Bespoken

Tár, conducting style.

I expected to enjoy the movie Tar.

I was hooked on the trailer, and further committed to Cate Blanchett.

What I didn't expect, was to be so struck by the wardrobe.

A movie about a conductor, who is without scruples when it comes to getting and keeping what it is she wants, did nothing to prepare me for a wardrobe that has haunted me ever since.

I have yet to decide whether or not I am surprised to have been right about The Row vibes, throughout.

Though only one piece, (the cashmere coat that costs a small mortgage), was actually by the brand, the ethos runs throughout the movie; and that can be put down to the costume designer's personal love affair with the fashion house.

I took the liberty of reading a few articles about the wardrobe choices for Cate's character, because every strong ideal I've ever felt, in the fabric of my wardrobe dreams, paraded before me with every costume change.

The shapes that defied both form-fitting and looseness, subscribing to neither but rather skimming the body for form, and falling away from it for fluidity, and the fabrics that were hushed and discreet; complimented everything about the environments they breathed in.

Cosy cashmere and collars

I like the below quote, regarding craftsmanship. It's nice to read other people's words regarding clothing, and style, that perhaps reeks of expense, but points out why.

Hand-knitted sweaters also helped communicate Tár’s appreciation for “good craft work,”...

“Somebody who lives in this super-beautiful apartment has only nice sweaters,” Daigeler points out. “They don’t wear something that’s itchy.”

You'd be forgiven for thinking that a living space sells itself, by its mid-century furniture and stylish architecture; by the lighting, and meticulously chosen accessories throughout - hinting at the livelihood of its occupants; but I noticed the exquisite taste by following Lydia's padded footsteps from beneath the sort of trousers you just know, by their dampened sound and heavy drape, are made from quality wool.

Even the sharply creased, impeccably tailored trousers, designed to give the conductor's core extra support by hugging at the natural waist, melted perfectly into an armchair at home.

Something about cashmere against a backdrop of book shelves communicated a butter soft feel, without being required to actually touch it.

Everything was cosy in the way that luxury is cosy.

A pop of colour

There was a clever use of colour, in Lydia's wardrobe. The pop of purple is reminiscent of the way The Row use colour. You can't miss it, but it doesn't dominate.

Never once are words like beautiful, or dare I say, fashionable, used to describe the clothing, or Tar's personal style. And for good reason. If I bother to question how I would want my own style to be described, it would err on the side of the unfavourable adjectives that have been used to describe the conductor's style, too.

Words like "imposing, and sparse" are unlikely to be the most popular adjectives for one's self-described style choices, and yet, sign me up.

This is the amazing thing about it never being too much nor too little.

I feel compelled to assume most would prefer to be complimented on their outfit's pieces, and yet, the quiet reverence that innate taste and style brings, when it's so perfect, luxe and dare I say unattainable, is my preference.

Lydia communicates power and success through her meticulously curated wardrobe... also characterized by sleek, tailored silhouettes that say, “Don’t fuck with me. I am very powerful and very busy.”

Strong suiting

The director describes the costume designer as an “absolute magician [who] is never pointing to the trick.”

A great suit may not get you to empathise with her, per se, but it certainly forces you to admit that you want what she has—and, perhaps, to tacitly validate how she got it.

I've always loved suiting, and something about the slightly looser fit of Lydia's suits, and the lack of pointed toes and stiletto heels, (actually, the lack of any heels), take it from "I'm trying to impress you, and convince you, of my importance" straight into "I've already impressed you. You're already convinced."

Tailoring does not necessarily have to translate into sharp, or fitted.

The cleverest lines are quiet, and don't rely on overt tucks and darts.

It doesn't mean they're not there, it's just that they don't take all the credit.

She’s a powerful woman with a very high position in a place that’s usually male-ruled. I would say she has a closet of designer clothes and very good taste, but she gets dressed fast, without thinking. She doesn’t spend time getting ready and making choices in the morning, but because she has these nice clothes, she knows she will always look good and be well-dressed.

Cuffs and details

I was quite taken by the finer wardrobe details, such as the turned-back cuffs on this jacket to accompany the turned-under watch. I am also quite smitten by the relaxed structure of the whole ensemble; pleated, pressed pants with the sharp tailored crease, that fold as she moves without losing their shape.

The jacket of perfect proportions, and the powder blue shirt that softens everything simply by being.

... Tár’s fashion is about both precision and artistic abandon.

... distinctive and subtle...

... it’s not incidental that her material lifestyle is deeply seductive, from her expensive clothes to her modern apartment filled with designer furniture...

A vested interest

I've had my eye on a black sweater-vest identical to the one she is wearing; and something about the folds on that white shirt underneath are a testament to the truth that lies in the below quote.

But as much as Tár can live a somewhat monastic musical life, her overwhelming drive is for fame and fortune. For her, exquisite clothes are a tool to solidify her success and power. For moviegoers, on the other hand, they’re a destabilizing measure, bringing our tastes and aspirations into uncomfortably close alignment with those of a detestable person.

