They are shaping our world-and demanding we join them.” The leaders featured on this year’s TIME100 Next list have demonstrated that spirit. TIME editor in chief and CEO Edward Felsenthal said in a statement, “Real change requires urgency and the determination to respond with speed to global challenges such as the climate crisis. The Voyeurs star wore her hair in bouncy, voluminous golden curls styled by Glen Coco Oropeza and classic glam by Melissa Hernandez. Dressed by longtime stylist Molly Dickson, Sweeney adorned black opera gloves, with a feathered black boa thrown over her arms. What a dream come true ♥️ And special thanks to the words ♥️ #TIME100NEXT.”Ī post shared by Sydney Sweeney evoked Old Hollywood glamour for her feature and sported a classic black Miu Miu gown with an empire silhouette, and a bust cutout, tied with a satin bow. The actress expressed her gratitude for her inclusion on Instagram, writing, “Thank you for this incredible honor and privilege. Whatever it is, I will be watching no matter where my seats are.” I am so excited to see what my friend will do next. In addition to her acting work she can produce a movie, fix a car, fight you MMA-style, and dazzle on the red carpet all in the same day. “I play Sydney’s sister Lexi on Euphoria and have gotten to watch her acting up close….Sydney is an unstoppable force…. “2022 is the year of Sydney Sweeney and I’ve had a front-row seat,” said Apatow. Jane Goodall expressed her thoughts on Farhan, and Maude Apatow sang the praises of her on-screen sister and off-screen friend, Sweeney. The White Lotus star was even tapped as a cover girl for the milestone issue among actress Keke Palmer, singer SZA, and activist Farwiza Farhan.įrom athletes, and artists, to entertainers, storytellers, activists, and political figures, honorees include Emily in Paris star Lily Collins, environmentalist Elizabeth Wathuti, I’m Glad My Mom Died author and Nickelodeon alum Jennette McCurdy, h uman rights activist and Vice President of Colombia Francia Márquez Mina, Bridgerton’s Simone Ashley and more.Įach rising star received an excerpt from a peer or predecessor for feature - Lizzo lauded SZA‘s talent and influence, while Queen Latifah shared her thoughts on Palmer’s star power. “With the appliqué beadwork and handiwork, it was the most labor-intensive dress of all the costumes.Hot off the heels of her double nomination at her very first Emmy Awards, Sydney Sweeney has been included among the foremost shakers, movers, and change-makers of the year on the TIME100 Next list.
“I call it the juicy dress as we built out de Armas’ body for that dress,” says Johnson. Made with netting, silk chiffon and Austrian hand-beaded crystals, the risqué 1920s-style flesh-colored dress features a heart-shaped cutout on the derriere (which gave the censors fits in 1959). Perhaps the re-creation of designer Orry-Kelly’s gold lamé number in Some Like It Hot is the most provocative. She also favored high-waisted jeans, as seen in her last film, The Misfits (1961).įor onscreen Marilyn, Johnson looked to original sketches by the star’s favorite costume designer, William Travilla, to duplicate the strapless shocking-pink satin gown with a large bow in Gentlemen Prefer Blondes (1953) and iconic white georgette crepe halter dress in The Seven Year Itch (1955).
She had a relationship with Anne Klein and borrowed clothes from her that became that beautiful, elegant, almost French minimalist beatnik way of dressing in New York City,” says the designer. “Marilyn joined the Actors Studio and really wanted to be taken seriously as an intellectual. Off-camera, the actress’ wardrobe consists of her iconic black turtlenecks and capri pants (then known as pedal pushers). The costumes were a study in contrasts: There was the private, day-to-day Norma Jeane Mortenson (her given name) and the Hollywood sex symbol Marilyn. What is amazing is the film gets into her inner psyche, and you will learn more than you thought you knew.” “I thought I knew her, but when I read the script, the book, and started the research, I discovered a whole new side of her. “I wanted to get into the day-to-day, off-duty Norma Jeane and explore what felt the most authentic to her,” says the designer. Taking her cues from Joyce Carol Oates’ novel of the same name and Dominik’s script, Johnson’s goal was to convey the inner workings of the iconic screen siren (played by Ana de Armas) through the costumes.
For an offscreen Monroe look, Jennifer Johnson remade capri pants found at L.A.’s Palace Costume.
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