7/8/2023 0 Comments Socialite clothing![]() How did you plan the design for that scene? We even learn who Mary Jayne Gold is through a fashion moment when she trades dresses with Ursula, who’s desperate and mid-flight. Gillian Jacobs as Mary Jayne Gold in Transatlantic, Courtesy of Netflix © 2023 The design for Mary Jane’s “lip suit.” Courtesy Justine Seymour/Netflix. Also, Gillian Jacobs had really enjoyed the work of an actress called Irene Dunn, so she was one of my inspirational people to watch and just see how she wore her clothes, then try to emulate it for Mary Jayne. That led me to watch quite a few films and think about what Mary Jayne might have had at the time. People were watching films and then going home and making the dresses. ![]() You know that old saying that Oscar Wilde has, which was that life reflects art much more often than art reflects life? I think at that time, that was 100% true. While I was doing my research, I was looking for fashion designers of the time, but really where people were getting their inspiration was from the golden age of cinema in Hollywood. ![]() With Mary Jayne, of course, she had her finger on the pulse and had the money to go shop in Paris, so I made her much more contemporary. Cory Michael Smith as Varian Fry in Transatlantic, Courtesy of Netflix © 2023Īnd among these characters, Mary Jayne Gold really stands out. All of the costumes for the extras were done top to toe, and every single one I checked and made sure I was happy with. I didn’t go for those shapes for the dresses from the late 20s, but if there was a coat that had a collar that was relevant in 1928, I would have maybe used that on an older lady. And for all the refugees, I even looked at the late 20s. ![]() He was a Brooks Brothers man, so I knew that slim cut, clean lines, and not too much fuss was going to be his look. I think, what would someone realistically have in their closet? Luckily for me, Varian Fry had written quite a detailed account of his time in Marseille, which included the contents of his suitcase which he’d brought over from New York. I always think that people have a wardrobe, they have a closet, and that’s what I try and bring to a television show. We spoke with the costume designer about assigning looks from different decades to the show’s characters, finding inspiration in the golden age of Hollywood, and working Surrealist references into unexpected details.Īpproaching a year like 1940, do you look to the early part of that decade, or more so earlier?ĭefinitely earlier. L-r: Alexander Fehling is Max Ernst and Jodhi May is Peggy Guggenheim in “Transatlantic.” Courtesy Anika Molnar/Netflix.īut one night of Surrealist-inflected revelry aside, most of the ERC’s work was dead serious, and for Seymour, that meant outfitting revolutionaries and refugees alongside socialites and diplomats. Delving into Surrealist art and inspiration, the designer plotted looks for each character, ranging from buttoned-up Fry (refused to do more than remove his jacket) to Peggy Guggenheim (required a dress hand-made entirely out of gloves and a feather corset in order to match Max Ernst’s “desire to be a loplop bird, which was one of his things.”) For Peggy, Seymour even asked showrunner Winger to shoot a scene outside the script, of a cook plucking a chicken, in order to justify the socialite art collector’s feathery look. Seymour hand-sewed certain looks, like an Elsa Schiaparelli-inspired brassiere worn by Mary Jayne Gold, and used weekend downtime to develop the series’ “money shot,” a party at the villa hideout in which the house’s illustrious denizens take a night to let off steam. Helming costume design for the series is Justine Seymour ( Unorthodox, The Mosquito Coast), whose work spans decades, artistic movements, and multiple income brackets, as the ERC fields requests from non-famous refugees, gets involved in a British POW rescue mission, and is paid a visit by Peggy Guggenheim (Jodhi May). Written by Anna Winger ( Unorthodox, Deutschland 83/86/89), Transatlantic gathers Surrealist movement luminaries as well intellectuals like Hannah Arendt under the Marseille sun as Fry, Gold, and their colleagues hide a who’s-who refugee list (Max Ernst, Andre Breton) in a borrowed villa. Gold was a wealthy ex-Chicago émigré whose considerable family funds made the organization’s work possible. Netflix’s new limited series, Transatlantic, is based on the efforts and exploits of two such Americans at the helm of the Emergency Rescue Committee, journalist Varian Fry (Cory Michael Smith) and socialite Mary Jayne Gold (Gillian Jacobs).įry was a well-connected intellectual. Across the Atlantic, however, relief organizations were already on the ground, working their influence at local embassies and trying to convince the American government to grant entry visas to refugees. still maintained an official stance of neutrality in World War II.
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