Lily Collins and Janie Bryant discuss the fashion — and the glamorous facade — of 'The Last Tycoon' – Los Angeles Times
Lily Collins had it simpler than most imagining what life can be like for an formidable scion of a showbiz household navigating the skilled, private and gender politics of Thirties Hollywood. In her new Amazon sequence “The Last Tycoon,” loosely based mostly on F. Scott Fitzgerald’s unfinished novel, she’s by no means removed from the storied historical past that pervaded her youth.
Together with being a second era star, the daughter of pop icon Phil Collins has been time-touring to Tinseltown’s Golden Age since she was a child, her mom Jill has lengthy been concerned in preserving, restoring and showcasing historic websites in the Hollywood area, together with Beverly Hills’ grand 90-year-outdated Greystone Mansion, which serves as her character Celia Brady’s household residence.
“I grew up spending so much of time there; I used to run round the hallways doing homework and watching folks in the home,” Collins laughs. “So now it’s prefer it’s gone full circle.”
Collins chatted with WWD simply earlier than capturing a scene set throughout the 1937 Academy Awards ceremony — in the similar Biltmore resort ballroom the place these precise Oscars had been introduced. “It performs along with your thoughts,” she says. “You go searching and everybody’s spotlessly good of-the-period, and you actually neglect that you've got a cellular phone ready for you at your chair.”
Chief amongst the sequence’ extravagant results is the lavish wardrobe concocted by costume designer Janie Bryant. “Celia’s the fashionista, actually, of this present, and Janie will get to throw heaps of various things on me,” Collins says. “My Oscar gown is fairly wonderful. It’s a lilac silk tiered quantity in the again with this wonderful sequined capelet.”
The ruched bodice, puff sleeves and the A-line skirt had been crafted from silk and duchesse satin.
Taking up her first TV sequence since “Mad Men,” Bryant was able to immerse herself in a wholly totally different place and time. “After eight years, as a lot as I liked engaged on that present, I felt able to design one thing new,” she admits.
“Every part about the Thirties is so totally different from the architectural, minimalist Sixties. The cuts, the elements of the physique which are accentuated, the colour palette. The Thirties is about being very smooth and dusty, and silk charmeuse-y. Actually, it's about the facade of Hollywood that the studios created, and all of the glamour that entails. They made positive the actors had been untouchable.”
Celia’s character evolves over the course of the sequence from faculty scholar to producer and Bryant drew inspiration from some of the period’s most fashionable stars: Jean Harlow, Joan Crawford, Myrna Loy, Clark Gable, Fred Astaire, Ginger Rogers and particularly producer Irving Thalberg — Fitzgerald’s mannequin for main man Monroe Stahr, performed by Matt Bomer, and his spouse Norma Shearer.
“It was fascinating creating [Celia’s] costume design to start out her off as nearly this vast-eyed harmless into rising right into a extra mature, understanding lady,” Bryant says. Additional in the sequence, Collins dons a placing coral go well with that illustrates her rising savvy and sophistication.
“Our fittings are so enjoyable,” Collins says. “I see issues on the hanger and I’m, like, ‘I by no means knew that colour labored on me.’ It’s stuff you essentially wouldn’t select to put on, however as soon as you place them on, you see why Janie is who Janie is. When somebody loves their job that a lot, you'll be able to’t assist however be contaminated by that keenness.” Collins discovered herself tremendously fancying sure types – together with excessive-waisted, below-the-knee skirts advert Celia’s beloved hats — if not the excessive prep time.
Away from the set, Collins credit her stylists Rob Zangardi and Mariel Haenn for “pushing me to date out of my consolation zone into this new realm of fascinated about what fashion is, and what fits me, and what dangers to take.” She’s cultivated an eclectic assortment of go-to favorites — from Alexander McQueen and Elie Saab to Rag & Bone and Viktor & Rolf.
Collins says she’s blissful to embrace her ties to showbiz previous whereas carving out her personal future. “At this level, I really feel like I’ve made my very own mark, which is actually cool,” she says, “and I’m type of carrying the torch in my very own method.”