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Crazy Rich Asians is promising audiences the most expensive looking film of 2018! (Well, one of them, if Black Panther has anything to say about that.) Most definitely, we will see tons of fashions, tons of labels, and tons of money. But can you, the plebeian, have the Crazy Rich Asians clothes? Yeah…but you still might have to take out a bank loan for some of these. But yes, you can live the Crazy Rich Asians life. Check out these fashion selections as shown in the exclusive Entertainment Weekly first look photos and see what you think.
The Meet-Cute Trench Coat
None of us have seen Crazy Rich Asians yet, but we already know what this scene is about, right? Everything about it says “New York City Romantic Comedy Meet-Cute.” All of our dreams–living a fabu life in New York, dating a wealthy man (this wealthy man, Nick Young, played by Henry Golding), eating ritzy food in an expensive restaurant–have come true in this one scene. Also a dream: a great trench coat.
This belted trench coat from ASOS carries the urban elegance that I feel best reflects this particular scene in Crazy Rich Asians. This coat has a bit more drape than the coat in the image, but it has that monied, yet lived-in look that I feel is best suited to getting your “I’m a normal girl in a rich fantasy” lifestyle on.
Eccentric rich girl pajamas
In Crazy Rich Asians, Awkwafina plays Goh Peik Lin, Rachel’s (Constance Wu) kind, loving, rich friend from college. In this scene, it looks like Rachel has surprised her friend, since Peik Lin is meeting Rachel in her awesome dog print (silk?) pajamas.
You too can have some awesome silk pajamas, and for a fraction of a fraction of the price of Peik Lin’s expensive pajama set. These from Dillard’s, made by PJ Salvage, have dogs in kerchiefs and cowboy hats, making this set adorable, eccentric, and fun.
Daytime party glam
Sonoya Mizuno plays Araminta Lee, the fiancee of Nick’s very rich friend (in case you hadn’t caught on yet, everyone’s loaded in this film, including Rachel, although she doesn’t know it yet until the sequel, China Rich Girlfriend). Unlike Nick, who doesn’t flaunt his wealth, and Peik Lin, who is just a shopaholic but otherwise nice person, Araminta looks like she drips money and loves to flaunt it. Why else would she wear a party-ready gold sequin jumpsuit in the daytime?
This jumpsuit from PrettyLittleThing evokes Araminta’s luxe lifestyle. The black stripes also heighten the expensive look of this jumpsuit.
Nick’s mother Eleanor Young (Michelle Yeoh) also looks like she loves being monied, doesn’t she? Her nude and teal-beaded jacket and dress (I think) combo gives off old money and class. What it doesn’t show is how she’s uppity–throughout the book, Eleanor has a chip on her shoulder about how Rachel is just middle class.
The appliqué in this dress made by Sherri Hill echoes the blue beading in Eleanor’s surely bespoke outfit. The beaded appliqué in this dress gives an updated appearance to traditional appliqué, which can look mature, depending on how it’s treated. Here, the appliqué gives this dress an upscale, chic look.
The wedding dress to end all wedding dresses
Araminta’s wedding dress is all bespoke–from last I checked, it’s supposed to be bespoke Valentino. It’d have to be to have feathers, a high-low ruffle skirt, gold, pastel pink, beading, and nude illusion all in one dress.
However, I was able to find a dress that would mimic the expensive, fantasy wedding feeling you get from Crazy Rich Asians that you can buy…if you save up beacoup money for it. From what I hear, folks who are in the market for a Kleinfeld dress spend at least $3000, so this dress from Lazaro is within the ballpark (as you know, the sky’s the limit for wedding dress prices).
This particular dress has the gold beading, pastel pink, nude illusion bust and ruffles, much of what’s in play with the bespoke dress. You can have Araminta’s look, after all!
What do you think about the fashion in Crazy Rich Asians? Give your opinions below!
Crazy Rich Asians is one of the mos anticipated films of 2018, and fans have been eagerly collecting any and all news about the film, the first mainstream film featuring an all-Asian cast since 1993’s The Joy Luck Club. Now, fans have got the biggest scoop yet, and it’s all in the exclusive Entertainment Weekly Nov. 10 issue!
