![]() The film depicts Halston as an aspirant, Tom Ripley-esque figure, whose rise from obscurity was made possible by a succession of masks he hid behind, shielding his true identity with eccentricity and a flair for showmanship. “Halston” is the brainchild of Frédéric Tcheng, the French-born documentarian behind 2014’s “Dior and I.” The new documentary, which he wrote and directed, exposes two sides to the American designer. John Preito/Denver Post/Denver Post via Getty Images Halston redefined the role of the American fashion designer. He was the first to really build a business in the United States to that level, and he was the first to really crash and burn.” ![]() “The things that we see today – designers becoming part of large conglomerates or growing their companies so that they’re worth billions of dollars – (were) probably made easier because of Halston’s pioneering efforts. “He was the great shooting star of fashion in the 1970s and early 1980s, but he burned out very quickly too,” says Mears, who curated the designer’s work in the 2015 Museum at FIT exhibition, “Yves Saint Laurent + Halston: Fashioning the ’70s.” Mears tells CNN that America’s first superstar fashion designer – one who brought an unprecedented diversity of racial backgrounds and body shapes to the runway – offered a “cautionary tale.” Yet the duo’s risky behavior was rewarded-perhaps most palpably as they took their combined star power abroad.Pierre Cardin: The 97-year-old fashion designer with visions for 2069īut “Halston” also shows how, in his megalomaniacal desire to “dress all of America,” the designer came undone at the hands of the fashion and business powers he couldn’t bend to his will – and at the hands of his own vices (Halston reportedly spent thousands of dollars a week on cocaine at the height of his power). As the daughter of the beloved cinema legend Judy Garland, it was dangerous for Minnelli-portrayed by actress Krysta Rodriquez on the new Netflix miniseries, Halston-to take the leap into showbiz. Beyond friendship, the symbiosis of their camaraderie was born in risk-taking.Īs an emerging designer, Halston’s silhouettes, for the age, were unprecedented, and his aspiration was to radicalize the way the world put on clothes each day. After meeting the decade prior, a passionate (and very platonic) bond was born wherever Minnelli went, Halston followed, and vice versa. That’s because by the 1970s, the two, like her Oscars outfit, were a twinset. While it’s unclear as to exactly why Minnelli and Halston chose the golden hue for the awards show, it’s not illogical to imagine that the movie star would have likely worn anything the fashion designer put her in. Photograph of Liza Minnelli by Berry Berenson from Interview, August 1972. ![]() If there was any confusion about her intentions to win that year, Minnelli dispelled any naysayers by showing up at the award show wearing the very color that was on her mind: gold. ![]() In 1973, Minnelli was nominated again, in the same category, competing against Smith, the actress Liv Ullmann, the tour-de-force Cicely Tyson, and Diana Ross, Minnelli’s close friend and fellow musician. Despite her loss, it wouldn’t be Minnelli’s final bow at the Oscars, nor would it be her last time facing off with Smith for the coveted prize. Nominated for her starring role in The Sterile Cuckoo, the ingenue, then 24, was among a roster of fierce fellow nominees, including Jane Fonda and Maggie Smith, who ultimately took home the trophy for her performance in The Prime of Miss Jean Brodie. In April 1970, the first-time Best Actress nominee Liza Minnelli left the 42nd Academy Awards empty-handed. ![]() Here, sleep is a figment of the imagination, so mix yourself a nightcap as we unpack the gossip and glamour of the real-life luminaries who inspired Netflix’s new miniseries, Halston. You’re officially on the guest list for the “After Hours” edition of Thirstory, where we’ll escort you into the exclusive enclave of the Interview archive, starring the legendary fashion designer Halston and his inner circle of friends and conspirators. ![]()
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