The iconic American brand will feature its legendary jewellery in Guillermo del Toro’s Frankenstein, starring Glass Man cover star Felix Kammerer alongside Oscar Isaac, Jacob Elordi, Mia Goth, and Christoph Waltz. The film premiered at the Venice Film Festival and will be released in select theatres on 17 October, before streaming globally on Netflix on 7 November.

_{FRANKENSTEIN. Mia Goth as Elizabeth in Frankenstein. Photograph: Ken Woroner/ Netflix © 2025}

The film has already been praised for its striking costume design. Bold blue feathers work as bold head pieces and adorn dresses of silk and linen, while blue-gemmed necklaces glint as symbols of old-money wealth and legacy. Costume designer Kate Hawley has clearly emphasised decadence to help tell the story, and Tiffany & Co. provides the perfect complement. The brand’s iconic jewellery reinforces the film’s visual narrative, bringing glamour, history, and artistry to every scene.

This collaboration brings together Tiffany & Co.’s heritage of craftsmanship with del Toro’s cinematic imagination. A five-minute feature offers behind-the-scenes insight into how the House’s jewellery archives and historical objects were woven seamlessly into the film’s creative vision. Guillermo del Toro, Kate Hawley, actress Mia Goth, and Tiffany & Co.’s Vice President and Creative Director, Christopher Young, all share their perspectives in the feature, highlighting the artistry and precision that make Tiffany & Co. a natural fit for the story.

_{Tiffany & Co. Favrile Glass Scarab Necklace}

To celebrate the premiere, Tiffany & Co. has unveiled immersive window displays at its Fifth Avenue flagship, The Landmark, in New York City. Each of the five windows reimagines key scenes from Frankenstein through the lens of the House’s signature artistry.

Dramatic lighting and synchronised digital screens bring the scenes to life, while a QR code allows visitors to access exclusive behind-the-scenes content. Inside The Landmark, a curated presentation showcases jewels from the Tiffany Archives worn by Mia Goth, giving audiences an intimate look at the pieces that helped bring del Toro’s vision to the screen.

_{Tiffany & Co. Wade Necklace}

In London, the collaboration continues with Frankenstein: Crafting A Tale Eternal at The Old Selfridges Hotel. The exhibition recreates archival Tiffany & Co. objects on original costumes and features artefacts, artwork, and rare books celebrating Mary Shelley’s legacy.

With more than 300 stores worldwide and nearly 5,000 skilled artisans, Tiffany & Co. continues to combine luxury, creativity, and craftsmanship, proving that its jewellery can shine not only on the red carpet but also on the silver screen.

by Ellis Dowle

The post Tiffany & Co. Unveils Jewellery Collaboration for Guillermo del Toro’s Frankenstein first appeared on The Glass Magazine.

The film is directed by Ally Pankiw and written by Emmy award-winning creator Dan Levy, who also stars in the short film as the judge of a national spelling bee spanning 1971 until the present day.

Levy has built quite a career for himself over the years, with works such as his recent directorial debut with the Netflix production Good Grief and his notable work on the renowned television show Schitt’s Creek, which he co-created with his father, Eugene Levy.

Decades of Confusion also stars globally recognised actress Aubrey Plaza, known for her comedic superhits, such as Mike and Dave Need Wedding Dates and Dirty Grandpa. Possibly most celebrated for her role in the Emmy and Golden Globe-nominated series The White Lotus, Plaza is currently flourishing in both cinema and television, also recently making her stage debut in the Off-Broadway production of Danny and the Deep Blue Sea.

Plaza’s role in Loewe’s new film sees the actress portraying various contestants attempting to spell and pronounce Loewe throughout the decades, struggling to get it right.

The short film further sees celebrated archival Loewe pieces as well as hair styled by award-winning hairstylist Michelle Ceglia. Throughout the short film, Plaza redefines herself into different characters, beginning with a nervous 1970s woman with curtain bangs and large square glasses who transforms into a bold 80s Miami-style contestant.

As Plaza continues to switch between characters, we see a 90s Texan socialite carrying an Amazona bag and finalising the film, the actress embodies a modern-day fashion-following contestant wearing the car-shaped dress from the House’s FW22 runway show. 

