You already know The Great Gatsby is going to be chock full o’ menswear when it hits theaters next month but what you may not is that the lion’s share of the men’s threads come from the good folks at Brooks Brothers. Gatsby costume designer Catherine Martin worked with the venerable American clothier, which also outfitted F. Scott Fitzgerald for most of his life, to create hundreds of looks (500 outfits comprised of 1,700 individual pieces) not only for stars Leo DiCaprio, Tobey Maguire, and Joel Edgerton, but for every male extra in the flick. Hear Martin talk about what it was like to go into the expansive Brooks Brothers archives and 1920’s style, plus some snippets from the film, in our exclusive clip after the jump.
The latest windows of Tiffany’s Fifth Avenue flagship salute Baz Luhrmann’s highly anticipated film The Great Gatsby. Designed in collaboration with the film’s Academy Award-winning costume and production designer Catherine Martin, the glamorous displays were unveiled this morning in New York City.
1. Bang Bang – will.i.am (0:01)
2. A Little Party Never Killed Nobody (All We Got) – Fergie, Q Tip & GoonRock (0:31)
3. Young And Beautiful – Lana Del Rey (1:01)
4. Love Is The Drug – Bryan Ferry with The Bryan Ferry Orchestra (1:32)
5. Over The Love – Florence & The Machine (2:03)
6. Where The Wind Blows – Coco O. of Quadron (2:33)
7. Crazy in Love – Emeli Sandé and The Bryan Ferry Orchestra (3:04)
8. Together – The xx (3:34)
9. Hearts A Mess – Gotye (4:06)
10. Love Is Blindness – Jack White (4:35)
11. Into the Past – Nero (5:06)
12. Kill and Run – Sia (5:36)
Soundtrack available 5/7, pre-order 4/23!
For the role of Gatsby himself, Luhrmann reunited with his Romeo + Juliet star DiCaprio, who, from the 25 minutes of unfinished footage Luhrmann showed me, burrows deep into the role, loosing the obsession at the heart of Fitzgerald’s tale; beneath Gatsby’s smooth exterior roil the same tightly wound furies that hounded DiCaprio’s Howard Hughes in The Aviator. Compared with the 1974 version starring Robert Redford and Mia Farrow, a more sedate affair of tennis whites and lawn-fed languor, which dissolved as tastelessly as a wafer, Luhrmann’s version promises to be a rhapsodic pop opera, bent on wholesale audience ravishment, its roots in the Technicolor spectacle of Selznick’sGone With the Wind but also the theatrical productions of A Midsummer Night’s Dream and La Bohème that Luhrmann has staged at the Sydney Opera House.
For the part of Daisy, Luhrmann auditioned just about every A-list actress in Hollywood. “Because of Leonardo, Daisy became a hugely desired role,” says the director, who reportedly saw Scarlett Johansson, Michelle Williams, Blake Lively, Keira Knightley, and Natalie Portman. “In everybody’s mind they have a Daisy Buchanan. It’s like Scarlett O’Hara, how touchy a subject that is. I think of Scarlett as being this precious child star who’s been a star all her life, and that’s true about Daisy. She’s a kind of social supernova; she’s so attractive and dazzling, and she makes you feel as if you’re the only person in the world.” Mulligan’s audition came relatively late in the day. “We did the piece just before the dining-room scene where Daisy and Gatsby kiss. ‘Am I supposed to kiss him?’ she asked me. ‘Yes, go for it.’ She leaned over and she kisses Leonardo.”