are on board this spring, and metallic hasn't lost is foot-hold either. My top tip is to be mindful of what I call the allure of the hybrid: structural, material, visual, and cultural hybrids are the name of the game overall this coming year in style."
If you were still dressing the characters of Gossip Girl today, in 2014, what would today's Serena outfit look like? What would Blair be wearing? How about Chuck?
ED: "Serena would definitely be hanging out at Coachella, in maybe a soft-hard beautiful broiderie anglaise Isabel Marant top in soft pinks and whites with layer-cakey ruffley details, a lite-puff shoulder and see-through seams. She'd pair it with something by Emilio Pucci, either black-and-white graphic shorts or a rainbow metallic mini with Nicholas Kirkwood sleek pointed zig-zag leather and suede pumps in orange, turquoise, and pink. She'd throw on a shaggy Proenza Schouler coat if the evening got a little chilly, with a pair of retro-deco earrings that sparkle by the light of the bonfire."
"Blair would be having lunch at the Pierre Hotel, very much in a calf-length Burberry pencil skirt in structured lace with Byzantine inspired crystal cluster embellishments. She'd wear an Elie Saab watercolor shouldered top, under a floral embossed Christian Dior vivid orange half jacket, with an Alexander McQueen studded black nappa leather knucklebox clutch and Christian Louboutin Bollywood Boulevard PVC pumps."
"Chuck would be at the cricket club with the urban daddy crowd for a quick round in a Bastiaan Van Gaalen polo shirt, summer weight Moncler blue quilted blazer with white trim, a Salvatore Ferragamo vest, Louis Vuitton plaid trousers, and a Jimmy Choo tassled summer loafer."
What's one current trend you think the Gossip Girl characters would love? You're always taking trends and making them your own. How would you have made the trend Upper East Side worthy?
ED: "I can see a 2014 version of Uptown meets Downtown in looks where Renaissance-inspired maximalism meets tribalistic geometry."
What are the challenges of working with time period costuming for The Carrie Diaries? How do you keep things fresh while still staying true to the '80s?
ED: "We knew we had to be honest and address the '80s, but we had to be honest in a selective way from an editorial perspective. The term 'aspirational authenticity' was a guiding mantra that served reliably. I wanted to do justice to styles of the '80s that were inspiring designers from Calvin Klein to Dolce and Gabbana to Balmain to Marc by Marc Jacobs to Charlotte Ronson to DKNY, all the way down the fashion food chain to include fast fashion purveyors like TopShop, UrbanOutfitters, Zara, and H&M. There was so much '80s inspired fashion available by contemporary designers and retailers, the opportunity to select the most flattering of the range of choices was clearly the best direction."
For people who love The Carrie Diaries fashion but don't want to look like they just walked out of a vintage MTV video, how can you translate that killer '80s fashion into a more modern look?
ED: "I know what you mean. I made a point to keep it a camouflaged combination of vintage and contemporary designs, which is kind of a very '80s approach to begin with. I indulged a bit in my irresistable desire to mix and blend actual vintage pieces from the '80s, which we acquired from Bill Blass, Norma Kamali, Thierry Mugler, Arnold Scaasi, and Sonya Rykiel, with modern fashions like Missoni, American Apparel, Modcloth, Nasty Gal, and Mara Hoffman. We used accessories by Alexis Bittar, Alex Woo, Swarovski, Alex Woo, and Magdalena Stokalska among many others."
As a huge fan of Gossip Girl and an even bigger fan of the fashion, I have to ask what some of your all-time favorite looks were from the series.
ED: "That's a tough one. I'll make a deal with you. I'll tell you some of my favorite episodes and you can extrapolate the outfits from there...Season 1: 'Hi Society.' Season 2: 'Summer Kind of Wonderful.' Season 3: 'Last Tango, then Paris.' Season 4: 'The Undergraduate.' Season 5: 'GG.' Season 6: 'New York I love You XOXO.'"
What were your favorite looks from Gossip Girl and The Carrie Diaries? Share in the comments!
David Mitchell's novel Cloud Atlas consists of six stories set in various periods between 1850 and a time far into Earth's post-apocalyptic future. Each segment lives on its own the previous first person account picked up and read by a character in its successor creating connective tissue between each moment in time. The various stories remain intact for Tom Tykwer's (Run Lola Run) Lana Wachowski's and Andy Wachowski's (The Matrix) film adaptation which debuted at the Toronto International Film Festival. The massive change comes from the interweaving of the book's parts into one three-hour saga — a move that elevates the material and transforms Cloud Atlas in to a work of epic proportions.
Don't be turned off by the runtime — Cloud Atlas moves at lightning pace as it cuts back and forth between its various threads: an American notary sailing the Pacific; a budding musician tasked with transcribing the hummings of an accomplished 1930's composer; a '70s-era investigatory journalist who uncovers a nefarious plot tied to the local nuclear power plant; a book publisher in 2012 who goes on the run from gangsters only to be incarcerated in a nursing home; Sonmi~451 a clone in Neo Seoul who takes on the oppressive government that enslaves her; and a primitive human from the future who teams with one of the few remaining technologically-advanced Earthlings in order to survive. Dense but so was the unfamiliar world of The Matrix. Cloud Atlas has more moving parts than the Wachowskis' seminal sci-fi flick but with additional ambition to boot. Every second is a sight to behold.
