Gwyneth Paltrow as Kelly Canter in Country Strong; image courtesy of justjared.buzznet.com
While I was getting a much-needed haircut last night, my hairdresser recapped Easy A, which I’d like to see. She also saw the trailer to Gwyneth Paltrow’s new movie, whose title she couldn’t remember and called it Straight to DVD. Country Strong, directed by Shana Feste with a song from Sara Evans, makes its theatrical debut late December and can basically be reduced to the actress’s attempt at Crazy Heart. Paltrow plays Kelly Canter, a washed-up country singer just out of rehab who hopes, along with her husband/manager (Tim McGraw) to make a comeback with a successful tour. Canter is accompanied by rising stars Beau Hutton (Garrett Hedlund) and crossover sensation Chiles Stanton (Leighton Meester).
Apart from how ridiculous this sounded, I was also nonplussed. Didn’t Paltrow counter a waning acting career by reinventing herself as an haute bourgeoise guru who espouses cashmere jeans and culinary tourism as a path toward spiritual well-being? Furthermore, this hardly seems a logical attempt to calibrate her image. With her quarter-Jewish heritage, WASP credentials, Hollywood insider pedigree, and finishing school diction, “Hard-Luck Red State Sweetheart” seems like a stretch to me.
Her regrettable attempt at a pan-Southern accent makes that clear, though I also thought the praise she earned for her “convincing” British accent in Emma and earlier fare was overblown. But the more I think on it, the more the movie may have accidentally touched on the inherent constructedness of a celebrity’s persona. Country music is particularly interesting to me, as it is a genre that turns authenticity and grittiness into fetish items but, like rock and hip hop, is peopled by glamorous characters who profess to be “just folks.” Thus, it’s quite telling how much Paltrow is styled to resemble an older version of Taylor Swift, country pop’s reigning princess of prefabricated candor.
Taylor Swift; image courtesy of guardian.co.uk
I also find Paltrow and Meester’s dalliances with pop music important to read into their performances here. Before it stalled at the box office, Duets was intended to transition Paltrow into a singing career. Her scheduled appearance on Glee this season may be further indication of a continued desire to sing. Meester is currently signed to Universal Republic and has released several singles, including “Good Girls Go Bad” with Cobra Starship.
But the trailer looks like yet another hackneyed attempt at drama’s redemptive celebrity narrative that’s not going to win Paltrow the second Oscar she might be shopping for. To add to which, we have the regressive subplot of Canter fearing that younger Stanton will abscond with her legacy and possibly her man. While I do think intergenerational relationships between professional women are be interesting, having Canter storm past Stanton after a triumphant performance to let her know “how it’s done” is familiarly regressive execution. Canter may learn that the bottle won’t save her, but she is probably taught by her husband than helped by the sisterhood.
Taylor Momsen, apparently over it; image courtesy of gofugyourself.com
So, did ya’ll know that Taylor Momsen fronts a rock band? I guess that’s why she’s always sneering each time I see her on Go Fug Yourself. All this, and Leighton Meester working toward a pop career too!
Now, I don’t want to seem snide or condescending, especially about a veteran child actress transitioning into adulthood. I don’t want to speculate that her interest in music has developed just as the once-hot teen soap she’s on is starting to cool. Who am I to suggest that the Gossip Girl star’s musical forays aren’t sincere?
Apparently Momsen’s been singing for years and fronts a band called The Pretty Wreckless. While essentially a solo project with some (male) hired-gun musicians, she is the act’s vocalist, costume designer, and primary songwriter. The group has been putting on shows and has recorded a single, “Zombie,” which has a raw sound that suggests Momsen’s listened to a lot of Courtney Love.
Momsen channels Love when fronting her band; image courtesy of buzznet.com
Momsen’s done a lot more to suggest she wants to explore music beyond adding another hyphenate, like one-time would-be pop singers Hilary Duff, Paris Hilton, Lindsay Lohan, and Nicole Richie, who at one point was in a band with model Josie Maran called Darling and was supposed to be working on an alternative-influenced solo project that may or may not see the light. Momsen even plays a bit of guitar as well. I’d hazard she’d do more of it if she’d bulk up. Have you seen her twiggy arms? Homegirl needs to eat all kinds of sandwiches.
But I am a still little incredulous, as I am about Momsen’s entire hipster image, which became public just as Jenny Humphreys was becoming the UES’s edgy It Girl on Gossip Girl. There’s something just way too pre-fab about all of it that makes me wonder if there’s any real difference between Momsen wears skinny jeans and when, say, the Jonas Brothers do it (or, as Jonah Weiner points out in an article Kristen sent my way, when Miley Cyrus hires producers who swipe from lesser-known songs for indie cred). After the controversial but transformative presence Rachel Zoe had in reinventing Nicole Richie’s public image, I work under the assumption that all celebrities have stylists and that Momsen’s no exception, even if she herself is interested in fashion. I can’t help but wonder if similar industrial mechanisms are at work for her and her musical aspirations.