Decades of Confusion radiates Loewe’s character with its deadpan humour, unexpected character development, colourful styling and faultless delivery. 

by Nicole Pereira

The post Loewe announces film Decades of Confusion, starring Dan Levy and Aubrey Plaza first appeared on The Glass Magazine.

_{Timothée Chalamet and Martin Scorsese}

Yielding the magnetic pull and timeless spirit of the fragrance, the two leaders in their respective fields have come together to bring a contemporary feel to the scent with a new campaign.

Taking a peek behind-the-scenes of this partnership, Glass presents you a glimpse into the up-coming campaign film shot in their shared hometown, New York:

by Imogen Clark

The post Glass goes behind-the-scenes of Timothée Chalamet’s Bleu de Chanel campaign first appeared on The Glass Magazine.

“I pay a lot of attention to costumes when watching film and television. It would be impossible not to” Heidi Bivens explains when asked if she, a costume designer, can switch off when she watches a movie or show. “I find it even more difficult to watch anything that I was up for and didn’t get because I’ll spend the whole time thinking about what I could have done differently. It will really affect the whole viewing experience for me.”

It’s that kind of passion and attention to detail that makes Heidi such a creative force in costume design – a field that, until recently, was perhaps not talked about as much but that is now getting the recognition it deserves. Especially thanks to a show like Euphoria, which she worked on for both seasons – but more on that later.

Heidi Bivens, the Emmy-nominated costume designer and international fashion stylist, began her career in New York City in the nineties, where she moved straight after high school. “I’m so thankful to have grown up in New York in the nineties and early two thousands, before the advent of social media. It was a different, simpler time and I tend to romanticise that era” she reminisces. After a period spent interning for magazines such as W Magazine and Paper and dabbling in journalism, it wasn’t until she worked as a costume PA on Eternal Sunshine of the Spotless Mind (2004) that doors really started to open for Heidi.

Behind-the-scenes from Jonah Hill’s A24 Mid90s

Her path eventually now led her to costume design and styling, having worked with boundary breaking auteurs like David Lynch, Spike Jonze and Harmony Korine, as well as on Jonah Hill’s Mid90s (2018) and of course, the phenomenon that is Euphoria. But Heidi’s true passion, as well as fashion, has always been film: “What I really love is the art of storytelling. I am interested in the bigger picture rather than perhaps the singular focus of what characters are wearing. And these days I am leaning towards writing and directing.”

Still from Jonah Hill’s A24 Mid90s

Her nostalgia for the nineties does not seem to be an isolated sentiment. Jonah Hill’s A24 produced, coming-of-age directorial debut Mid90s is like a love letter to the nineties and the skater look, placing the baggy t-shirt and jeans look to the forefront of the narrative, thanks to Bivens. She describes the project as “a special experience that I was able to share with a crew of like minded creatives. It wasn’t just a job but an amazing experience where everyone was excited to come to work everyday and make a film they believed in”.

The film follows a thirteen-year-old who befriends a crew of skateboarders in 1990s Los Angeles, which is inspired by Hill’s own childhood. It’s no surprise then that a lot of the crew had a background in skating, including Jonah Hill, Director of Photography Chris Blauvelt and Production Designer Jahmin Assa, as well as Heidi herself. “I was also a teenager during the mid nineties and was part of a community of skaters in Washington DC, so it was easy for me to jump into that world and know how to approach the costumes. I also happened to still have all of my skate mags from that era at my mother’s house, so I even took a trip home and was able to do all the ‘research’ needed [for the film].”

Still of James Franco in Spring Breakers

The serendipity of recently having worked on a film from that specific era is intriguing, seeing as nineties and early noughties fashion is clearly having a resurgence. Why does she think that is? “Fashion tends to be cyclical. The fact that the style of the nineties and early 2000s is resurfacing has to do with a younger generation who wasn’t around for it, discovering it for the first time. When I was a teenager, there was a seventies style resurgence. I remember my friends and I would search for seventies style flared jeans and crocheted knit halter tops in thrift stores. I think it’s just a matter of time before a decade’s trend will come back around again. What’s happening in fashion now will probably resurface twenty years from now.”