JUST ADD COLOR is excited to be able to showcase the exclusive Entertainment Weekly cover and key moments from the article, written by Entertainment Weekly’s Shirley Li.
Here’s a sneak peek at the article:
The film version of the bedazzling best-seller Crazy Rich Asians blazes onto the big screen next year, starring Henry Golding and Constance Wu. EW Correspondent Shirley Li goes behind the scenes of the ridiculously glam romance that’s about to sweep the Far East—and the Near West—off its feet.
This cinematic love story focuses on Rachel, an American-born Chinese, who has difficulty understanding the customs Nick’s family has followed for generations. “This is about a girl going somewhere that’s foreign to her, to really find out who she is,” explains Wu, who plays Rachel. “It’s just such a beautiful story, to show an Asian-American immigrant going back to Asia and finding the things that overlap and connect us all, things like family, things like love.”
Few Hollywood films have featured exclusively Asian principal casts since The Joy Luck Club pulled it off more than two decades ago. As the director behind the first one in many years, Jon M. Chu feels the importance of delivering a hit, “There’s the feeling that if you don’t make a great movie, then all of this is for nothing.” This is not Crazy Rich Asians Who Will Solve All of Hollywood’s Representation Problems, though. Chu says, “We needmany stories. We need another rom-com that’s totally different from Crazy Rich Asians. There just needs to be more.” Chu scrutinized audition tape after audition tape to ensure an exclusively Asian cast, combing nearly a thousand submissions resulting in a giant spreadsheet that looked something like an Asian IMDB. “I think we now have the deepest database of Asian actors that speak English in the world. It was worth it. The best thing we ever did on this movie was cast this cast.”
And while campaigns against the industry’s habit of “whitewashing”—i.e., casting white actors in ethnically Asian roles—have grown in recent years, the practice itself hasn’t ended. During one early meeting with one potential producer who wanted to adapt the novel, Kwan says he was even asked to reimagine his protagonist as a white woman. “I was like, ‘Well, you’ve missed the point completely,’ ” he recalls. “I said, ‘No, thank you.’ ”
Crazy Rich Asians comes to theaters August 17, 2018.
Edited to reflect the full team behind #whitewashedOUT
JUST ADD COLOR has been doing some major coverage about the whitewashing of Ghost in the Shell and Doctor Strange, and if you read my virtual roundtable with The Nerds of Color’s Keith Chow and Afronerd and Renegade Nerd’s Claire Lanay, you might have seen some mention of Chow’s hashtag project, #whitewashedOUT. The hashtag went live Tuesday, and it sparked such a wave of responses, it tracked to number two in the Twitter trends.
Since it’s been a few days (and since I’ve been busy with my own Ghost in the Shell article for The Nerds of Color), let’s recap what happened this week.
The power of #whitewashedOUT
The hashtag #whitewashedOUT was a combined effort of Chow, Sarah Park Dahlen, Assistant Professor of Library & Information Science at St. Catherine University, writer Ellen Oh (@elloellenoh), writer Amitha Knight, writer Sona Charaipotra, Smithsonian Asian Pacific American Center’s Terry Hong , “Bookrageous” podcaster and writer Preeti Chhibber (@runwithskizzers), surgeon and writer Ilene Wong Gregorio, writer Thien-Kim Lam, and Written in the Stars author Aisha Saeed. (It’s also worth noting that many listed here are also a part of the We Need Diverse Books Campaign, with Oh as the CEO and President.) Comedian and actress Margaret Cho also contributed to the hashtag with her commentary and support.
Everyone came out in droves to support it and to offer their own experiences with racism, lack of representation, and struggles for self-acceptance.
— Sita (@sitamsini) May 3, 2016
— Sita (@sitamsini) May 3, 2016
— Claire (@claireshegoes) May 3, 2016
— The Nerds of Color (@TheNerdsofColor) May 3, 2016
— Claire (@claireshegoes) May 3, 2016
— The Nerds of Color (@TheNerdsofColor) May 4, 2016
— The Nerds of Color (@TheNerdsofColor) May 4, 2016
— The Nerds of Color (@TheNerdsofColor) May 3, 2016
Stars like Kerry Washington, Jackée Harry, Hari Kondabolu, Constance Wu, BD Wong, director Lexi Alexander and others helped bolster the hashtag, too, making the movement even more powerful. (Make sure to check the hashtag for yourself to see what everyone else had to say.)