Maybe I’m just being snobby about medium and public image. While I have my doubts about Momsen’s musical pursuits, I never questioned when fellow former child actress Jena Malone released a seven-inch with Social Registry back in 2007 and continued on as the lead singer of The Shoe. Assuredly this has much to do with an appreciation of Malone’s experimental sound.
Jena Malone, in concert; image courtesy of jena-malone.info
But I’d be lying if I said my enjoyment of Malone’s music wasn’t informed by my pre-established fandom of her turns in indie-friendly fare like Cheaters, Saved, and Donnie Darko. It probably didn’t hurt matters that she has lesbian parents, legally emancipated herself as a minor for financial reasons, and appeared in public with a bald head. In short, her outsider persona matched her acting and musical choices. It seemed, to employ that ickiest of value judgements, “authentic.”
That said, I support Momsen’s right to rock out. But I’ll have to hear and see more before I call myself a fan.
So, before I go into my post about Anna Sui’s Gossip Girl-inspired Target collection that launched last summer, I’d like to first announce something totally superfluous but strangely encapsulating. I am down to the dregs of my Anna Sui Dolly Girl perfume. My mom bought it for me several birthdays ago and it is a delightfully flirty fragrance that I only wear when I need to feel publically sexy. If I went to your birthday party, going-away party, theme party, house-warming, wedding, or any other BIG EVENT, this is what I smelled like before I got sweaty and/or drunk. Priced at $35 and lasting over several years, it has definitely served me well.
Anna Sui's Dolly Girl; image courtesy of fragrancex.com
Delightfully flirty and publically sexy seems to be Gossip Girl‘s chief M.O. The CW teen drama, created by O.C. mastermind Josh Schwartz and Stephanie Savage, is now in its third season and based on the popular tween book series of same name by Cecily von Ziegesar. It focuses on the soapy, bitchy, frothy excesses of a gaggle of teenaged haves and (to a lesser extent) have-nots and their parents in New York City. Importantly, its wardrobe is in essence a principal character, largely due to costume designer Eric Daman’s keen eye for established and emergent talent in contemporary fashion. The show has launched once-fledging talent like Blake Lively, who has appeared in pictorials for Vanity Fairand on the cover of Vogue. It has also scored previously unknown actresses like Leighton Meester into a spokeswoman deal with Reebok.
Vogue cover girl Blake Lively, February 2009; image courtesy of bryanboy.com
The show has proven itself bit of a taste-maker. How else to explain why this “silly” teen soap (with a considerable hip twentysomething following) got the coop of having Christian Dior’s Miss Dior Chérie advertisement air for the first time during the “Bonfire of the Vanity” episode? Oh, and let’s not overlook who directed the spot — Ms. Sofia Coppola, herself a hipster icon, fashionista, erstwhile clothing designer, sometimes design collaborator, and friend to folks like Marc Jacobs and, yes, Anna Sui.
BTW, I remember this really interesting feature Seventeen did back in 1993 with Sui, Coppola, and friends Zoe Cassavettes and Donovan Leitch, but cannot find it on the Interwebz. If curious, please contact your local library. When you find it, note the crocheted shawls, chokers, matte lipstick, and other hallmarks of early-90s fashion they’re wearing that are now making a comeback.
Bringing publications like Seventeeninto the discussion make inevitable the show’s fanbase and target audience, who tend to be pre-teen and tween girls. Thus, there’s probably a fair amount of aspiration that can be marketed toward (a euphemistic term for “exploited”). And while I feel kinda icky about the proceedings, especially since Sui’s Gossip Girl-inspired togs tend to be mid-range ($30-$70), I at least can recognize that these clothes are more affordable than, say, Louis Vuitton, or even some of the garments sold at mall retailers like Express, Banana Republic, and The Limited.
The market-driven desire to dress like a gossip girl suggests a particular cultural power, perhaps one not since seen since Carrie Bradshaw became a game-charging sartorialist (and Sarah Jessica Parker became her). The Gossip Girl cast’s on- and off-screen wardrobe (and, in Taylor Momsen’s case, the merging of the two) has also provided fodder for fashion blogs like Go Fug Yourself, much in the same way that producer Josh Schwartz’s name-making franchise The O.C. Gossip Girl has even taken its fashion-plate status toward self-reflexive ends. In the season two episode, “The Serena Also Rises,” a fashion show seating chart appears on screen, with Fug Girls Jessica Morgan and Heather Cocks’s names on it.