Still of Alexa Demie in HBO’s Euphoria

Trends, however, are not something Heidi Bivens likes to follow. Instead, she aims to think outside the box and take risks, which is probably one of the reasons why Euphoria’s creator Sam Levinson would simply write “Heidi, do your thing” as a wardrobe cue in the script. How does it feel to be working with a director who has complete trust in her vision?

“I find this kind of trust to be rare, but I only want to work this way now. And it’s tricky, because when you are working with people for the first time, you are obviously taking a chance. Now, when I am interviewing for a job, I need to feel as if I am interviewing the director in the same way. I need to have some kind of assurance that it will be a good match creatively before I sign on to a project.” Levinson’s trust has evidently paid off, and her work on Euphoria has been nominated not once, but three times for an Emmy for Outstanding Contemporary Costumes.

Still of Zendaya in HBO’s Euphoria

Biven’s contribution to the success of the series is undeniable, creating timeless, iconic looks by skilfully combining experimentation and novelty with authenticity and realism. “I think it boils down to instinct,” she explains. “It’s a combination of nature and nurture. Everything that interests and inspires me to make creative decisions is a result of everything I have seen and experienced in my life so far, but there is also a gut feeling that is part of my emotional make-up and that isn’t necessarily something I’ve learned.”

By not following trends and using her instincts in order to create timeless looks for Euphoria’s characters also meant that, when production was on a halt due to the pandemic – they were just about to start shooting the second season when Covid-19 hit – there wasn’t a need to make any significant changes. Her costuming decisions turned out to be, once again, on point: when season two came out it brought us even more wardrobe envy and, importantly, continued to address specific topics like body positivity and body ownership.

Still of Barbie Ferreira in HBO’s Euphoria

“When I was working on the first season of Euphoria, I was very aware that the female cast were very body positive in a way I wasn’t used to when working with actresses” she says. “It was incredibly refreshing and became part of my agenda with the costumes: to celebrate the female form in a more carefree way and not worrying about judgement or criticism. With the second season there was an opportunity to continue with that approach, but as a talking point ‘body positivity’ had become kind of a cliché and was even parodied in a daydream scene, where Kat [Barbie Ferreira] is overwhelmed by influencer types shouting ‘love yourself’ in her bathroom mirror.”

Another noticeable feature when it comes to the costume design in Euphoria is each character’s individual colour palette, a conscious choice that seemingly reflects the character’s arc and inner life. “From the very beginning, I understood that it would be important to differentiate the look of the characters on the show, seeing as they often appear on camera together as an ensemble cast,” she explains.

“Colour is an easy way to build a signature look for a character and using similar colours over time, the audience begins to identify and associate those colours as belonging to a specific character. And as the story progresses, the gradual changing of colours in costumes is an easy way to illustrate the characters’ psychology and emotions.”

Still of Maude Apatow in HBO’s Euphoria

And when it comes to her own personal style, does she feel, like the characters she dresses, that it encapsulates where she is in life: physically, mentally, emotionally, professionally? “One hundred percent. But I am also a creature of habit and don’t experiment much with my personal style these days. Instead, I have a lot of fun living vicariously through the characters. One of the best things about creating costumes for teen characters is that they are experimenting with style, and figure out who they are and what they want to be on a daily basis, so there is a lot of room for trying out different ideas.”

Still of Hunter Schafer in HBO’s Euphoria

Heidi seems to inherently know what young people respond to and relate to when it comes to clothing, capturing the essence of youth that promotes confidence and individuality. So, how important is it for the younger generation to express themselves through clothing?

“It’s one of the most visible and visceral ways to express yourself. I’m hoping that people are inspired to take more chances with their style after watching [Euphoria]. Bullying has been such a big problem for young people in the past, but several reputable university studies have shown that bullying and cyberbullying statistics are down since the pandemic. We seem to currently be in a time of more acceptance for young people to express themselves, without fear of being ostracised for it.”

