After taping her appearance on Good Morning America yesterday, Isla attended a cocktail party for the opening of a collaborative exhibition project between Catherine Martin and Miuccia Prada of Gatsby themed dresses. Isla looked super chic in a little dress by Prada, and posed at the party with Catherine Martin, Baz Luhrmann, Katy Perry, Jennifer Meyer and Carey Mulligan. The first HQ photos from the party can be seen in our Gallery, and there are more pics to come in the next few days. Scroll on down this post for an article about the party.
It is the world premiere of The Great Gatsby in New York City tonight – so exciting! Isla is scheduled to attended, so we will bring you full coverage right here tomorrow 😀
Prada Your World – The Great Gatsby Celebration Begins at the SoHo Boutique
Let the Gatsby begin. At the kick-off event for a week of champagne-soaked celebrations for Baz Luhrmann’s new film, the director found himself at Prada’s SoHo store, hands on hips, amid flapper-era frippery. “Miuccia does the odd good thing every once in a while,” he joked in what was surely the understatement of the evening. Because, as anyone knows by now with Baz, no visual gesture is too grand. Enter Miuccia Prada, Luhrmann’s friend since a cameo collaboration on 1996’s Romeo + Juliet, and her cadre of drop-waisted, fringed, pailletted, rhinestone-encrusted costumes culled from her archives and tweaked for Luhrmann’s retool of F. Scott Fitzgerald’s classic. “What interested me most about the collaboration was that here were two incredibly creative people who both used references from the past, but in completely different ways,” Catherine Martin, Luhrmann’s wife, costume designer, and co-visionary, confided: “With Baz, more literally, because he’s trying to tell a story, and with Miuccia, it’s more of an oblique, lateral perspective on how that happens.” She paused, eyes scanning the installation that will ultimately travel to Prada epicenters worldwide. “One of Baz’s first tenets to me was, ‘I do not want a nostalgic, sepia-toned New York. I want it to feel as visceral and modern and as exciting as it would have felt to Scott Fitzgerald. I want the clothes to feel unexpected.’ ”
As per anything Prada, the evening itself was delightfully unpredictable. Guests wended their way through a sloping display steeper than, say, the stock market drop in ’29 (those spindly, sculptural heels didn’t help). Then suddenly, a coterie of faces known to the fashion set by their first names: Katy, Florence, Alexa, Shala, Hanneli, Harley, and Anya appeared. “What does Gatsby make me think of?” Katy Perry, in a floral-print Prada frock, pondered. “Gasping! It makes me think of gasping. Like,”—sharp intake of breath—“that seems so twenties! Personally, I go for more of a forties vibe, but I prefer anything that Baz does.” Now wedged between a crush of onlookers, Perry gestured towards Florence Welch, channeling the seventies in a wide-brimmed black hat and pantsuit. “She’s my spokesperson,” Perry teased, turning away to take a picture with improbably Prada-clad children. Welch laughed, eyeing what had become the chicest of mosh pits. “Being lost in a throng of noise and lights—this entire environment sums up that Gatsby feeling pretty well—just look around. Look around!”
If one took Welch’s advice, one would have seen—or rather, attempted to see—Miuccia herself, head barely bobbing above the tangle of flashbulbs and iPhone-wielding guests, generating the kind of hysteria usually reserved for that other revered Italian icon: the Pope. But perhaps Shala Monroque summed up the appeal most succinctly: “She’s a great mind, and it’s a great story. They just go together.”