Ill lead you through a few of her wild short films and images. Worn by Beyoncé and her costars with carnivalesque flair, the costumes were the most fashion-forward cinematic spectacle of the year. Step into the surrealist world of photographer and producer Autumn de Wilde. At the heart of Beyoncé’s sartorially ambitious vision, however, was her celebration of both African designers and those across the diaspora: from a striped bodysuit by Ivorian-American designer Loza Maléombho, to a black-and-white houndstooth gown by the Senegalese label Tongoro, Beyoncé and Akers firmly trained their spotlight on the continent’s often untapped design talent. ![]() Working alongside her regular stylist Zerina Akers, the film featured everything from the crème de la crème of European high fashion by way of Balmain, Valentino, and Versace, to insider labels like Marine Serre, Area, and Molly Goddard. Released in July as a visual album to accompany Beyoncé’s soundtrack album for Disney’s The Lion King remake, Black Is King was the thrillingly escapist, Afrocentric fashion fantasia so many of her fans were yearning for this year. AUTUMN DE WILDE Fashion editor: AMANDA HARLECH MAD HOT BALLROOM Wonderfully wild and ready to rock and roll. The people who didn’t love being photographed word got around that I made it easier on them, says the Los Angeles-based photographer, who’s captured more unlikely stars than the Hubble Space Telescope. © Disney+ / Courtesy of Everett Collection Maybe that’s why, for more than a decade, Autumn de Wilde has been one of indie rock’s go-to portraitists. Where the world of cinema might go next is anyone’s guess, but it’s clear that the future of fashion on film is in safe hands. Within this eclectic line-up, the costuming highlights proved to be equally unexpected: whether the trench coats and tailoring of late-1970s London in Steve McQueen’s Lovers Rock, the lavish period costuming of Autumn de Wilde’s whimsical adaptation of Jane Austen’s Emma, or the high fashion spectacle of Black Is King, Beyoncé’s musical film celebrating the breadth of visual culture across the African diaspora. What it did mean, however, was that many smaller-scale and independent films-which may otherwise have been overlooked-emerged as some of the year’s most widely watched, and now most hotly-tipped for awards. With many of the year’s biggest blockbusters postponed, theaters around the world shuttered indefinitely, and studio lots put on pause due to Covid-19 restrictions, the industry was plunged into an unprecedented state of limbo which saw the future of cinema itself come into question. The work of eight film directors Janicza Bravo, Sofia Coppola, Julie Dash, Tom Ford, Regina King (a co-chair for the gala), Martin Scorsese, Autumn de Wilde and Chlo Zhao will be. You must have seen her small-screen outing as red-headed chess genius Beth Harmon, in Netflix’s lockdown superhit The Queen’s Gambit, the part that properly propelled her to global renown, bagging her a Golden Globe, a Sag and a Critics’ Choice award, fantastical red-carpet fashion and fans galore.While 2020 may have disrupted the entire landscape of entertainment, few corners of the creative industries underwent as high profile a reckoning as that of film. These days, it feels like Taylor-Joy is everywhere: teenage lead in indie darling Robert Eggers’s skin-crawlingly creepy The Witch in 2015 a deliciously cruel Emma (“incredibly clever, but so bored”) in Autumn de Wilde’s 2020 Austen adaptation tragic Soho chanteuse in Edgar Wright’s chilling Last Night in Soho last year. Still, this regal get-up befits a screen royal in the making. (Later, wrapped in a bathrobe between shots, I glimpse her sneaking outside for a quick cigarette. I go to say hello and Taylor-Joy immediately pulls me into a hug, then springs back, mortified: “Can I?” she says, in that high, husky voice of hers, worried she has crossed a Covid-appropriate line. ![]() There is, it should be noted, nothing remotely imperious about the 25-year-old’s demeanour. Like subjects in a royal court, we all coo approvingly: all hail Queen Anya. As she steps in front of the camera, fixing those saucer-sized eyes down the lens, a crown is gently placed atop her head. From a dressing room, Anya Taylor-Joy emerges in a shimmering Dior dress, made from gossamer-light silver lamé muslin, which sweeps along the floor behind her. As fashion editors and models head for the Eurostar under a cold, cement sky, in a studio in an industrial north-east suburb of the city, rails of gowns – Gaultier, Alaïa, Alexandre Vauthier – plucked from the catwalk during the previous days’ shows, are waiting for another outing. VOGUE – It is late January and the end of a glittering Couture Week in Paris. Photographs by Craig McDean, styling by Kate Phelan. Hollywood’s Punk Princess: Anya Taylor-Joy Star Talks Romance, Raving & Rebellion From small-screen star to couture queen, British Vogue’s April 2022 cover star Anya Taylor-Joy is Hollywood royalty in the making.
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