As a fashion designer and animal lover with over two decades of experience in the industry, I find myself torn between the authenticity of period films and the ethical concerns surrounding real fur. Having worked with both real and faux fur, I can attest that vegan alternatives have come a long way in terms of quality and texture.
During the September Toronto International Film Festival, an activist from PETA (People for the Ethical Treatment of Animals) interrupted the premiere of Pharrell William’s animated documentary “Piece by Piece” to voice their opposition to Williams’ role as Louis Vuitton’s creative director, where he promotes fur and exotic skins. Unlike Chanel and Gucci who have stopped using fur, Louis Vuitton continues to do so, prompting the animal rights organization to express its concerns.
Pharrell agreed with the activist, expressing his sentiment as “You’re correct, you’re correct,” followed by a blessing of goodwill, “God bless you.” He then motivated the crowd to show their appreciation for her by applauding. However, it’s worth noting that the establishment where the event took place still employs the use of fur (Williams and the distributor of Piece by Piece, Focus Features, declined to provide comments regarding this matter).
In the context of Williams’ fashion designs, this period also marked a pivotal juncture in the entertainment industry. Numerous films this season incorporated vintage or vegan furs – such as Angelina Jolie’s biopic about Maria Callas, titled “Maria,” and Selena Gomez’s drama “Emilia Pérez” with its transgender theme – choosing to bypass animal-derived materials. However, not all productions shared this perspective, and even the use of vintage and vegan furs has sparked debates about their role in signifying luxury.
“It’s a tricky subject, isn’t it?” says three-time Oscar-winning costume designer Sandy Powell.
There’s been an increasing unwillingness among people, including celebrities, to breed and slaughter exotic animals for luxury items. A recent 2022 poll revealed that as many as 73% of Americans express some level of concern over the utilization of animal fur in clothing. Actress Natalie Portman requested that no real furs be used in her film wardrobe during “Vox Lux” in 2018, and actor Joaquin Phoenix, also a vegan like Portman, voiced his opposition to fur usage in his period film “Napoleon.” Instead, artificial alternatives were employed.
As a passionate advocate for animal welfare, I took action in 2018 by founding Creatives4Change, inspiring the likes of Jennifer Aniston and Kate Winslet (and many others) to refuse using fur, feathers, and exotic skins in their creative endeavors. Notably, Disney Studios made a significant stride in 2017 when they enacted a ban on real fur across all their TV and movie productions. In fact, some members of the costume design community have been instructed by Disney to avoid depicting fur altogether, regardless of the material used.
The resistance comes as a result of a growing awareness about the cruel practices involved with farming and killing animals for their pelts. The trend is reminiscent of cigarette smoking, which was long featured in movies of all ratings until advocates in 2007 convinced the Motion Picture Association to consider smoking when rating films.
Following a trend in the fashion industry to shun fur, numerous brands such as Armani, Hilfiger, Prada, and Michael Kors have ceased using fur for years now. In 2021, the Kering Group made the decision to eliminate fur from all its luxury brands, including Gucci (which had been fur-free since 2018), Bottega Veneta, and Saint Laurent, which recently produced three films under its new label at Cannes.
In the movie “Emilia Pérez”, the character’s style mirrored the ethical stance of actress Selena Gomez, who doesn’t use real fur. As stated by costume designer Virginie Montel, she opted for two artificial fur pieces from Anthony Vaccarello’s collection at Saint Laurent, to symbolize the character’s extravagant persona.
In the process of telling the backstory of Donald Trump’s show “The Apprentice”, costume designer Laura Montgomery sourced an ’80s piece from a Salvation Army second-hand sale for Ivana, and she made sure to use repurposed fur in her design.
Costume designer Erin Benach mentions that discussions about this topic have become necessary with the actors, regarding “The Bikeriders” set for release in 2023. She’s observed some performers refusing to wear faux fur, as they don’t want to promote its use in a manner that might encourage buying real fur.
Some advocates for animal rights argue that reusing items, though beneficial, doesn’t completely address the issue. As Lauren Thomasson, director of Animals in Film and Television at People for the Ethical Treatment of Animals, points out, “Using vintage fur can still contribute to perpetuating the notion of wearing animals.
However, costume designers sometimes face a challenging predicament: they aim to align with evolving sensibilities while maintaining authenticity to their characters, especially those in period pieces. In certain instances, they argue, fur can serve as a crucial character trait depiction. For instance, costume designer Charlese Antoinette, who frequently repurposes fur, recently leased a fox fur for Michael Stuhlbarg’s boisterous Boston mobster in the modern heist film “The Instigators“.
According to Antoinette, the coat was intentionally humorous – serving as a comical element – designed to embarrass him and give off an outdated vibe.
Antoinette expresses her awareness of the delicate issue regarding usage. “Yet, simultaneously, I never want to feel restricted in my creativity,” she explains. “If the synthetic fur doesn’t have the same appealing texture, should I then disregard the genuine coat?” (With technological and material advancements, many experts argue that vegan fur can be just as soft and luxurious as the real thing from animals.)
Powell, who often opts for vintage fur in her work and only does so when it’s essential for the plot, argues against the complete elimination of fur in films. She explains that such a removal might undermine a movie’s authenticity just as removing cigarettes from a mid-century film would. “In my opinion,” she says, “adult-oriented movies can portray people from the past smoking and wearing fur, much like they can show them using other items typical of their era.
In Pablo Larraín’s portrayal of Callas’ last days, there’s a balance between delicacy and truthfulness that is evident. The filmmakers, along with Jolie, felt it necessary to incorporate fur in order to authentically depict the famed opera soprano. Consequently, the production utilized vintage furs. As stated by Massimo Cantini Parrini, the costume designer for the film who was nominated for two Oscars, PETA assisted them in the movie by explaining that using second-hand fur did not involve any form of cruelty since the skins were already old. PETA also aided in sourcing some of the furs and leather used by Cantini Parrini, and they launched a campaign to promote this message. Additionally, Jolie partnered with PETA to spread awareness about this issue.
As a supporter of animal rights, I’m thrilled by Angelina’s stand on the use of vintage fur in the production of Maria. Her statement is a clear message to all other productions that they should consider following suit and phasing out the use of fur entirely. However, we at PETA understand that change often comes gradually, so while our ultimate goal is a fully vegan Hollywood, we’re working with the nuances of the industry to achieve this transition step by step.
In the closing remarks of the movie “Maria,” PETA subtly emphasizes the use of vintage fur, albeit it’s uncertain whether regular moviegoers, inundated with fur visuals, truly grasp these messages. It’s also debatable if Netflix viewers will reach that point since Netflix is known for swiftly transitioning to the next feature before the credits finish rolling.
“One of the most challenging examples this season is found in ‘Anora,’ a film by Sean Baker which won the Palme d’Or. It centers around a working-class escort (Mikey Madison) who, after gaining wealth, starts wearing fur.
She exclaims, ‘No, not mink,’ as she enjoys a presumably expensive Russian sable coat. Designer Jocelyn Pierce shared with fashion outlet Stylecaster that she specifically designed the coat using genuine sable fur. However, Pierce declined to comment for this article.
In their view, PETA argues that artificial fur isn’t just a suitable alternative but can also enhance a movie’s thematic messages. As Thomasson explains, they encourage consumers to opt for vegan faux fur. “If the actual Maria Callas were still around,” he adds, “we believe she would make the same choice.
Fawnia Soo Hoo provided reporting for this story.
Originally, this tale was published in a special December issue of The Hollywood Reporter magazine. If you’d like to get the magazine, simply click here to subscribe.
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2024-12-06 22:57