Around the same time as #whitewashedOUT, a Facebook post Star Trek‘s George Takei made about Doctor Strange went viral. Here’s what Takei wrote on his Facebook page:
So let me get this straight. You cast a white actress so you wouldn’t hurt sales…in Asia? This backpedaling is nearly as cringeworthy as the casting. Marvel must think we’re all idiots.
Marvel already addressed the Tibetan question by setting the action and The Ancient One in Kathmandu, Nepal in the film. It wouldn’t have mattered to the Chinese government by that point whether the character was white or Asian, as it was already in another country. So this is a red herring, and it’s insulting that they expect us to buy their explanation. They cast Tilda because they believe white audiences want to see white faces. Audiences, too, should be aware of how dumb and out of touch the studios think we are.
To those who say, “She [is] an actress, this is fiction,” remember that Hollywood has been casting white actors in Asian roles for decades now, and we can’t keep pretending there isn’t something deeper at work here. If it were true that actors of Asian descent were being offered choice roles in films, these arguments might prevail. But there has been a long standing practice of taking roles that were originally Asian and rewriting them for white actors to play, leaving Asians invisible on the screen and underemployed as actors. This is a very real problem, not an abstract one. It is not about political correctness, it is about correcting systemic exclusion. Do you see the difference?
Wong also had stuff to say on the erroneous casting of late. In his speech during May 2nd’s Beyond Orientalism: A Forum, Wong discussed about the instances he’s faced racist casting and yellowface in his acting career. “The tradition of white actors transforming themselves, playing whoever they want, crossing race, painting themselves up, and doing all sorts of things like that is as deeply entrenched in them as our pain is in us,” he said (as recounted by Fusion). “…You [white actors] can’t win when you have the yellowface on. You can’t win when you take the yellowface off. You’re in the wrong part.”
Online coverage of #whitewashedOUT
Several outlets covered the impact of #whitewashedOUT, including NBC Asian America, Buzzfeed, CNN Money, Colorlines, Salon, Bustle, Blavity, and others. Chow told Buzzfeed in a phone interview that the hashtag is about everything whitewashing represents, not just the optics of seeing Asian faces in film. “The whole idea of being whitewashed goes beyond just Asian characters being played by white people,” he said. “It’s the idea of centering whiteness in every story. Whiteness to them is ‘colorblind.’ Everyone can project themselves onto a white guy. Being an Asian-American person, I’ve spent my entire life identifying with non-Asian people, because you have to. And I want [to] tell white moviegoers it’s not that hard to see a person [who isn’t of] your ethnicity and identify with that person. We’ve been doing it for years.”
Marvel’s response to #whitewashedOUT
Marvel brass has certainly heard about #whitewashedOUT and have responded. To the level of satisfaction one might feel about the responses depends on you, the individual.
Scott Derrickson, the director of Doctor Strange, wrote on Twitter, “Raw anger/hurt from Asian-Americans over Hollywood whitewashing, stereotyping, & erasure of Asians in cinema. I am listening and learning.” The test is if Derrickson (and other directors who are also watching the #whitewashedOUT movement) will put what was learned into practice. (Some of the responses Derrickson received from his Twitter response were from a person who wrote that he had been blocked by Derrickson last year for bringing up the whitewashing in the film. “Now all of a sudden, he’s ‘listening,’ he wrote.)
Kevin Feige was asked about the controversy by Deadline, to which he responded with several interesting statements:
On the erroneous statement of Swinton being cast due to Chinese-Tibetan tensions (as originally alluded by Doctor Strange co-screenwriter C. Robert Cargill): We make all of our decisions on all of our films, and certainly on Doctor Strange, for creative reasons and not political reasons. That’s just always been te case. I’ve always believed that it is the films themeselves that will cross all borders and really get people to identify with these heroeos, and that always comes down to creative and not political reasons.