The members of the directing trio are known for their visual prowess but Cloud Atlas is a movie about juxtaposition. The art of editing is normally a seamless one — unless someone is really into the craft the cutting of a film is rarely a post-viewing talking point — but Cloud Atlas turns the editor into one of the cast members an obvious player who ties the film together with brilliant cross-cutting and overlapping dialogue. Timothy Cavendish the elderly publisher could be musing on his need to escape and the film will wander to the events of Sonmi~451 or the tortured music apprentice Robert Frobisher also feeling the impulse to run. The details of each world seep into one another but the real joy comes from watching each carefully selected scene fall into place. You never feel lost in Cloud Atlas even when Tykwer and the Wachowskis have infused three action sequences — a gritty car chase in the '70s a kinetic chase through Neo Seoul and a foot race through the forests of future millennia — into one extended set piece. This is a unified film with distinct parts echoing the themes of human interconnectivity.
The biggest treat is watching Cloud Atlas' ensemble tackle the diverse array of characters sprinkled into the stories. No film in recent memory has afforded a cast this type of opportunity yet another form of juxtaposition that wows. Within a few seconds Tom Hanks will go from near-neanderthal to British gangster to wily 19th century doctor. Halle Berry Hugh Grant Jim Sturgess Jim Broadbent Ben Whishaw Hugo Weaving and Susan Sarandon play the same game taking on roles of different sexes races and the like. (Weaving as an evil nurse returning to his Priscilla Queen of the Desert cross-dressing roots is mind-blowing.) The cast's dedication to inhabiting their roles on every level helps us quickly understand the worlds. We know it's Halle Berry behind the fair skinned wife of the lunatic composer but she's never playing Halle Berry. Even when the actors are playing variations on themselves they're glowing with the film's overall epic feel. Jim Broadbent's wickedly funny modern segment a Tykwer creation that packs a particularly German sense of humor is on a smaller scale than the rest of the film but the actor never dials it down. Every story character and scene in Cloud Atlas commits to a style. That diversity keeps the swirling maelstrom of a movie in check.
Cloud Atlas poses big questions without losing track of its human element the characters at the heart of each story. A slower moment or two may have helped the Wachowskis' and Tykwer's film to hit a powerful emotional chord but the finished product still proves mainstream movies can ask questions while laying over explosive action scenes. This year there won't be a bigger movie in terms of scope in terms of ideas and in terms of heart than Cloud Atlas.
The God of Legion secular Hollywood’s latest Biblically-inspired action flick is old-school an angry spiteful Almighty with a penchant for Old Testament theatrics. Fed up with humanity’s decadent warmongering ways He’s decided to pull the plug on the whole crazy experiment and start over from scratch.
Fortunately for us the God of Legion is also a rather lazy fellow. Instead of doing the apocalyptic work himself and wiping us out with a giant flood which worked perfectly well last time He opts to delegate the task to His army of angels — a questionable strategy that starts to fall apart when the archangel charged with leading the planned extermination Michael (Paul Bettany) refuses to comply.
Michael who unlike his boss still harbors affection for our sorry species abandons his post and descends to earth where inside the swollen belly of Charlie (Adrianne Palicki) an unwed mother-to-be working as a waitress in an out-of-the-way diner sits humanity’s lone hope for survival. Why is this particular baby so important? Is it the one destined to lead us to victory over Skynet? Heaven knows — Legion reveals little details its script devoid of actual scripture. What is clear is that God’s celestial hitmen want the kid whacked before it’s born.
But Michael won’t let humanity fall without a fight. Armed with a Waco-sized arsenal of assault weapons he hunkers down with the diner’s patrons a largely superfluous collection of thinly-sketched caricatures from various demographic groups led by Dennis Quaid as the diner’s grizzled owner Tyrese Gibson as a hip-hop hustler and Lucas Black as a simple-minded country boy.
Together they mount a heroic final stand against hordes of angels who’ve taken possession of “weak-willed” humans turning kindly old grandmas and mild-mannered ice cream vendors into snarling ravenous foul-mouthed beasts. They descend upon the ramshackle diner in a series of full-frontal assaults commanded by the archangel Gabriel (Kevin Durand) the George Pickett of End of Days generals.
Beneath its superficial religious facade Legion is really just a run-of-the-mill zombie flick a Biblical I Am Legend. Bettany an actor accustomed to smaller dramatic roles in films like A Beautiful Mind and The Da Vinci Code looks perfectly at ease in his first major action role wielding machine guns and bowie knives with equal aplomb. Conversely first-time director Scott Stewart a former visual effects artist does little to prove himself worthy of such a promotion serving up some impressive CGI work but not much else worthy of note.