Costume Party: How To Dress Like Two French Girls


The clothes in ‘The Young Girls of Rochefort’ are a Gallic fantasy

Jacques Demy's 1967 musical, The Young Girls of Rochefort, wraps a buoyant story of romantic entanglements (with a random aside about a murderer thrown in at one point) in an eye-popping array of pastel shades. Featuring the effervescent Catherine Deneuve and her sister, Françoise Dorléac, playing twins Delphine and Solange, the film may not have the emotional wallop of Demy's earlier Deneuve-starring The Umbrellas of Cherbourg (1964), but it does have a pure '60s sense of pop art fun and fabulous attire.

Dorléac never reached the heights of Deneuve's fame, as she died tragically young in a car crash the year The Young Girls of Rochefort was released. Knowing this adds a certain poignancy to her plucky performance alongside her sister. She would've turned 76 late last month, which provides an ideal opportunity to look back at this film.

Demy plays on the protagonists' sisterhood by having them always dress alike. It could be a corny device if the outfits weren't so charming. Delphine and Solange wear the same wide-brimmed hats and flippy dresses in different colors. One can imagine them having perfectly coordinated closets, and every element of each of their outfits is made to match.

Sisters dressing this way is par for the course in the colorful town of Rochefort. There are no little black dresses or drab suits here, and the townspeople's collective outfits provide a cheerful spectrum of yellows, pinks, and blues. With warmer spring weather on the horizon, there's much sartorial inspiration to be found in these pastels.

The colors of all these costumes—so obviously stylized and very much an auteurist choice—add to the heightened atmosphere of the musical. Not only do we suspend disbelief that people would break into song, but that they would all be dressed in perfectly complementary outfits while doing it. It's a giddy illusion, and when you consider that Rochefort is a town in which both women and men wear white go-go boots, it seems like a pretty fun place to live.

This is the kind of fantasy setting where you can wear a giant hat bedecked with a veritable bouquet of flowers and what looks like a cluster of grapes and no one comments on it. Solange ties the look together with dainty white gloves.

The costumes in the film seem to flow out of the small-town setting with a surprising ease. Delphine's all-yellow outfit perfectly matches a yellow building that she strides past.

Later, in the simplest ensemble she wears in the entire film, a blue-and-white outfit, she sits in a plaintive mood, appearing in harmony with the empty restaurant setting.

While the aesthetic of the film is unmistakably '60s, some of the costuming borrows from earlier decades. When the sisters are roped into performing in a show, they wear sparkling, form-fitting red dresses that recall Marilyn Monroe's sultry '50s femininity in Gentlemen Prefer Blondes.

Even when they're lounging around at home, the twins look fabulous. They wear sheer, billowing peignoirs trimmed in marabou. The two robes are the same but, of course, the colors are different. Solange's orange look plays off of her red hair, while Delphine's light blue gives her a Cinderella-like appearance. These sorts of robes—elegant and soft, and decadent in the suggestion that they are meant to be worn at home while looking so glamorous—also recall the costuming of Golden Age Hollywood cinema.

Pairing off with men doesn't break the sartorial spell. In a sly bit of visual comedy, when Demy shows the sisters embracing their suitors, the men are dressed alike in white jackets and pants, and both women are wearing spangled shirts (also with white pants). With outfits so harmonious, the film posits, How can they not get together? Fashion is a visual cue for relationships here, and one starts to wonder if, when the sisters go their separate ways, they'll start dressing differently. It's hard to say, but watching the film build a fashion statement out of sisterhood makes for unforgettably colorful fun.

Screenshot via YouTube

The band shared details about their new St. Vincent-produced album that will drop "you into the world of catastrophe"

Sleater-Kinney just shared more information about their St. Vincent-produced album and dropped a new single.

Per Billboard, Sleater-Kinney revealed that their new album, which they've been teasing since early this year and will be their first since No Cities To Love from 2015, will be called The Center Won't Hold. It's due out on August 16 via Mom + Pop Records. "We're always mixing the personal and the political but on this record, despite obviously thinking so much about politics, we were really thinking about the person—ourselves or versions of ourselves or iterations of depression or loneliness—in the middle of the chaos," Carrie Brownstein said in a statement. Corin Tucker further noted that the new album will "[drop] you into the world of catastrophe that touches on the election."

Janet Weiss noted that the band will "explore a different sound palette" with this album, and pointed to St. Vincent as the reason behind it. She said that St. Vincent "has a lot of experience building her own music with keyboards and synthesizers so she could be our guide to help us make sense of this new landscape and still sound like us."

