If Regina King or Chloé Zhao—two of the current frontrunners in the 2021 race for the best-director Oscar—receive a nomination, they will be the first women of color ever to be recognized in the category. It’s a startling fact that draws attention to another glaring injustice: only five female filmmakers (Lina Wertmüller, Jane Campion, Sofia Coppola, Kathryn Bigelow and Greta Gerwig) have been nominated in the Academy’s 92-year history and only one, Bigelow, has taken home the prize.
So, after the disappointment of 2020’s all-male shortlist, why would the next ceremony’s line-up be any different? Because, of course, the ongoing pandemic has transformed the film industry as we know it. With blockbusters delaying their release dates, a host of low-budget independent films launched via streaming have had the chance to charm critics and audiences. With many of them directed by women without global name recognition and with smaller marketing budgets than the average Oscar contender, they’re being judged on their quality rather than the strength of their campaigns.
The collection was a joyfully haphazard collage of references—flower girl headpiece, professor’s robe—sprinkled within a typically anarchic Kronthaler context. Many of the pieces were upcycled, and the designer said his shapes were sometimes dictated by the scraps of fabric available. Tulle, lamé, and knitwear entwined to offer contemporary Pygmalions tools for their own reshaping. “We express ourselves in clothes when we dress up,” said Kronthaler in his notes. In this collection his expression seemed sweetly in tune with the times.
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