Swan Song

Hi my dear readers! Sorry for being absent for one month + one week! I was in Beijing previously and I only got back last Tuesday, unpacked my life on Wednesday, started work on Thursday and was just really busy during the weekends too :/

I met with Dinie, Ridhwan and Nabil of Onesixtynotepad last Saturday for a interview/meeting. If all goes well, I may be contributing to their blog [OSN] soon! Just the prospect of it leaves me very excited! I'm wearing a knitted top from Beijing, chiffon maxi skirt The Scarletroom (it's the same one I wore to ACP launch party), black wedges from New Look and my fav thrifted bag. This look in preparation of my watching of Black Swan :D

After the meeting I also went to watch Black Swan, and I feel that it was worth all the hype pre-release, not because Rodarte has designed the costumes but rather of the great performance staged by Natalie Portman. She portrayed the fragility and vulnerability of a girl who has never left ballet in her life, a girl do not know about the working society and the dirty games people play to get what they want. But at the same time, there's another girl inside her who pushes herself hard to strive for perfection, who is dark, twisted and wants to break free (as can be seen from how she fantasizes about lesbian sex). I think Natalie Portman understood that and struck a balance between the two halves clearly.

4 amazing art deco movie posters

Costume wise, I feel that this was the first time Rodarte, being such a celebrated designer duo currently, has been involved in film costume designing and so naturally it has also sparked off a series of "ballerina" trends on the runway, as can be seen in Chanel S/S11 and Etro S/S11.

But designers such as Christian Lacroix, the late Yves Saint Laurent and John Galliano have been dabbing in costume design for theatre for a long time, and their interest in theatre costumes has spilled over to their runway collections as well.

But now in a movie, the audience can see the exquisite detailing of haute couture, and that prospect is interesting because I wonder whether more designers will join the ranks of Rodarte and produce haute couture for film. This would definitely make haute couture more relevant and accessible in our lives. Perhaps Tinseltown, instead of technology, would become a driving force behind haute couture in the future?
What do you think?