So what’s next for Heidi Bivens? “At the moment I am working on producing a few projects: a show from the same producers as Euphoria called The Idol, and a motion capture animated show called Gossamer, of which I directed the first four episodes. I’m most excited about an erotic thriller I’m writing for a feature length film. But most importantly I am involved in a non-profit organisation called The Film Path, which mentors below the line BIPOC and transgender artists in film and television.” A perfect example of a multi-hyphenate, if ever there was one.

by Roxanne Nielson 

The post Glass speaks to costume designer Heidi Bivens on her euphoric instinct first appeared on The Glass Magazine.

Dior Nuit Romaine film © Noemi Ottilia Szabo

Nuit Romaine follows ballet dancers Eleanora Abbagnato and Friedemann Vogel as they are accompanied by various dancers and performing Angelin Preljocaj’s ballet.

Dior Nuit Romaine film © Noemi Ottilia Szabo

The legendary palace does not only serve as location for the film but also a narrative setting that is in dialogue with the costumes designed by Dior. Nuit Romaine merges the virtuoso craftsmanship of Dior ateliers with that of the Teatro dell’Opera di Roma, all under the guidance of Maria Grazia Chiuri.

Dior Nuit Romaine film © Noemi Ottilia Szabo

by Julie Heinisch

Dior’s Nuit Romaine can be discovered on Dior’s Youtube channel and social media accounts on International Dance Day, April 29 at 3pm.

The post Dior presents their new film – Nuit Romaine first appeared on The Glass Magazine.

Directed by Georgia Hudson, the film follows a mannequin as it discovers incredible pieces of art, design and performance in different parts of the museum.

Still from V&A’s Creativity. It’s What Makes Us

The film really shines through its amazing fashion, jewellery, photography and sculpture hidden within the V&A walls. The mannequin is played by dancer and lead choreographer Max Cookward, who dances his way through the galleries of the museum accompanied by a haunting soundtrack.

As the film continues the mannequin meets other dancers and together they move through the empty halls of the V&A.

Still from V&A’s Creativity. It’s What Makes Us

The film ends with its title appearing on screen: “Creativity – it’s what makes us human.”

Still from V&A’s Creativity. It’s What Makes Us

With this film, the V&A museum seeks to show people that the more creativity they experience, the better lives become. The V&A invites and encourages its visitors to experience the world through creativity sparking joy, surprise and new perspectives.

by Julie Heinisch 

V&A’s Creativity. It’s What Makes Us can be watched at V&A

The post V&A museum releases their new film – Creativity. It’s what makes us first appeared on The Glass Magazine.

Loewe Spirited Away collection by Juergen Teller

Iconic characters from the 2001 picture will feature on ready-to-wear garments, blankets, scarves and various bags and other small accessories. The protagonist Chihiro, the sorceress Yubaba and the infamous spirit with no face are all featured to create, what Loewe hopes to be, a “wearable movie”. 

Throughout the collaboration the brand made use of the traditional Japanese ‘boro’ technique. By doing so, they used mended and indigo-dyed fabric scraps, and patchworked them together to create Kasuri textiles and anagram jacquard canvas for the clothes and bags. Loose and free-flowing silhouettes run throughout the collection. With oversized t-shirts, jumpers and culottes allowing more room to recreate a scene from the whimsical world of Spirited Away. 

Loewe Spirited Away collection by Juergen Teller

Loewe Spirited Away collection by Juergen Teller

Loewe Spirited Away collection by Juergen Teller

To bring this world to life, Loewe brought in the help of photographer Juergen Teller for the campaign images. Teller shot a unique cast, with singer and performer Dua Saleh posing alongside models Kit Butler, Hyunji Shin and Mica Arganaz. The result, pure Ghibli fantasy.

by Pia Brynteson

The collection will be available for purchase from January 7, 2022 from Loewe

The post Loewe collaborates with Studio Ghibli on Spirited Away collection first appeared on The Glass Magazine.

Untitlab’s AW21 collection entitled Entropy

Untitlab’s AW21 collection entitled Entropy

Renowned for their dedication to crafting superb footwear, the campaign incorporates pieces from untitlab’s AW21 collection. This season the brand debuts the Bio Canvas Trainer and Reel Canvas Derbies, with both styles fusing coatings and linen fabric to allow the shoe surface to evolve over time.