To satiate us until then, the band released a lyric video for new single, "The Future Is Here," which is very grungy. Bump it, below.

Sleater-Kinney - The Future Is Here (Official Lyric Video)


This is so satisfying!

Even Jon Snow knows just how unsatisfying the final season of Game of Thrones was, and he's ready to apologize. Well, a deepfake of him is at least. A heavily-edited version of Snow's speech from the fourth episode—just before the bodies of those lost in the Battle of Winterfell get burned—now features Snow apologizing for the conclusion of the show and lighting the script on fire.

"It's time for some apologies. I'm sorry we wasted your time," Snow begins. "And I know nothing made sense at the end. When the Starbucks cup is the smallest mistake, you know you fucked up! We take the blame. I'm sorry we wrote this in like six days or something," he adds, before signaling to his peers to light the script with torches and "just forget it forever." "Fuck Season 8," he says before the pages begin to crackle and burn.

If there were more lines left to alter, we would have loved to see Snow also tackle how messy Brienne of Tarth and Jaime Lannister's story line ended up, as well as Bran's kingship, Cersei's boring demise, and the water bottle appearance.

Watch the entire deepfake and try to heal the wounds left by HBO below.


Photo by Darren Craig

It premieres today, exclusively via NYLON

In LP's song "Shaken," the most recent single from her 2018 record Heart To Mouth, she tells the story of seeing her lover out with someone else—ouch. Today, exclusively on NYLON, she releases a cheeky animated music video that pokes fun at the song's heightened drama and perfectly demonstrates all the angst that comes with falling hard for someone.

"She looks at you like I used to/ And I'm just sitting in the corner sh-sh-shaken," LP sings, as the visual—with art by Maayan Priva—depicts the singer hanging out in a bar, watching the girl she likes meet up with another girl. Despite the situation's inherent drama, "Shaken" is less of a ballad and more of an upbeat bop. LP told us she loves the way "this little video captures some of the fun of the song, and its inherent comical anxiety." Sure, heartbreak isn't that funny, but our (sometimes) overly dramatic reaction to it kind of is.

"'Shaken' feels like a bit of a wild card on this record," LP says. "It's the closest I've come to writing a musical, which I hope to do one day." We heartily endorse this idea: Please, LP, give us the queer jukebox musical we crave.

Until that day comes, though, you can watch the music video for "Shaken," below.

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Photo courtesy of Sony Pictures.

This cameo has the Beyhive buzzing

I went to see Men In Black: International alone. Which would have been fine if it wasn't for the shock I received when I saw two specific characters on the screen. Unable to keep it to myself, I shared a curious look with the stranger next to me, who was obviously thinking the same thing as me. "Is that them...?" I whispered first. "I think… so," she replied. Then the two men in question started to dance, and we were both sure: "Yep, that's them."

It was Laurent and Larry Nicolas Bourgeois, better known as Les Twins. Fans of Beyoncé will recognize the duo as the talented brothers who often accompany her on tour and in music videos. In Men In Black: International, the two of them play shapeshifting entities—they're more like energy forces than aliens—who pursue Tessa Thompson's and Chris Hemsworth's characters throughout the duration of the film. The twins' ability to manipulate their bodies in ways that are graceful and otherworldly really helps sell them as extraterrestrials and is fun to watch.

So if Thompson in a suit or Hemsworth shirtless weren't enough motivation, here's another reason to go see it. If you look close, you can see them in the trailer below.


Photo by Dimitrios Kambouris/Getty Images for The Met Museum/Vogue

"I am honored to share this bonding experience with my own daughter"

In a heart-warming Instagram photo, Serena Williams shares the history of hair braiding and the importance of the tradition. The tennis player shared a photo of herself braiding her daughter Olympia Ohanian's hair and spoke about how "honored" she was to be able to "add another generation" to the tradition of the practice.

The photo shows Williams attentively braiding her daughter's hair while Olympia smiles, obviously loving the experience. Williams noted that hair braiding was created by the Himba people in Namibia, Africa, and that "we have been braiding our hair for centuries." "In many African tribes braided hairstyles were a unique way to identify each tribe," she continued.

Williams pointed out that braiding is a bonding experience. "People would often take the time to socialize," she wrote. "It began with the elders braiding their children, then the children would watch and learn from them. The tradition of bonding was carried on for generations, and quickly made its way across the world."

Williams closed her post with a sweet message about her daughter, saying that she's "honored to share this bonding experience" with her.

See the post, below.