Thus, the show, like other Schwartz-helmed programs, is known for its intertextuality. So it seems fitting that a television show — particularly one as creative as marketing and distributing itself in an increasingly digitized and convergent media climate that young women have been especially adept at traversing, would try marketing its show through clothes. It’s a move with a bit of recent history (Grey’s Anatomy for New York & Company) and a bit of current cross-promotional play (Mad Men for Banana Republic, which Jonathan Gray has critiqued).
But having Sui team up with Target to design for Gossip Girl it is interesting, and smart in terms of the show’s investment in fashion, both as an industry and as a bridging cultural practice. Like Gossip Girl, Sui’s work has been characterized by her ongoing interests in popular music. Gossip Girl‘s music supervisor Alexandra Patsavas defines the show by its of-the-moment “indie” sound, which in turn gets referenced, idolized, and critiqued at length by the show’s characters in much the same way it was on The O.C..Likewise, Sui is often inspired by popular music — particularly 60s garage rock, 90s Britpop, riot grrrl, and mod culture — and incorporates the attitude and aesthetic into her designs.
Actress Emma Stone wearing Sui's mod babydoll dress, designed with Blair Waldorf in mind; image courtesy of thestarnews.info
Both the show and designer have a preoccupation with the 90s — for the show, it is an era that commercialized alternative rock and, for hip dad and former rocker Rufus Humphrey, it is an albatross. Sui might feel similarly about the era, which was her zenith period and was not repeated in the 2000s when peer designers like Marc Jacobs, Alexander McQueen, and Stella McCartney made the career move to be house designers for Louis Vuitton, Givenchy, and Chloé, respectively. Sui instead followed in the footsteps of designers like Betsey Johnson and continued to cultivate her brand from a slightly lower tier, opening boutiques around the world and continuing to create new collections, but largely outside of the elite world of haute couture. Likewise, Gossip Girl is not a big player on television with colossal ratings. It’s not on a big-four network or on a prestige cable channel like HBO.
(Note: Obviously, if one wants to read into Sui’s professional position her marginalized status as one of the few Asian American female clothing designers, there is ample room for this. Admittedly, I have not done so here, but would be very interested and encouraged by what others might have to say on the matter.)
But both designer and show have cultivated their kitschy, hip brands toward less-travelled though no-less-populist ends. Thus, it makes sense that Sui would link up with Gossip Girl (apparently, her favorite television show), and that they would link up with Target, a big box chain with affordable prices, a cooler and more ethical socioeconomic reputation than Wal-Mart, and a relationship with designers like Isaac Mizrahi, as well as M.I.A.’s former roommate Luella Bartley and Michelle Obama’s go-to guy Thakoon Panichgul who, like Sui, have created limited edition collections for the retailer.
Now, having already discussed the problematic nature of fixing a price range and marketing a clothing line toward an intended audience in such a blatant way, I’d like to close by casting a critical eye toward the clothes themselves.
A dress for Blair, Jenny, Serena, and Vanessa; image courtesy of mahoganyglam.com
One issue I have with the collection is how focused it is on dresses and skirts. While supposedly each outfit is designed with a particular gossip girl style in mind (specifically Serena’s boho chic, Blair’s classic glamour, Jenny’s runway punk, and clearly cast-aside Vanessa’s vaguely ethnic intellectual look), all of these items can easily be paired together because of their overt, unproblematized femininity.
Another issue, and one that Target faces with all limited collections, is whether big-name designers cater toward in-between or fat body types. The clothes’ sizes range from extra-small to extra-large, leaving out women and girls who are bigger. What is more, while these clothes appear to be well-made, many of the designs in Sui’s collection seems to principally flatter a long, lean body type. As a short, curvy girl who wears a size four (which, if we recall The Devil Wears Prada, is the new size six), I would have to belt pretty much all of these dresses so they wouldn’t look like gunnysacks on me (that is, the ones that aren’t so short that they would fail to flatter my thickly proportioned thighs). And don’t even get me started on how stumpy I’d look in a pair of checkered, bowed pedal pushers. NEXT!
I reject the pedal pushers on the right; image courtesy of fashionlooks.onsugar.com
So, while interesting in many other ways, I feel like Sui’s collection suggests that only certain shapes and classes get to be gossip girls when it comes to fashion. I don’t think we needed Target to tell us that, but I hope it inspires other women and girls to either make the styles their own or, better yet, start picking up the needle and thread and putting their own outfits together.
