I didn't mean to dip on you. It's just that we've been dealing with internet issues at RachQ (Rach + HQ ... you know you love it) since last Thursday. To put it mildly, Comcast is ridiculous and you have no idea how much my dad and I wish we could get FIOS here. While this outage has put an estimated two-post dent in my blogging routine, I'm not half as irate about the whole thing as my father, who lost a weekend of work (he takes some of his work home).
After most of what was a trying day at the office, we came home to discover our internet and TV connections were back. I decided not to take any chances in case I'm SOL this weekend, so here are some swatches to kick off my holiday polish + Christmas movie feature. Today is all about the vampy goodness that is Essie Luxedo because sometimes you realize you have a whole month to wear red, green and gold.
Three coats with Essie Good to Go. Also, horrible, HORRIBLE cuticles. No amount of Aquaphor will save my hands this winter.
True (and derpy) story: Luxedo was so glossy without top coat that I almost applied a fourth coat of polish -- I'd forgotten whether I'd done it! In my defense, I also was watching the Stanksgiving episode of "Happy Endings" and snorting into my glass of water at the time, sooooo. Anyway, this definitely isn't the most original color. It looks black almost all of the time, but you can see the plum tints in bright sunlight or some artificial ones. I had no issues with application, formula or dry time, and wore this for four days with average tip wear. The only chip was on the corner of my right index finger, the finger with the nail breakage, if you remember my last post.
Luxedo was from the 2010 A Winter's Tale six-piece holiday collection, one of my favorite collections that year. Although Smokin' Hot is an unblogged favorite and Silken Cord remains untried, I blogged Hot Coco, Masquerade Belle and Going Incognito last year.
Part of the reason I'm blogging Luxedo is because there's no other choice when pairing it with the 1990 Whit Stillman movie "Metropolitan." I was stalking Redboxes in my area last month looking for "Damsels in Distress," Stillman's newest movie, when it occurred to me that "Metropolitan" totally counts as a Rachel Christmas Movie. I watched it a few times mostly because I haven't seen it since college and took three pages of notes in my tiny Avengers notebook, but ... this is a nail blog ffs, so I'll try my best to condense.
Based on events that occurred in the director's life, "Metropolitan" takes place during one "Christmas vacation, not long ago." Princeton student Tom Townsend, home in New York for the holidays, falls in with other upper crust students one night after a deb ball. These young people are known in their social circle as the "S.F.R.P.," or the Sally Fowler Rat Pack. As the movie continues -- and it reminds me more of a play than a movie in that the dialogue does most of the heavy lifting -- it's interesting to note how each member of the group feels about Tom. The characters aren't supposed to be super likeable, but who in their early 20s is, especially when considering disappointment for the first time?
Glancing at the cover art for the Criterion DVD, you wouldn't think this movie was set in the late '80s or early '90s, would you? I sure as shit didn't. But with the exception of '80s/'90s fashions, I think it helps "Metropolitan" achieve some of the timelessness Stillman wanted the film to exude. For what they were at the time, you have to admire the puffy deb gowns. And I think the late '80s and early '90s were the last time -- at least in my lifetime -- that fashion trends actually aged people in NOT an immodest way. The 20-somethings in this movie are all dressed like little adults until you see them WITH adults, and then if you're like me, you think, "Thank God I was a baby in the late '80s."
To my understanding, Stillman cast mostly unknowns and newcomers in "Metropolitan." (Dork fact: If you put on the Criterion DVD features, Stillman recalls conversations regarding the, ah, taboo of casting a redheaded actor in the lead, rather than a blond or brunette. No one loves gingers.) The most recognizable cast member is probably Chris Eigeman, who plays Nick; people my age probably remember him as Lionel Herkabe from "Malcolm in the Middle" (Malcolm's bossy, mouthy teacher). Here's a clip of both Edward Clements and Eigeman as Tom and Nick, having one of several telling, subtextual conversations about clothes:
There's also a great scene that takes place prior to this one where Tom has to return his rented tux to A.T. Harris, only to find the shop closed. And since this is a nail blog, it would be remiss of me not to tell you there's a blink-and-you'll-miss-it scene where Audrey and Jane give themselves pedicures. You can't really see the polish, but it's some variety of frosty mauve grossness.
If you want more of a glimpse of what "Metropolitan" (and any other movie) has to offer visually, you should check it out Design*Sponge's "Living In" feature. It's so perfect.
So, Luxedo: Can you live without it, or are you a vampy hoarder like me? What about "Metropolitan"? Have you seen it? After reading this post, would you like to? (It's available as a DVD rental from Netflix. You're welcome.) I have no idea why I don't own this. Are there any other Whit Stillman lovers out there who can tell me anything about "Damsels in Distress"? Fun note, I discovered Stillman's work in college during a weird "I should have majored in film studies" phase after watching Noah Baumbach's movie "Kicking and Screaming," also starring Chris Eigeman (which, for better or worse, is one of my favorite movies).
I'm so sorry it took me forever to write this post. Thanks for sticking with me! I'm also sorry if this was wordy -- either I had more to say than I thought I did, or I'm making up for lost time.
P.S. U.S. readers, there's still time to enter my 2nd ROYGBIV Holiday Giveaway!