“I don’t mean that as an insult to Cinderella. The rest of it is just so much Cinderella stuff.” She pauses, careful. Other than people like Alexander McQueen. I am a storyteller – I’m not interested in fashion. And besides, I have no interest in clothes other than what they tell me about a person. I can’t wear heels – my back goes out and my feet get terribly sore. By the time she reached the stage, accepting her award from Cate Blanchett (tall, blonde, in an Armani Privé scattered with appliqué butterflies), a discussion had begun.įor somebody who has spent a life thinking deeply about dressing people, what does it feel like to be criticised when she dresses herself? “The thing that lots of people are missing,” she says, “is that I was wearing a costume. Suddenly the lights came on, it seemed, and audiences everywhere realised that a size 8 woman in a $100,000 dress had become neutral to our eyes, and that a woman who looks like an average human was an oddity. When people watched Jenny Beavan walk towards the stage to accept her Oscar, past a row of men blurry with surprise at the sight of a woman in trousers, the sight of their shock flicked a hidden switch. There’s something about the endless quality of a Vine – something about the way it seamlessly begins again, and again, the sense that you will watch this forever until something changes. At the time of writing the videos have been looped more than 50m times. After the award you go backstage, through what’s called the Winner’s Walk.” It was only after she got back to her seat that the reactions of feminists – claiming her as their new queen – started to arrive in her lap, and her life abruptly changed. Vine videos had captured male guests, including Tom McCarthy and Alejandro González Iñárritu, directors of Spotlight and The Revenant, with their arms crossed, appearing to withhold their applause. And there’s me just looking like a biker.”īackstage, she was oblivious to the drama unfolding online. There was Cate Blanchett looking like an angel. And you really don’t want to trip – there’s quite a lot of cables, and very shiny stairs, so I was just making sure nothing happened. I did walk fairly slowly up to the thing, because we were quite a long way away. Then she started her long walk to the stage. When her award came up and she heard her name being called, she gasped. She previously won the Best Costume Design award for 1986’s “A Room With a View” and has been nominated 10 times in all.Costume drama: Hugh Keays-Byrne wears an outfit designed by Jenny Beavan in Mad Max: Fury Road. And I’m sorry - as far as I’m concerned, I’m really dressed up.”īeavan won her second Academy Award on Sunday. “I’m actually in Marks & Spencer’s,” she added, referring to the famous British department store. The “homage” to “Max Max” could be seen on Beavan’s leather jacket: The back of it was adorned with the skull logo often seen in the film. “I look ridiculous in a beautiful gown, and this was an homage to ‘Mad Max.'”Īlso Read: Oscars: 'Mad Max: Fury Road' Scores 6th Award, Becomes Winningest Movie This Year I’ve got a bad back,” she told the media in the backstage press room at the Oscars. “I really don’t do frocks, and I absolutely don’t do heels. While most people dressed in beautiful gowns or traditional formal attire for the 88th Academy Awards, “Max Max: Fury Road” costume designer Jenny Beavan wore something a little bit different to Sunday’s show - a leather jacket and scarf.
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