On the casting of Swinton as a creative choice: The casting of The Ancient One was a major topic of conversation in the development and the creative process of the story. We didn’t want to play into any of the stereotypes found in the comic books, some of which go back as far as 50 years or more. We felt the idea of gender swapping the role of The Ancient One was exciting. It opened up possibilities, it was a fresh way into this old and very typical storyline. Why not make the wisest bestower of knowledge in the universe to our heroes in the particular film a woman instead of a man?
On the whitewashing controversy: The truth is, the conversation that’s taking place around this is super-important. It’s something we are incredibly mindful of. We cast Tilda out of a desire to subvert stereotypes, not feed into them. I don’t know if you saw [Doctor Strange director] Scott Derrickson’s tweet the other day. He said we’re listening and we’re learning, every day. That really is true…I’m hopeful that some of our upcoming announcements are going to show that we’ve been listening.
On Captain Marvel being directed by a woman: [W]e are meeting with many, many immensely talented directors, the majority of whom are female. I do hope they will have announcements certainly by the summer, before the summer’s end, on a director for that.
Feige gives answers that are typical of an exec who has to respond to a controversy, but having said that, I personally think he means well. But “meaning well” is different than actually putting your money where your mouth is, and Feige himself addressed that sentiment in his interview (which is why he said he’s hopeful that upcoming films will help assuage fears of further diversity issues). However, three points of contention here, one of them not even having to do with Feige:
- Why did Deadline writer Mike Fleming, Jr. call the controversy a “pseudo-controversy”? What makes this a fake controversy or half of a controversy? There’s nothing “pseudo” about it.
- If Feige wanted to subvert The Ancient One by casting a woman, why not have an Asian woman do it? (This point is actually discussed in my roundtable article). Or, if a woman is all that’s needed, why cast a white woman only? Were other actresses considered? Were certain casting agents even aware of the role to pass it along to their WOC clients? What was the audition process like? What did the casting call entail? There are a lot of questions here, because if The Ancient One is a learned woman, then anyone could play that role. The word “woman” doesn’t equal “white woman.”
- To that end, Doctor Strange didn’t have to be played by Benedict Cumberbatch either, because the assumption is still that a white man has to lead a Marvel movie. Twitter user Gelek Bhotay brings this up in his Twitter thread. If we’re really breaking away from the racist past of the Doctor Strange comics, take it completely out of the white male gaze and put it in the gaze of a POC woman and a POC man. It would also help if Marvel considered representing more of its viewership, such as LGBT viewers, disabled viewers, etc. Of course, you can’t address all of these in just one film, but that’s the beauty of a huge Marvel universe; you can address everyone when it comes to future film decisions. There’s still a lot of “listening and learning” Marvel has to do.
The big Hollywood news: Jon Chu to direct Crazy, Rich Asians
In this midst of #whitewashedOUT coverage, news was released that Jon Chu is set to direct the film adaptation of Kevin Kwan’s novel Crazy, Rich Asians. The book, according to Entertainment Weekly, “tells the story of an American-born Chinese woman who travels to Singapore to meet her boyfriend’s super-wealthy family once there, she encounters jaw-dropping opulence and snobbery.” The book has two sequel books, China’s Rich Girlfriend and Rich People Problems (the latter of which will be out in 2017).
Chu tweeted about the news, also adding, “With amazing Asian actors cast in EVERY SINGLE ROLE. #itstime.”
It is time. It’s past time. So let’s hope that Crazy, Rich Asians doesn’t act as this generation’s Joy Luck Club (i.e. be an incredible film only to become an anomaly in Hollywood’s filmography featuring Asian-Americans in major roles). Let’s hope that Crazy, Rich Asians is just the first of an overflow of films starring Asian-Americans as leading men and leading ladies.
Kenny Leu is an actor you’ve probably seen before in your favorite shows and films, like NCIS, The Player, and Independence Day: Resurgence. He’ll make his biggest mark yet as Sgt. Eddie Chen in the upcoming National Geographic miniseries The Long Road Home, based on ABC News’ chief global affairs correspondent Martha Raddatz’s book about the true story of American forces who are ambushed in Sadr City, an Iraqi neighborhood. But before that, you can get to know him better as the star and an executive producer of the new webseries, Munkey in the City, which follows a young man who is trying to find fame–and himself–in the big city.
