![]() ![]() She’s like, ‘Oh, it’s got to be the red.’ And you know what? She’s usually right. “We showed my mom the photo of black glasses versus red,” Kate tells Kurata, taking their sisterhood up the family tree. “I’m just so excited to be able to wear Rodarte to one of the biggest events in my life,” Kurata says, calling the finished look, down to the custom shoes, “so me.” There is just one more detail to consider: the costume designer’s signature eyewear. General CommentIts about the misty memories we might of left behind, about old friendships and what the past has meant to us.Whats to painful to remember. “One connection to the film was the color,” Kurata explains-“especially with the scene in the laundromat, where they’re celebrating Lunar New Year.” (Kurata’s Japanese American parents coincidentally also owned a laundromat during her childhood.) There are the symbolic meanings of red: “prosperity and luck and good fortune and all that.” And the eye-catching quality too-a color that, for once, stands out on a carpet reimagined in champagne. This Oscars moment, in a way, brings together two of Kurata’s extended families: the close-knit EEAAO crew and the honorary Rodarte sisterhood. But during an awards season in thrall to The Daniels’ take on alter-egos, multiple Mickeys is the way to go. ![]() (Rodarte’s fall 2019 show took place amid the rare plants at the Huntington Library, in their hometown of Pasadena, while the costume designer hit up LA’s Chinatown to source seniors-appropriate clothes for EEAAO.) “It’s reversible, so the other side is one big Mickey Mouse,” Kurata explains. She’s wearing a vintage dolman-sleeve shirt with a repeating grid of Mickey Mouse faces-fitting for a trio of Southern California natives, whose sense of place often weaves into their work. On the wall behind her, a looping print in an orange-to-brown gradient nods to her ’60s fascination. ![]() Kurata, in her trademark owlish glasses, has joined from her home in the Los Feliz–Franklin Hills area. Rodarte’s other half, Laura Mulleavy (older by a year), is calling from the car. It’ll never work,” he told director Sydney Pollack, according to Hofler, who adds that Robert “finally did the movie as a favor to Pollack.“Honestly, it’s really hard for me to think about a time where she hasn’t been a creative collaborator, a best friend, an artistic partner,” says Rodarte cofounder Kate Mulleavy, describing Kurata’s presence as “an extension of sisterhood.” (It was the filmmaker and photographer Autumn de Wilde who played matchmaker, roping in Kurata for that first show the stylist has worked on their runways and lookbooks, alongside Ashley Furnival, ever since.) Kate is speaking over Zoom from the label’s nondescript studio in downtown Los Angeles. He also worried about Barbra’s reputation. “I thought it was a good script, but the character in the initial script was, I felt, one-dimensional,” he admitted. Even Robert had to be convinced to sign on. One producer was lobbying for Ryan O’Neal to play Hubbell. Fifty years ago, The Way We Were united two giants of the silver screen, Robert Redford and Barbra Streisand, to create a timeless love story set against the background of political turmoil. While the chemistry between Robert and Barbra propels The Way We Were, not everyone was convinced they’d make a good movie match. “It’s right there with Gone With the Wind and Casablanca on lists of the 10 greatest romances,” says Robert Hofler, author of the new book The Way They Were: How Epic Battles and Bruised Egos Brought a Classic Hollywood Love Story to the Screen. The former couple share a long, silent hug before going their separate ways.įifty years ago, The Way We Were united two giants of the silver screen, Robert Redford and Barbra Streisand, to create a timeless love story set against the background of political turmoil. “I know,” she replies, tenderly sweeping his hair away from his eyes. Toward the end of The Way We Were, Hubbell seeks out his ex-wife, Katie, and tells her he can’t get together for a drink later that night.
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