Minniemalism

Legendary Pictures and Bergdorf Goodman collaborated for a special event centered around the release of the movie, Crimson Peak. This private event took place two days before the movie's worldwide release, and as a Polyvore Style Insider, I was fortunate enough to provide coverage.

Crimson Peak, a dark Gothic romance, encapsulates director Guillermo del Toro's vision, and projects it in a larger-than-life spectacle to its captivated audience. After a private screening of the movie, it was off to Bergdorf Goodman where a red carpet was laid out and the store windows had been done up to depict pivotal scenes from the movie, designed by the talented David Hoey. 

BG, in their signature style, paid elaborate attention to every last detail, incorporating props and set pieces from the movie. The seventh floor BG restaurant served as the backdrop for the after-party; a venue that was phantasmagoric and reflected the movie's atmosphere through the tarnished candelabra, the crystal chandeliers, and mood lighting. 

It was here that I got to chat with two people central to the film - actress Jessica Chastain, whose depiction of Lady Lucille Sharpe sent shivers down my spine; and Kate Hawley, the incredibly talented costume designer, whose dramatic work helped bring the characters to life. While sipping a blood-red cocktail and nibbling on Crimson Peak-themed hors d'oeuvres, I spoke with both ladies about their experiences working on the film.

Minnie Romanovich: Hi Jessica, I loved the movie! You were brilliant. Jessica Chastain: Thank you so much!

MR: I love your frock -- [a stunning number with a deep, plunging neckline and floral appliqué in a fit and flare silhouette] -- Who are you wearing? JC: Isn't it gorgeous? It's Erdem [resort 2016] and Christian Louboutin sandals.

MR: Yes! Speaking of gorgeous clothes, what role did the costumes play in your ability to get inside the skin of your character? JC: Oh, [Kate’s] costumes played a tremendous role in helping me get into the character. I was really able to go back in time to Lucille’s era and bring out all the little details of her persona.

MR: Kate, your work blew me away. What kind of exploration and research went into the development of the symbolic and natural themes that the costumes evoke for their characters? KH: You’re very kind! There was a lot of research. I adore Guillermo, and he really gave me the time and space I needed to just immerse myself in the script. I traveled down a lot of rabbit holes, but ultimately I was able to distill a lot of information that provided a number of ideas for the costumes.

MR: I noticed the violets, for example, representative of mourning that [Mia’s character] Edith wears post-tragedy. KH: Yes, exactly. So I researched the period, its painters, especially the symbolists. Then I threw it all aside and just sketched, and sketched, and sketched.

MR: So it became a very organic process. KH: Absolutely. And I work with an amazing team. Many of these artists have never worked on a project this large. They have such a passion for bespoke craftsmanship, so we were able to come up with some beautiful pieces.

MR: It was wonderful to see how the final pieces were able to so accurately describe the characters’ evolution throughout the film. KH: Well we explored the emotional state of each character. The costumes actually had names! We called them after “heartbreak” and other themes, referring to how they were used in the film.

MR: Thank you so much, and good luck with the film’s release. I’m sure it will be a great success! KH/JC: Thank you!