Everything at that moment in the sort of mid- to late ’70s was streamlined, but it was glamorous. If you pick up a Halston dress, they look very simple from the outside, but you could flip them inside out and they look exactly the same as they did from the front. TF: The thing I loved about that period was that it was minimalist, but it was tactile. HB: What was it, Tom, about Halston’s era, design-wise, that spoke to you-whether then or now? One of the most moving things we have in the finale is one of his last acts: He bought a Rolls-Royce convertible and he had a driver, and he just went up and down the Pacific Coast Highway-for the first time in his life being inspired and not having to translate that inspiration into a collection. He was with his family, but he felt sort of exiled not just from the fashion world but from the entire world. The tragedy of Halston was that he died pretty much alone. “Halston, I think, used drugs and sex as a release from the pressure, from the worry of having the lights turned off,” says Murphy. Halston was really famous for maybe 10 years, max, and that’s kind of the way it works often with fashion designers. That’s true, I think, with musicians, with actors, with certainly directors and producers, writers-it can sometimes take a while to figure out who you are and what you have to say.ĭo you know we’re all the same ages as when they all died? I mean, Halston was, I think, 57. In the beginning, when Halston does his first ready-to-wear collection and it’s not a success-I mean, it takes you a while to figure out your voice and to figure out what you want to say. HB: This idea that a designer doesn’t spring fully formed-is that something that you found to be true in your own career, Tom? That depiction of the entourage and how important that is to Halston capturing the moment it all just comes together: You captured that so well. I thought that was one really great thing about the screenplay because I don’t know that most serious films about fashion really capture that: You really do get a sense that, yes, it was Halston, but it was also his entourage of people, including Joe Eula and Joel Schumacher. TF: Oh, my God-your Elsa Peretti is breathtaking, breathtaking. Other things as well-the power of a muse, for example. Ewan really connected with the pain of Halston and the longing of Halston, and how confusing it is to have to be an artist and a businessman at the same time. Why are you speaking like that?” In his mind, it was not affect-it was natural. RM: One of the things that was repeatedly said to him was “You’re from Indiana.
I’m sure you did, and Hamish, I know you did. TF: Don’t you think everyone who is successful in that way invented themselves? I did. It’s a great house-I’m really lucky to have it, it’s amazing that I have it, and I love it.īut back to your series: When I heard Ewan McGregor was cast, I have to say, I thought, Oh, my God, that’s completely wrong. We have all of the original Paul Rudolph–designed furniture. Halston did that.Īre you going to do exactly like Halston did it? You do that in your stores-I mean, one of the first things that I was obsessed with when I went into one of your stores for Gucci was your ability to curate an atmosphere that people want to be in.
You create a world, and people are invited to that world. RM: We spent a lot of time on that because it’s one of the things I admired about Halston-and about you: Your surroundings matter. I’ve been copying those Halston sofas and chairs since I was at Gucci I’ve copied them in my own stores. I know all of that intimately-the sofas and everything. I’m redoing the top floor, mimicking Halston’s office, which you did so perfectly in your sets, all red on red on red on red, and mirror and mirror and mirror. It had been redone by Gunter Sachs, who had bought it with Gianni Agnelli in 1990, Halston died.
So when that house came on the market a few years ago, a friend sent me a clipping.
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