I would absolutely describe her taste in clothing as destabilising. Somehow the texture of the wool pants and the perfect marriage of her vintage Rolex with her, (I'm guessing), cashmere sweater-vest, has convinced me that her glass of red wine is an exceptionally good one.

Scarves

The use of scarves was exquisite. Each scarf shown has a strength and an elegance; from the powerful, geometric design that was worn with a suit to rehearsal, (and complimented Lydia's persuasiveness over an already smitten individual, who gifts her a Birkin!); to the watercolour scarf that adds a slight femininity from under the lapels of an oversized coat. I don't mean to imply the metaphor was intentional, but it seems to me to mimic the

political, cancel-culture themes that are woven into the story.

I love the elegantly knotted scarf elevating a simple shirt collar and sweatshirt; and the wool scarf is the height of quality and good taste. I am reminded, again, of how much better everything is in its simplest form.

Jackets

One of the earliest scenes is of Lydia getting a bespoke jacket made. I love that piece of footage because it communicates her love for precision, and craft.

What I like about her jackets is that they're clearly tailored, and fit impeccably, but the fit appears to have a masculine inspiration to it. Let me explain.

When you shop for a women's jacket straight of the rack, more often than not you're faced with a jacket that has an exaggerated waist tapering, and obvious darts. They're also typically quite short.

The jackets in the movie are structured but when she moves, so do they. They're the sort you can tell are easy to slip into; each arm able to glide through the sleeves and the body of the jacket sitting snugly, and almost heavily, on the shoulders. It has a thud when it's thrown on the top of the piano, and yet it seems to sail there, defiant of its own weight.

That's quality.

Tee-shirts and turtlenecks!

There were a few variances of the turtleneck under the open shirt. I particularly like the outfit where she's traveling, and she has teamed the look with a large coat and a baseball cap. She looks so comfortable and prepared on all fronts for travel, whilst also looking expensive. (Not to be confused with look 'rich'; which is a very different thing.)

And of course, a crisp white Tee with black pants is about as effortless as it gets.

Au natural

We are back to the sweaters over the shoulders.

I love this because you don't have to one-up your coats, one on top of the other, in order to add warmth to your outfit. You can always carry something to layer in between to give extra warmth, but that which is easier to carry around with you.

I love the way her cashmere sweater here looks. You can tell it would melt in your fingertips. That stone colour is also really lovely. It's not as harsh as white, but hasn't converted to the sickly yellow of cream.

And lastly, a mention for the imperceptible makeup and hair styling. It's really tricky to do a natural hair and makeup, that's believably natural (and still appealing!)

In some stills you can see that there is clearly makeup used for definition. Strength in the eyebrows, which is typically done to aid an impenetrable gaze; depth and structure given to the face without anything visible. Of course, you don't expect to ever encounter clownish blush or stripy bronzer in the world of professional, cinematic makeup, so it would be a disservice to praise its successful avoidance; but I will say that sometimes you can detect the believable sort of use of contouring, and blush. It looks natural, but it's very much there.

With Tar, it's almost impossible to discern the skilled hand from the DNA.

In the close-up above, you can see that Cate is very clearly wearing a lip colour; but for a change it really would earn that notorious adage of 'my lips but better', in the world of influencing lip shades.

The only lip colour I've ever come across that is as believable, is the Serge Lutens lip pencil in shade 1

And, finally, the hair. The almost ignored aesthetic of a flattering side part, that never interferes with anything else going on, and the texture that is neither straight nor curled, ties together that polished, undone face with the exquisite wardrobe that brought us here.

Altogether, it suggests that Lydia Tar cares not for being beautiful, nor influential outside of her music. Her power and seduction over others lies in her mind and character; not in her perception of how she looks, nor in any sort of desire to convince others it might lie there, also.

In short, Tar doesn't work hard on convincing others of it.

Sleepwear

Just when I thought I was finally done with silk nightwear, Lydia Tar turns up in a copper coloured pajama set and light as air robe...

It's perhaps the softest, most feminine of outfits we see her in, and yet it still suggests functionality over anything else. I wouldn't suppose that the character's choice of silk was anything other than a choice of what was the most luxurious fabric to sleep in. However, one can't overlook the design genius that is huge cuffs with tiny buttons, combined with a colour that is seldom seen.

The voluminous silk robe somehow suggests that the marble bathroom would likely house meticulously selected products, hidden behind glass doors. As with other areas of the house, where her clothes brush past furniture and sweep over the floors, the luxury of her wardrobe somehow permeates onto the surroundings.

Use what you have

For those of us with an interest in curating, and maintaining, a fairly pared back wardrobe, you can still be incredibly versatile with outfits without needing a lot.

Some of my other favourite looks and colour combinations include the tan with powder blue, and the use of layers - jackets under coats, and turtlenecks under shirts.