Pop-Couture

“Handsome at best” was the way costume designer Arianne Phillips dubbed the scandalous 1930s American socialite Wallis Simpson, agreeing with nearly all of the United Kingdom, except for their king. It’s a hushed love tale between mistress Simpson and King Edward VIII, who abdicated his throne for the twice divorcee. The romance first sparked the interest of “Material Girl” Madonna when she read about it while researching England’s history after marrying film director Guy Ritchie. She said she related to Wallis, as they were both criticized for their ambition. Her allure outlasted her marriage to Ritchie, and eventually it became her obsession and her latest film venture, “W.E.”
 
After already receiving one Golden Globe for Best Original Song for “Masterpiece” and a bid to Abel Korzeniowski for Best Original Score, the film seems Oscar-bound, possibly for Best Costume Design. How could it not, when the jewelry alone plays as much of a role as Simpson (Andrea Riseborough) or Edward (James D’Arcy)?

Edward bestowed Simpson with jewels to express his love and make her feel royal — and that recreation was costume designer Phillips’ most delicate creation. After constructing eccentrically loud pieces for Madonna’s last four tours, Phillips found her more subtle aspiration for Simpson in museums from the Metropolitan to the Louvre. Though Phillips is no virgin to timepieces (she was nominated for her work in biopic “Walk the Line”), “W.E.” will be her first work of 20th century British royalty costumes. Fashioning a wardrobe spanning a half-century and detailing a range of lifestyles, Phillips’ selections could not have been more crucial for mistress Simpson.

Medleys of Edward’s romantic gestures involved a charm bracelet of gem-encrusted crosses by Cartier, a gossamer silver chiffon gown by Vionnet and a gray-wool flannel Schiaparelli day suit that Phillip peculiarly accessorized with medals on the peplum. Phillips did her research, and what she could not pull from the non-fictitious wardrobe of Simpson — which Phillips termed hideous at times — was used as a prompt for new designs. The Vionnet and Schiaparellii recreations contributed to the film’s 60 changes for Simpson, and along with the Cartier designs, Parisian Van Cleef & Arpel helped to replicate the charm bracelet and 10 other iconic pieces.

With this season’s vintage appeal to pearls, burgundy, patterns and pleats, it won’t be uncommon for Phillip’s “W.E.”-like pieces to be spotted on runways, on starlets such as Carey Mulligan and in our own wardrobes. We’ve finally left the ripped and tight bandage dress era and are entering a stage of elegance. But elegant doesn’t mean vanilla. Though the pearl is a classic, don’t be too modest to pair them with edgy medals and jewels. Make your statement with a single bulk piece like a simple-neckline blouse. After all, “W.E.” is all about the mixed jewelry.

Also, pay attention to Simpson’s patterned suits. This season is also patterned, and it loves florals; one of my favorites is Blugirl’s blossoming patterned clutches and dresses for spring.

Pleated knee skirts with waistlines will also be on this season’s watch. And though Harper’s Bazaar is harping that nudes and minimalism are sacred and would consider Simpson’s milky white skin tone sophisticated, it doesn’t deny that sometimes a girl needs to pair subtlety with Christian Dior’s Cherry Red lipstick or Donna Karan’s new, dark burgundy nails. It’s all about replicating that Simpson balance of elegance and boldness. Phillips illustrates this perfectly balanced poise with Simpson by making couture her refuge as she becomes possibly the most despised woman in England’s history.

The scandal that dethroned a king will be told in “W.E.” as one of the greatest love tales to ever exist. So ladies, plan to wear your pearls. Gentleman, watch out for those Dior-red lips. The Feb. 3 American release should be simply scandalous.