Another biopic of American fashion design masters. . . Houston. . "Artists who like to spend money" boldly use bright colors to highlight individual personality. Ivan McGregor ("Guessing the Train", "Prequel", "Moulin Rouge", "Sinking with Love") played the role of this talented designer, and Houston's rise from the 60s to the 80s gradually fell silent. . . . McGregor treats Halston as a piece of art, a complex being with always more behind his moments of hubris and genius. A major breakthrough for Halston is presented early, in which he realizes he can slick his hair back, don sunglasses, and lower his voice. It's a presentation of power, and a costume. There could have been more from this script about how he came to these ideas, but such a moment is telling and adds to the richness of what McGregor is trying to do.
Some feedback:
The Houston family RoyHalstonFrowick sent a letter to Netflix claiming that this biography about him: inaccurate and artistically processed in the novel. . . "Inaccurate" and "fictionalized."
“The Halston Archives and Family were not consulted on the upcoming Netflix series involving an inaccurate, fictionalized account of famed fashion designer,'Halston,'” the family said in a statement to the Associated Press. “The Halston Archives remains the only definitive and comprehensive source on the man and his legacy as the personally appointed custodian of his private papers and effects."
Lesley Frowick, director of the Halston Archives and Halston's niece, toldV arietyth at the family was “never contacted” about the series, and were “collectively disappointed” by its production.
“I would like to let you know that in no way was the Halston family ever contacted about this production,” Frowick wrote in a statement toV ariety. “Halston's family spreads a wide swath of the world from Greece-all the way to California and we all collectively are disappointed that people continue to feel compelled to tell salacious and embellish stories on a persons private life when so many of his professional and other life accomplishments were more than most people will ever achieve in their lifetimes."
Some background:
In the 1960s, a team of outstanding American designers gradually grew and competed with European designers in the global fashion market. The invention of casual wear and the emergence of advanced marketing management have given the American model a competitive advantage that European competitors are difficult to replicate (especially in the mass market), allowing it to enter the international market.
The "baby boom" after World War II brought more than 70 million teenagers born in the 1960s: young people at that time were not only rebellious, they also created and eagerly promoted "counter-culture" and made it ubiquitous. Those young people who provide goods in the young market that meet the interests of young people (fashion, dance halls, underground magazines, and music that bear the brunt) quickly become rich. American shopping pays more attention to product style than product production mode. The concept of product origin has now been replaced by the brand's place of origin. The artistic connotation of the product. Innovative advantages (such as France) or excellent production techniques (such as Italy) are no longer so important, and its consistency with the value of the "American Dream" is the most significant. In the past 30 years, great American designers have understood this way of life very well and transformed it into simple, casual, and suitable clothing for all occasions.
Bill Blass, Anne Klein, Halston, Calvin Klein, Donna Karen, Mike Coles ( Michael Kors, Marc Jacobs, Narciso Rodriguez and many designers have worked together to create an American style recognition.
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