Paul Thomas Anderson’s Phantom Thread (2017) is a film about a man obsessed with dressmaking. At one point, dissatisfied with a lace and zibeline silk gown made for a royal wedding, Reynolds Woodcock takes a step back, mutters “It’s just not very good, is it?” and then collapses. Strangely, for a film all about fashion, the same question could be leveled at many of the clothes we see on screen. The gowns that Woodcock brings into being are often more dowdy than dreamlike. This caused some confusion when the movie was first released. Was it intentional—a reflection of the somber sartorial mood in London in the 1950s—or was it just that the costume designer didn’t hit the mark? This story is from Kinfolk Issue Forty-Four Buy Now Related Stories Fashion Films Issue 47 Farida Khelfa France’s fashion muse. Fashion Issue 47 Between Us The world looks brighter among old friends. Fashion Issue 47 Veneda Carter An interview with a superstar stylist. Design Fashion Issue 47 Jean Touitou The A.P.C. founder on the demands of hype and craft. Arts & Culture Fashion Issue 47 Last Night What did New York stylist Beverly Nguyen do with her evening? Fashion Issue 46 Home Free The upside of downtime on a slow Sunday afternoon.
Arts & Culture Fashion Issue 47 Last Night What did New York stylist Beverly Nguyen do with her evening?