Rejoice, fashion-minded kittens. The Chalamet has returned to the poledance. Whenever Timmée’s got a prestige project to flaunt he chooses some prestige fashion to help him get the job done. For this tour, it looks like he’s opted for “Tilda Swinton’s Great-Great Grandson From the Year 2100.”
Timothée Chalamet in Haider Ackermann at “The King” Photocall
Two things we generally hate for the red carpet: shiny fabrics and putty-colored ensembles, which means we should be reaching for our hand fans and heading for the fainting couch just about now. And yet, it’s impossible for us to say a bad word about any of this. We’ve spent a good chunk of the past decade bitching and moaning about poor celebritydude style, which traditionally ranged from “Home Depot Parking Lot” to “First-Year Associate.” Typical of most heterosexual male presentation styles, the pickings have always been very poor, defaulting to the narrowest slice of masculine visual tropes possible: the construction worker or the lawyer. Those were the only options. We suppose we should be thankful they weren’t all showing up in lumberjack or cowboy costumes (although they’d have at least been more interesting, if not hotter). But Timmée, during the Call Me By Your Name tour, became one of the recent drivers (along with Chadwick Boseman and Rami Malek) toward a more adventurous, more forward-looking, less-concerned-with-traditional-masculinity sort of celebrity promotional style. To call it Dandyism probably does it a disservice, because you can’t really find any of the markers of that old-school form of male peacocking style in the fiercely modern ensembles you see here. Still, it’s a form of male style that asks you to reconsider the structured, dark, broad-shouldered and belted traditions for something androgynous, minimalist, and coolly neutral. That strip of Tiffany blue peeking out from under the jacket does everything to turn this from a futuristic space uniform into something uniquely eye-catching.
But this was merely a style prelude to what he had planned for the premiere:
Timothée Chalamet in Haider Ackermann at “The King” Premiere
Bravo, Timmée. It’s weird, it completely fucks with gender expectations, it takes several viewings in order to take it all in, and it’s likely to annoy and frustrate those who’d insist you put on a tux or a dark suit like God intended for you. We feel some critiques are in order, however. The cuffed hems are bad. We would expect impeccable on that front. The satin blouse is a bold choice but the loose, formless style and the high neckline simply don’t coordinate well with a structured, fitted men’s style jacket – especially when you wind up belting it. A woman wearing this blouse or shell top would almost certainly pair it with a jacket much less fitted than this one. The result is that it looks like a piece of fabric tucked into the jacket rather than a garment itself. This look is bold and modern and tradition-breaking, which are all great things to be. But it’s not as impeccably rendered as it could be.
Also, we should note that both of these outfits are perfectly set off by that spectacular head of dark hair. The boy knows what he’s got.
Style Credits:
– Haider Ackermann Ensembles from the Spring 2020 Collection
Styled by Haider Ackermann | Grooming by Jamie Taylor
[Photo Credit: IPA/INSTARimages.com]
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Venice Film Festival: Cate Blanchett in Armani Privé at the “Joker” Premiere
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