Name: ルピタ・ニョンオ、レッドカーペットからメットガラまで、彼女のファッションルックを分解してみた｜Vanity Fair (Lupita Nyong'o Breaks Down Her Fashion Looks, From the Red Carpet to the Met Gala | Vanity Fair)
Uploaded: 2021-01-14T10:35:52.000Z
Duration: 14 min 59 s
Description: VoiceTubeの動画で発音を聞きながら英語表現を覚えよう！学べる英語：

what words would I use to describe my personal style?

I go for elegance, you know, whether I achieve it or not is up to you to decide.

My name is graffiti on Young Go, and this is my fashion time.

This was at the Toronto International Film Festival back in 2019.

This is my first red carpet for the promotion of 12 years a slave, and it's a product gown.

It was the first time I was working with my stylist, became Erlanger.

This look and we tried all sorts of things that we were telling her about five different things that I was like I was afraid of velvet lace frills, bias cuts and print.

All those things were really dodgy to me, and I asked her to, like, kind of wean me into them.

This didn't have any of them, and I remember it was one of the last things.

It was actually the last thing I tried on, and when I put it on, it was just so comfortable.

It felt effortless and it was really elegant, and I felt like I would be safe in it, you know, because it covered everything.

So those restrictions the velvet, the base, the frills, the bias cuts.

Somehow she's successfully introduced me to all those things.

This is a custom Prada gown has been good to me, and I remember the whole process.

I think this is the first down that I was involved in, like the making off, you know, the consultation and just coming building it together.

I didn't know I was gonna wear this dress until the day of the Oscars.

They had made two dresses for me and they had different bodice is to go with both dresses.

So I had four options of bodice is and then two skirts and the other one was this gorgeous.

And for the longest time, I thought that was the dress that was gonna win.

And then it wasn't until either the evening before the morning off that we put on this gown and it just one on.

I remember just I definitely wept when I put it on, and before this moment, I wanted it to capture.

I remember talking to Michaela about just wanting to capture the cloud that I felt like I was floating on.

And then another thing I was wearing friend latent jewelry, and they made me.

And so they made me a pinkie ring with a frog on it.

And there's an inscription inside that says Franks can fly.

My best friend and I went through like this, like home made orientation.

So I looked at a lot of magazines and stuff and looked at how people were posing and we're not.

And I definitely had a few practices in the mirror.

And then my friend Michelle Dockery, she had given me a little secret tip that when you're on a carpet, oftentimes you're smiling for so long that your lips begin to twitch.

And so she recommended that I sing a song that makes me smile in my head, and that was very, very helpful.

The story behind this was that they made me to other gowns to try on, and this would have been a sketch on early sketch that they had served in me.

And Michaela nixed it because we were just like I didn't understand it.

And so we nixed it and they made the other two dresses.

But they're very strategically put this gown on a mannequin in the fitting room.

It was like the first thing I saw when I walked into the fitting room.

So I walked in and it was standing on that and I proceeded to go and try and my other dresses and they were nice.

And then I turned around and I was like, Who's wearing that one?

And they just had this coy smile on their face and well, we tried to me that for you, and I tried it on the nose, like, obviously, it's this.

Way called it the taxi dress on, and it was a lot of fun to wear, and he made a lot of noise.

All the product girls that year had like beating.

And so when we were walking down, you could just hear the two of us coming.

You know, I've never really felt the pressure of my looks because fundamentally, I want to enjoy what I'm wearing.

It's always just on expression on artistic expression, and it's a chance to collaborate with, you know, Michaela and and my hair and makeup artists and you have fun.

This is my second Oscars in 2000 and 50 and this is a Calvin Klein gown and it had 6000 pearls.

Now the story behind this is that it was stolen from my hotel room after wearing it, and that was a traumatizing.

I mean, it was a heist, and I wasn't ready for that kind of thing.

I remember I had gone out for the day to work, and I came back in.

My stylist had come to collect the gown, and it's 6000 pearls.

It's extremely heavy, and I was like, Oh, yeah, it's hanging right there And she was like, No, it's not And I was like, No, no, no, it's hanging right, and there was nothing there.

Like, where is it weighed like over £20?

I remember looking in like sock doors because I just couldn't fathom where it could be.

And then, in a moment of desperation, I called the laundry to be like, Have you seen my dress?

And they're like, Well, maybe it is being washed.

It really shouldn't be watched, and it couldn't be found anywhere.

But eventually the thief returned it a few days later.

My fashion before red carpets and Fain was very, you know, homegrown and I never spent much time looking at.

Magazines are thinking too deeply about trend, necessarily.

Of course they're certain design is that you can't help but be familiar off because their household names, you know, the products about in Seattle and leave a thons and all this that you know you know about them.

Now it's so crazy because I can see a zipper and be like, Oh, That's not bad.

This is for the premiere of Queen of Katwe in 2000 and 16.

The head wrap was inspired by the Zulu hat and Vernon Francois, who is the mastermind behind these head wrap.

He uses the such crazy things to come up with these things, and under here is like a straw mat that he kind of broke down and structured in order to create that, like, goofy thing on my head.

One of the things that me and Michaela do when we're working on the promotion of the film is we look for inspiration or like an intention word for the mood or the feeling that I'm trying to capture in that particular run.

And so for Queen of Katwe, we wanted to pay homage to the head wrap, and so we did all sorts of fun things.

They were always always always inspired by the movie for its promotion.

We find a way to leave it into what we're doing.

I was so excited because it's rare that I find a path that fits me, and so that's why I haven't won very many pounds on the carpet.

So this was ah hoo rah moment for me and it's Rosie has a thing for me.

It's always a frame and, you know, it's an accessory.

My mom forbade me from wearing makeup when I was younger because she never wore makeup.

ルピタ・ニョンオ、レッドカーペットからメットガラまで、彼女のファッションルックを分解してみた｜Vanity Fair (Lupita Nyong'o Breaks Down Her Fashion Looks, From the Red Carpet to the Met Gala | Vanity Fair)