Unfug or Fab: Jennifer Connelly in Louis Vuitton


For real, has ANYONE been more loyal to one designer for longer than Jennifer Connelly has to Louis Vuitton? Even spokesperson Alicia Vikander switches it up, but I can’t remember the last time Jennifer DIDN’T wear LV to a major red carpet event. Fortunately for her, though it’s hit or miss, the aesthetic at least appears to be a better match than the Lawrence/Dior marriage.

Here’s her latest:

Jennifer Connelly

I wasn’t sure what I made of this at first; something the sleeve on the right is doing looks almost reptilian or alien. It’s the creasing, I think. But I also think the whole outfit NEEDS the touch of volume provided by that little poncho/valance. A drop-waist snug bodice feels too dated on its own.

The slit on that sort is major, but right now she’s working twitch a minimum of peril, and WHAT HO, she has ditched the clodhoppers in favor of something sleeker. I’m more drawn to this than I expected. Where do you fall: Fug, fab, or FIX IT?

[Photo: Getty]


Fug or Fab: Kristen Wiig in Marc Jacobs


On one hand, the magpie in me loves this. It’s whimsical, and she’s whimsical. It’s not boring or staid; no one who wears this can be accused of “phoning it in” or “underplaying her hand.” On the other hand, it’s also BONKERS:

Premiere Of Relativity Media's "Masterminds" - Arrivals

If Jessica Fletcher ever had to go undercover in a Palm Beach nightclub to solve a crime on Murder She Wrote, that nightclub would look just like this dress. Whether that is a positive or a negative depends very much on your tolerance for the following: giant glass bricks, neon, Harvey Wallbangers, checkered linoleum tile, the movie Cocktail, cocktails in general, parrots, Birds of Paradise, Hollywood Montrose, whimsical mosaics, and bad-ass seventy-year-old bitches who are just not here for your shit. Personally, for me that’s a huge net positive.

[Photo: Getty]


Well Played, Ella Purnell in Dior at the premiere of Miss Peregrine’s Home for Peculiar Children


Ella Purnell is the star of the new adaptation of Miss Peregrine’s Home for Peculiar Children and this is her first real major role (she did play Teen Jolie in Maleficient, and you can see why, facially, certainly). And what a debut:

"Miss Peregrine's Home For Peculiar Children" New York Premiere

This is what we call, in the business, a home run.

[Photo: Getty]


GFY Interview: Madeline Fontaine, Costume Designer for Versailles


Europe’s most expensive costume drama ever, Versailles, is premiering in the United States on October 1st on Ovation (last week, we gave you a sneak peek at its costumes and trailer). We were delighted to get a chance to quiz its costume designer, Madeline Fontaine, via e-mail, about her experience recreating the sumptuous and complex world of the the Sun King. Fontaine’s resume is highly impressive — in addition to Versailles, she was the costume designer for Amelie, Yves St. Laurent, and the upcoming Natalie Portman flick Jackie,  and has won two César Awards. In short: She knows her stuff.

GFY: Let’s jump in with the lovely Versailles. How did you get involved with this particular project?

Madeline Fontaine: I was invited to collaborate by the set designer Katia Wyszkop. How I did I immerse myself in the period and in the project? Like any other subject, it needs a time of “feeding” — made of visuals (paintings, for these days) and readings, to feel what we can find to re-create the atmosphere of the period, and learn about all we can use to realize it. We collect the information and find the right crew for such a long project. Then we make sure all this information is recorded so it can be refined later.

GFY: When did you first join the team, compared with when they actually started shooting, and when you wrapped? How long an undertaking was this?

MF: For season one, it’s been a nearly full time investment for about a year. For season two, a lot of things were already settled and we had the experience of the first season. I was mainly involved in the beginning (how to use what we did already, jumping ten years, creating new silhouettes) and choosing the design and fabrics of the new pieces for the main actors, and the new ones.

GFY: A project like this obviously involves a great deal of research; the pressure for historical accuracy must be intense. How do you balance the desire to be accurate with the desire to create something that will be appealing to a modern viewer — or the desire to put your own stamp on something?

MF: I don’t think we had the mission to be historically perfect.  I think we have to take both actors and public into a respectful feeling of a period, to make it believable and true, to use the reality of the body’s constraints which determined a language, adapting it to current physical ways of communicating and habits. The “stamp” is totally dependent of a sensibility, and cultural references, I think it cannot be hidden.

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Mostly Well Played: Celebs at the Metropolitan Opera Opening


This slideshow begins with Beautiful People From The Good Wife, visits Keri Russell and Patricia Clarkson and Malin Akerman, and ends on a jazzy gold tux jacket. In other words, it’s a buffet with snacks for everyone.

[Photos: Getty]


Dramatically Played: Fergie

Fashion Week attendance really feels like it’s on the wane. Perhaps I’m overstating it, but after a weaker-than-average set of New York front rows — honestly, that’s been going on for a few seasons — there are hardly any good Milan celebs that we’ve seen. Which is why Fergie here is such a hilarious treasure. She SHOWED the hell UP, and MEANT IT.


This is so dramatic and costumey. She looks like she’s on a CBS procedural about an elite unit of homicide and white-collar crime detectives who embed at various companies and solve crimes. It’s like CSI: Undercover Boss. I’d suggest they call it Corporate Thespianage, but I don’t know if the Eye’s target demo likes puns as much as I do.


Fug or Fine: Rihanna

By Rihanna standards, this is pretty sedate. There are things to discuss without wringing our hands, like paisley and how I am always happy to see it, and whether that purse is worth carrying with this outfit — or at all — even though it’s an expensive LV bag, and whether fur shoes are ticklish.


But even so, there’s still the matter of the angora boob sling. And that’s one reason I do love Rihanna. For all the good she’ll deploy in an outfit, there will always and forever still be an angora boob sling somewhere.

[Photo: Fame/lynet]