come for the director’s first film in over a decade, and stay for the nonstop parade of aspirational style . The movie has completely captivated the fashion set for its beautifully curated wardrobe of crisp button-downs, cashmere sweater vests, and perfectly proportioned jackets. Blanchett’s Lydia Tár may be the maestro of the Berlin Philharmonic, but when it comes to her closet, costume designer Bina Daigeler is the conductor.
I used some vintage clothes, some custom pieces, some designer pieces. We had a very broad closet for Cate. We learned a lot from our first fitting, in terms of what shapes are good for her. We decided on looser fits for the pants, except for the ones she wore when she was conducting, which had a lot of structure and power in the waist.I looked up a lot of female conductors, but my inspiration mostly came from male conductors, like Herbert von Karajan, who was on my mood board.
Lydia isn’t big on accessories. She doesn’t wear any jewelry except for a watch, with the face on the inside of the wrist. Who came up with that detail? It was written as an Hermès bag. Cate and I both talked with Todd several times about the Hermes, saying that a Louis Vuitton might be better. But he insisted that this woman would wear a Birkin and we had to get one. You don’t really see it very much, but somehow, everybody knows it’s a Birkin.Berlin is a city known for its unique style. Were you influenced at all by your surroundings?
With Sharon, in the preparation and in the fittings, I had her in even more feminine pieces with more texture and patterns. And then, in rehearsals with Nina, I noticed it didn’t fit her character, it was too feminine. I realized Sharon and Lydia are not so different.
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