In my hour-long conversation with Leu, I got to better understand Leu’s commitment to increasing Asian American visibility in the media, his thoughtfulness on nuanced topics such as colorism, his willingness to learn from others’ cultural and racial experiences, and what he learned on the set of The Long Road Home. Here are five takeaways from our conversation.
•On landing the part of Munkey:
“I’ve been in LA now for almost four years. Before I moved out to LA to pursue acting full time, I was pursuing acting part-time in the San Francisco Bay area. I forget how I got this audition notice,but I was told about this project…went into audition for it, and ended up getting the part. We started to collaborate after I read the script and…it just reads as a very genuine story.
Our version of the series came out all right; there were a lot of things I felt I could have done better; I was still growing a lot as an actor and he was still growing a lot as a filmmaker. We shot our first draft of it in the San Francisco Bay before I moved down. I had already moved down to LA for a year before I saw his latest draft…By that time, I had taken really great classes, I had really learned a lot. I was like, “Michael, if I get another chance, I want to redo it.” He was like, ‘Dude, let’s do it then!’”
•On Munkey’s importance:
“One of the biggest things that drew me to this project is that I relate a lot to Munkey. He’s an aspiring writer, he moved to the city to become someone. He’s still figuring out who he is and what he wants in life. I feel that’s a very universal theme for a lot of people. What kind of struck me most about this project is that it’s a character who’s Asian American yet has these universal themes. He’s very human—he’s not perfect, he’s not a bad person, he’s just a guy who’s trying to get by. There’s a lack of stories in mainstream media where you have an Asian guy who’s just trying to live. That was the first thing that really drew me to this project; he just felt like this very real person and he just happened to be Asian American.
I relate very much personally to this to because I feel this is something very unique to Asian Americans. I feel like Asian Americans in general don’t ask ourselves what we want until later in life than most other cultures. At least, that’s me personally and a bunch of my friends who went through the school system, were very successful students, and before we woke up to what we wanted in life, we kind of already had this career going for us.
Before I was an actor I got a degree in mechanical engineering from Berkeley, and I was working…before I realized acting was something that fulfilled me more deeply than engineering will. It was a matter of taking everything that I’d had, everything I’d worked hard for—terrific salary, great job, terrific opportunities, potentially a family, your parents’ smiling faces, knowing they’ll have grandkids soon, health insurance—it’s all in my hands. I remember the moment I took all of it and threw it away. That’s something I think a lot of Asian American families, especially the ones who immigrated in the ’80s, really had to go through, that there is a choice between what everyone tells you is happiness and what you really want for yourself.
I think Munkey is reflective of that. I’d like to imagine Munkey had a career before he became a writer and that’s why he’s so lost,[thinking] ‘Am I stupid for doing this? Why do I want to become a writer? I’m not making any money from this, my roommate’s hooked on coke, I’m living such a shitty existence and some instinct tells me this is the only path forward.’”
•On Asian representation in Hollywood:
“I think things are definitely changing. Me being a part of the industry down here, I know for a fact that executives are trying. I think their efforts are still pretty clumsy and they’re still just holding onto some old beliefs that just aren’t true anymore. For instance, they still don’t believe an Asian American man can be the lead of a movie. …It’s very discouraging to see that that’s still a belief, because it’s still very much reflected in how people see each other here, I believe. My take on it is that I’m very optimistic, but cautiously [so]. I think there could still be more changes.
I think this is the first time ever where Asian American voices are united and persistent on something…It’s very hard to unify our voices because we come from such different backgrounds. But this is the first time I feel like we’ve worked in unison on something, and it’s made an impact, especially on Twitter, #OscarsSoWhite, [etc]. I’m very excited this is happening.
My hope is that we get an Asian American movie star whose name transcends his ethnicity. I feel like if you’re African American, you’ve got Denzel Washington and Will Smith, who I believe are such stars that their ethnicities aren’t as important as their names. I feel like we as Asian Americans don’t have that. That’s the crux of how I feel like a lot of Asian Americans get treated out here. It’s very easy to feel like you’re invisible, to feel like you don’t matter. Personally, I’ve received this a lot—a person treats me based on my race rather than on who I am. We’re fighting for the constant visibility that I think is specific, but not unique to, growing up Asian American in the United States. It’s not the overt hostility that African Americans face; it’s the complete opposite. It’s complete apathy.”