The brand’s footwear can be seen in the campaign on ghost-like creatures as they ascend to the spirit world, where they are confronted by the depth of human desire.

Untitlab’s AW21 collection entitled Entropy

Untitlab’s AW21 collection entitled Entropy

Since untitlab’s debut in 2019, the founders have continued to employ their campaigns to spread a message of freedom, with this seasons version telling a particularly present story of a liberated world free from constraints.

First appearing at Shanghai Fashion Week, Untitlab has advanced to show at Pitti Uomo, Paris, and London Fashion Weeks. The label proceeds to abide by their ethos of a genderless approach to design, imbuing the philosophy of self-expression into the heart of their brand.

by Sophia Ford-Palmer 

The post Untitlab launch their AW21 anime campaign first appeared on The Glass Magazine.

Anthony Vaccarello’s French Water film for Yves Saint Laurent summer 2021

Anthony Vaccarello’s French Water film for Yves Saint Laurent summer 2021

The film is a heady mix of mystery, mirrors and motion. The camera focuses on a solitary waiter as he observes Julianne Moore and Chloë Sevigny dart between mirrored doors, as they both search for their friend Charlotte. Illuminated by a rich indigo light, each cast member suddenly appears next to the waiter asking for Charlotte, concluding with the waiter offering French water.

Anthony Vaccarello’s French Water film for Yves Saint Laurent summer 2021

With music performed by Noveller and The Brian Jonestown Massacre, the waiter’s hypnotic state is heightened by each actor vanishing and reappearing, creating a vertigo-like sensation for the viewer that leaves an impression.

by Sophia Ford-Palmer 

The post Yves Saint Laurent release a short film starring Julianne Moore and Chloë Sevigny first appeared on The Glass Magazine.

A still from Just for Today – a short film by Jam Patel

Just For Today by Jam Patel

Credits:

The post Glass presents Just For Today – a fashion film by Jam Patel first appeared on The Glass Magazine.

This notion is exactly what McCartney focused on when designing her spring-summer 2021 collection. Connecting the dots more than ever before between body, nature and art, the designer is turning a new leaf and revaluing what she wants her brand to stand for.

Stella McCartney has written an A to Z Manifesto that refocuses the core values that the brand is built upon, as well as making a conscious effort to be more sustainable than ever. The conclusion is the Stella woman is a woman of the future.

The SS21 collection is the first step in the brand’s aim to make luxury fashion more environmentally friendly by using 65 per cent sustainably sourced materials and repurposing archive fabrics to minimise waste.

With self-expression and freedom playing key roles for SS21, silhouettes are more experimental and cuts give sporty vibes both emphasising the body.

The colour palette plays at both ends of the spectrum, from rich vibrancy in hues of tangerine orange, peach and sky blue to more neutral tones overall creating a collection with something for everyone.

The collection seeks to celebrate both innovation and tradition. Referencing BMX detailing with ribbing and geometric prints that allude to sportswear mixed with cycling shorts and tight-fitting tops which are juxtaposed by traditional British tailoring and well-known fabrics such as wool and linen compiling a collection that is contemporary to its core.

Blurring the lines between indoor and outdoor, Stella presents Stellawear, a branch of her already incredibly established brand that fuses lingerie with swimwear – all made from Aquafil Econyl®, a regenerated nylon.

Yes, every inch of this new collection is deep seated in the Manifesto giving her customers luxury with no bad conscious!

The SS21 collection introduces a new footwear shape, the Daisy clog sandal. Of course, it’s vegan and made from sustainably sourced wood with cruelty free hardware. Fashion with no fuss – what more could you want?

The seasonal update of the much-loved Falabella, Logo and Hobo bags return in new tones of blue, yellow and green, but also sizes vary either reimagined as far smaller to accompany you on your daily routine, or large enough to be a beach bag.

The past season of shows have given us hope and a glimpse of the lifestyle we all so badly want back. Stella McCartney did exactly that but better. She showed us a greater future. One where luxury fashion and sustainability walk hand-in-hand.

