In the film, Chalamet plays Yule, who is a rebel gamer who gets into a relationship with Jennifer Lawrence’s character, Kate Dibiasky. Related | Timothée Chalamet’s Shaved Head Is Dividing the Internet”The first thing he said to me was ‘I want a mullet,’ and of course, he sent me pictures of Joe Exotic,” costume designer Susan Matheson recently told Vogue before explaining that “everyone was obsessed with” the Tiger King star at the time.”But instead I found this guy from New Zealand who had this amazing mullet,” Matheson went on to say. And though Yule’s character description is a little all over the place, it turns out the star had a pretty clear idea of what he wanted his on-set look to be. As the costume designer explained, she actually enlisted a friend’s brother to make a shirt for a fictional band called Noah’s Flood that featured a hand-painted design of “this incredible image of Noah’s ark riding away like a surfboard with an electric guitar sticking out.” So keep your eyes peeled for that one.Read Matheson’s entire interview here.Photos via Getty / Samir Hussein / WireImage & Netflix “And the moment I showed it to Timotheé, he said: ‘Bingo!'”However, Exotic wasn’t the only style inspiration for Yule, as Matheson also said she wanted to subtly reference his roots as an ex-Evangelical Christian and the “religious element of his character” by using vintage patches and T-shirts from Christian camps.”They aren’t always visible, but underneath his other clothes he’ll always have on one of those shirts,” Matheson continued, though she didn’t just stop at collecting shirts. Timothée Chalamet had an iconic and unexpected style inspiration.As you’ve probably heard, the actor is just one of the famous faces that appears in Adam McKay’s star-studded film Don’t Look Up, which stars Jennifer Lawrence and Leonardo DiCaprio as two low-level astronomers attempting to warn everyone of a comet that will wipe out the entire planet.
“I’m looking forward to 2022, and to many more wonderful memories and moments.”So Happy New Year from PAPER and Saint Sintra — get into the party, below, champagne and disco balls included. Fashion: Saint Sintra (Fall 2021 and Spring 2021)
Photography: Andrew Tess
Hair: Sean Bennett
Makeup: Mical F Klip
Fashion assistant: Glauco Suppi
Models: Mati Hayes, Jack Powers and Meg Yates “I’ve had so many incredible breakthroughs and opportunities, and I’m so lucky to have support from the most incredible group of people that have come together to support me and the brand since I launched in January,” Martins says, reflecting on a whirlwind 2021. Makeup artist Mical F Klip brings her “playful approach” to Saint Sintra’s looks, from “Cindy-Lou Who on a bender” frosted lips to Patrick Nagel-inspired glam; and “full-time hair bender, part-time blood elf” Sean Bennett wraps up the entire effort. This past year has been a “pivotal one” for New York-based designer Sintra Martins, who launched her independent brand Saint Sintra in January to some serious buzz.With a background in costuming and sociology, before going on to intern for established names like Thom Browne and Wiederhoeft, Martins has created a whimsical identity where internet and pop culture meet (her debut collection was inspired by clown memes) — and she’s accumulated likeminded fans along the way, from Slayyyter to Kim Petras and even The Little Lad.To celebrate 2022, Martins called up some of her closest friends and collaborators to produce an intimate portrait series for PAPER, featuring looks from Saint Sintra’s Fall 2021 and Spring 2021 collections.She cast three models — Mati Hayes, Jack Powers and Meg Yates — who Martins says are all “incredible individuals, with uncompromising creative vision.” There’s Yates, with her blog that’s a “perfect blend of satire and drama;” Hayes, who always challenges Martins to “look at the world from a new perspective;” and Powers, the electro-pop musician with a ton of “Energy.”With polaroids by Andrew Tess, a “sweet and supportive” photographer Martins met on a Christmas shoot a few years ago, the series looks evocative of NYC’s unruly Studio 54 era — trashy and glamorous all at once.