toys.

a stunning work of visual delight, barry levinson's toys delivers on it's promise of whimsical excitement by creating a peculiar world of color, equal parts beauty and the bizarre. it seems only fitting that a film about a toy factory and it's 'happy workers' take place in a seemingly parallel universe where people drive bumper cars and wear pink plastic wigs. everything about this motion picture is awesome: the soundtrack (enya, grace jones, thomas dolby, tori amos), the score (hans zimmer, wendy melvoin), and the breathtaking shots - interior and exterior.

 

i remember discovering this film years ago, as a child, fixed atop a high shelf in the vhs section of the video store. the alluring front cover cassette case featured a photograph of robin williams, wearing a cheshire cat grin and a red bowler hat with a square hole in the center. needless to say, i was struck dumb. no doubt, my eight-year-old self went off in search of a cheap laugh. what i found instead was a veritable smorgasbord of inspiration - color, costumes and style galore - i am not ashamed to admit that it remains one of my all-time favorites.

the true star of the picture is perpetual scene-stealer and double oscar-nominee joan cusack as alsatia zevo, the eternally optimistic and kind-hearted robot sister to robin williams' lesie zevo. a true innovator and literal head-to-toe mannequin, alsatia is the self-styled resident fashion designer and clip-on-clothing-enthusiast at zevo toys; her office, where she creates fabulous paper-doll dresses, is a man-sized dollhouse. she also sleeps in a duck-bed and has a penchant for applesauce sandwiches. it's difficult not to fall in love with her.

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marc jacobs' paper-doll-inspired dresses for louis vuitton, spring 2012, bring an air of the fantastic to the runway. pastels! pastels! pastels! jackets that look like they were crafted in a manner similar to those of paper snowflakes: folded, snipped and unfurled to reveal a dizzying mosaic pattern of empty space.

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alsatia's style throughout the film runs the gamut from edwardian coats to victorian lace. porcelain doll to court jester. cusack's doe-eyed gaze and alabaster skin makes her the perfect canvas. 

a true original.

 

orla kiely, 2011 silk georgette bib dress

erdem, 2011 spring ready-to-wear

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there is a definite military influence throughout the film, most obviously the usurper general zevo (michael gambon) and his war toys. when we first espy gwen tyler (robin wright) in the duplication room, her get-up gives the impression that she might be working for the enemy. a sexy toy solider with blonde tousled locks, she has the makings for the perfect femme fatale. thankfully, her sweet southern twang and charming array of off-centered plaid bow ties, slightly askew, make our hearts melt.

 

 

balmain, 2009 spring ready-to-wear

balmain, 2009 spring ready-to-wear

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a testament to it's stunning visuals, the film received two oscar nominations in 1993 for production design and costume design (albert wolsky). inspired chiefly by belgian artist rene magritte (see golconda, 1953),  toys is replete with surrealist imagery. it is an exemplary picture with the right amount of thought, humor and pink and purple whimsy. just plain fantastic!

clockwise from top left: ann demeuelemeester, military boot; balmain, military jacket; temperley, lace tunic dress; zara, tartan bow tie; orla kiely, georgette bib dress; rebecca minkoff, red blazer; assorted vintage toys at polyvore.com