If the collection taught us anything it was we can’t go back, we can only go forward.

by Imogen Clark 

The post PFW SS21: Stella McCartney first appeared on The Glass Magazine.

“I JUST enjoy the genre, I always have since I was a little girl. I remember sneaking behind my parents to watch horror movies, and my grandmother letting me watch The Exorcist when I was seven.” Forthcoming Lucy Hale vehicle, Fantasy Island, is a long way from The Exorcist. There will be no spinning heads, no demonic possession, and no priests on speed dial. There is one tenuous link, however.

“Some people were throwing up. It was just crazy … For Fantasy Island, we were filming in crazy locations – imagine 150 crew members lugging all the equipment up a mountain to this bat cave at the top while it’s insanely hot and humid. But trust me, when you see it in the movie it’s really worth it. It’s so beautiful.”

This will be Hale’s second film with horror behemoth, Blumhouse Productions, the studio behind pretty much every successful horror movie of the last decade: the Insidious franchise, the Paranormal Activity franchise, The Purge franchise, Get Out, plus about 60 more. Blumhouse are prolific. “I’m a huge fan of Blumhouse! This is my second time round [after Truth or Dare, 2018], so I was so excited that they asked me to come back and do another one. It was good fun.”

While Truth or Dare followed the familiar Blumhouse penchant for autonomous, supernatural games (think college party-game gone wrong, killing everyone at the party in the process), Fantasy Island feels like a drastic change in direction – more ambition, and certainly more capacity for surprise. We decide that it’s best described as a mix of Charlie and the Chocolate Factory and Fyre Festival: The Movie.

Photograph: Ssam Kim

“That’s really funny actually. I hadn’t put those two together, but totally.” In a period of intense division, it was the collective schadenfreude of watching a legion of fully fledged, wanna-be influencers have their summer holidays totally destroyed that brought the world together. Looking back a few years on, what was all that about?

“I think there’s such a fascination with the rich and fabulous and famous – take the Kardashians. But, obviously, there is something humbling about watching people who seem to have everything trip and fall, every once in a while. I think it’s the same reason we google people falling or messing up, you know? I think at the end of the day, we all like to feel equally human.

Photographer: Ssam Kim

“The guests [of Fantasy Island] in the movie, it’s kind of like they’ve won the golden ticket … like Charlie and the Chocolate Factory: they get the golden ticket and go to this island, where it is we don’t really know, and they’re each granted one wish. My character wants to get revenge on a childhood bully, and, based off the trailer, you know …”

There’s a sharp inhale of breath. “We think that it’s all innocent fun and games, that everyone goes home and continues with their normal lives, but no. Things kind of take a left turn: they get dark and twisted … I guess the whole moral of the movie is be careful what you wish for because it might come true.”

Unlike Fyre Festival, the horrors of Fantasy Island ended with the word cut, with the rest of Hale’s two- month stint filming in Fiji relatively plain sailing. “Two months in Fiji: amazing. I had never been to that part of the world before. We all lived in the same hotel, except for two weeks when we actually all had to live on a boat together, because some of the locations we were filming at were literally in the middle of nowhere. So yeah, we had to live on a boat and we got to know each other very, very well.”

Photograph: Ssam Kim

Hale’s horror credentials are well earned. As well as her Blumhouse work she also appeared in Scream 4 in 2011, in “the Drew Barrymore” role, as she describes it. It was fleeting but memorable: “So, I get a phone call, and then I go to the door, and then I get my throat slit. And then I die. We rehearsed the murder so many times, over and over again, so that when we shot it we would hopefully get it right straight away, because it would’ve taken forever to redo … to shower and wash all the blood off, then put the blood tubes back in my neck, and all the prosthetics back on.”

Scaring the bejeezus out of teenagers is a process. “And we got it, on the first try. What you see in the movie was a one-take, which was so rare and so cool.” Even more impressive is the fact that it was done in front of one of horror’s most revered modern directors, the man responsible for The Hills Have Eyes, Nightmare on Elm Street and, of course, the Scream series. “I was so lucky that it was Wes Craven – I think it was one of the last movies that he directed – so to meet and work with him was very cool.” Then again, if you can sit through The Exorcist at seven, you can do anything.