•On colorism in Hollywood, as seen in Crazy Rich Asians
“On the one hand, I think this Crazy Rich Asians is terrific. I hope this is going to be our generation’s Joy Luck Club and people will see that it’s interesting to watch Asian Americans on the big screen…and people will become more confident in investing in films like that in the future. Me personally, I tried reading the book, and I read a lot, but for some reason I just couldn’t finish this one. There was nothing interesting about it to me; a lot of it was just talking about clothes and a culture I couldn’t relate to at all. Maybe I was expecting it to be more of an Asian-American story…it’s not; it’s very specifically Asian, and it’s also very specifically the ultra-ultra-ultra-ultra-rich Asian. That’s very hard to relate to. I think going back to the crux of what Asian-Americans need to tackle in order to become accepted in the mainstream is this idea that we’re human too and we deal with universal issues like what Munkey’s going through and not like kung fu movies and math problems.
On top of that, something that bummed me out was when they cast Henry Golding in the lead. The reason why is because…something that I’ve noticed a lot is that our faces are kind of getting erased. Almost all of the parts go to Eurasian people. It sucks because we’re being horribly misrepresented, like our features aren’t good enough to be on the big screen. ‘He looks too Asian to ever be all right. It’s just a very Eurocentric way of looking at what beauty means and what it means to be handsome and that kind of stuff…I’m very cautious of our faces getting erased for an ideal that I believe is not true.
I know that this is something that has stemmed back [with black America] for hundreds of years; I’m reading a Malcolm X book, his autobiography, and he talks about that even back in the 1930s. Being lighter-skinned was a thing that made you more accepted by white society. It’s very analogous to what all the other minorities will be going through [in Hollywood]; the whiter you look, the more accepted you are, but only on screen. It’s such a nuanced, yet perverse thing to have happen to us, which subconsciously tells all of us that if you’re ethnic, you’re less than, you’re beautiful, and you don’t deserve [someone relating to you].”
• On playing Lt. Eddie Chen in The Long Road Home
“Our whole platoon is incredibly diverse, reflective of true life. It’s just something you would never see Hollywood casting if it wasn’t based on a true story. Our lieutenant commander is Hispanic, and we’ve brought in a whole number of ethnicities. I’m the only Asian man in it, but you’ve never seen that in a military show. All kinds of people are being represented in this platoon[.]
The vets all came out to give us their blessing. This is the first week that I showed up, and the vets were already there, saying, “Thank you for telling our story, thank you for not making us heroes.” [The miniseries] is about these really awful, difficult decisions they had to make in order to live. It was such an incredible experience on that level.
On my first day of shooting, I was really nervous because we were shooting this big scene, and there were 400 extras in the scene. We’re all soldiers saying goodbye to their families; obviously, it’s very emotional. I’m walking through my scene with the director, making sure I’m hitting all my marks and that I know where the cameras are. In the middle of all of that, there are all of these extras that come up to me. Imagine the most Texan guys you could think of—they had the long mustaches with sunglasses and the big boots and big belt buckles and big bellies—they surrounded me and came up to me, and I was wearing my uniform at the time and they were reading my [character’s] name and my insignia. There was like a moment of silence. I was like, “Oh f***, what’s going on?” They were like, “You’re Sgt. Chen…we served with Eddie 13 years ago.” He was like a big brother to them and he was the guy everyone looked up to. He was the most honest, genuine person they’d ever known. I’m standing there on this field suddenly realizing how meaningful this story is to all these people. I was like, “Oh my God.” …That was something that rattled me to my core. You realize how important it is to tell stories like this, where people are represented properly. It makes you realize what a responsibility storytelling is.”♦
Watch Munkey in the City on its website , Vimeo page and YouTube page, and follow the series on Facebook, Twitter,and Instagram. The Long Road Home premieres on National Geographic November 7 at 9/8c.
This article has been edited and condensed.