Perhaps the stylist and image creator of the stars will not have had a monstrous amount of work Law Roach, his first film experience studying the costumes of Zendaya, which he has been following since he was 14, for the film Malcolm & Marie, a few days ago released on Netflix and already in the high positions of the ranking of the most viewed on the streaming giant.
You can count on the fingers of one hand the costumes of the two protagonists of the film. A tuxedo that, scene after scene, monologue after monologue, quarrel after quarrel – little spoiler: the black and white film directed by Sam Lavinson tells the troubled night of a director fresh from the successful premiere of his latest film and his partner, actress , who has some sacrosanct recrimination to make – John David Washington (potential neo sex symbol) takes off, e three changes for the surprising protagonist absolute of the film, which is confirmed actress of pure talent, Zendaya.
The star wears a complete white and minimal underwear, with tank top and briefs, a kind of kimono dressing gown and, before that, for a good half of the film, un long dress in lamé, with a criss-cross neckline and generous slit, paired with a Louboutin stiletto which she soon gets rid of; her gala outfit worn for her companion’s premiere.
A very small handful of stage costumes, all right. But what would the character of Marie be without that dress, already entered by law and with arrogance in the collective imagination?
His nervousness it would not have the same evidence that gives it its quick, light and reflective movement, a real visual megaphone of its restlessness. Her emotionality would not be so palpable and electric, even while she apparently prepares mac & cheese for her partner. A sexy and powerful dress, which adds to the character a remarkable visual strength, without caging him and, on the contrary, leaving him free to let all his inner torment flow, also thanks to a gesture that the dress emphasizes. A dress created by the Zendaya stylist thanks to the collaboration of Jason Rembert, designer del brand Aliétte, and inspired by an iconic Cher outfit, worn during a duet with Raquel Welch in 1975.
In short, the dress in question almost becomes the third protagonist of the film. Confirming the ancient saying that if the dress does not make the monk, sometimes the stage costume makes the character. As in this case.
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