Photograph: Ssam Kim

It’s another, completely different childhood movie that Hale holds closest to her heart, and one that’s arguably shaped her aspirations as an actress. “I remember putting on Grease and watching it over and over again. Also at my grandmother’s house – she introduced me to a lot of cool movies, and just generally cool stuff. When I fall in love with something, I watch it over and over again or listen to it over and over again, until I get sick of it. Then I reappraise it years later and do the same thing again. Grease is still one of my favourite movies, I think it’s a classic.”

With this in mind, Hale’s pattern of playing out the genres she absorbed as a child suggests that surely a musical is on the horizon. “Absolutely, I would love to. It’s always been on my bucket list to do Broadway, but I think it’s kind of a right place and right time sort of thing.” Until time and place conspire to make that happen, upcoming series Katy Keene (with Hale in the titular role) should offer a taste of her musical chops.

Photograph: Ssam Kim

“I think some of the work I’m most proud is one of the projects I’m filming right now, Katy Keene, which premieres in February. It’s been a really fun challenge, like one of those dream jobs. [Katy Keene] is from the same universe as the Archie comics and made by the same creators as Riverdale. It all takes place in NYC and it follows these four 22-year-olds trying to make their dreams come true. It’s about the struggle of trying to achieve what you want most. My character is an aspiring designer and my roommate wants to be on Broadway … it’s a real coming of age story, like Sex and The City meets Rent.

“We feel so lucky that we actually get to film there. We really showcase the city, so [the end product] is that nostalgic New York, the New York that you want it to be. Plus there’s the musical aspect … it’s a very unique show. I don’t feel that there’s anything else like Katy Keene. It leaves you feeling very inspired.”

Photograph: Ssam Kim

Watching the trailer for Katy Keene, Sex and The City meets Rent seems an apt synopsis, yet when preparing to play a young women following her dreams to the big city, Hale looked much closer to home for inspiration.  Indeed, 15 years ago she did it herself, leaving Memphis for California before she’d even turned 16. “I started all this really young. Having to grow up really quickly and support myself at a young age … it’ a lot of pressure for a young person. I’ve been living in LA since I was 15, so I’m kind of proud of myself for just keeping it together. It’s so easy to get sucked into, you know … going down a different path. Things could’ve been so different. That’s not me saying things have been perfect, they haven’t been. It’s not easy to have rejection be such a huge part of your life.

“I just think that it’s so cool that so many actors create this thick skin and keep at it. I have a thick skin, but I don’t really feel like it’s jaded me either – I know a lot of people have been through it and it’s made them hardened to the world. I’ve just somehow been able to see past it all and create my own sense of identity, and deal with all the things that my career throws my way. In the last couple of years, I feel like I’ve really come into my own.”

With a newfound love for Tarantino movies – “he’s so bonkers in the right way”– and the feeling that the umbilical cord bonding Hale to teenage roles has finally been cut, what’s next, post-Katy Keene and Paradise Island? “If there was a really edgy, dark, fucked-up role that was given to me and it felt right, I would absolutely jump at that. We’ll see what sits right with me. I just want to shock people. Just a little bit.”

by Charlie Navin-Holder

Photographer SSAM KIM

Stylist MELINA CHEN

Make up MARY WILES at FORWARD ARTISTS 

Hair DANIELLE PRIANO at THE WALL GROUP usin PSXDANIELLE

Manicurist JINI LIM at SEE MANAGEMENT using ESSIE in LICORICE and MATTE ABOUT YOU
Production coordinator WINDY LEE 

Photo assistant JACK WOOKJIN CHOI
Styling assistant MELODY HUANG 

Special thanks to MOXY CHELSEA NYC 

Look 1:

BALENCIAGA

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ALEXANDER MCQUEEN

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Dress GUCCI
Earrings CHANEL

Look 4:

Blazer ALEXANDER WANG
Shirt PRADA

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Blazer ALEXANDER WANG
Shirt PRADA

Boots CALVIN LUO

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PRADA

The post Glass interviews the queen of scream – Lucy Hale first appeared on The Glass Magazine.