The Fashion File [antikvár]

FOREWORD by JANUARY JONES I remember my first fitting with Janie for Mad Men. I had just had a long conversation with executive producer Mathew Weiner about the role of Betty, and how she was going to be in therapy and have physical issues as a result of her anxiety, and it was all very daunting and new for me. So when I walked in for my fitting I was panicking a bit about portraying such a complex character. But Janie's enthusiasm and passion for the clothes and the time period helped renew my own passion and, after seeing all of Betty's wardrobe, I trusted Janie completely. We bonded in our mutual respect for fashion and storytelling through the amazing '60s garments she uses on the show. As an actor playing a role in a period piece, it's a big cheat to arrive on set each day in your every- day clothes and, an hour and a half later, be transformed by hair, makeup, and wardrobe. And Janie doesn't leave anything out. From the girdle, long-line bras, stockings, and petticoats, you feel hke a different person before ever uttering a hne. All those elements contribute to making me feel, walk, and posture as Betty. Janie gets very emotional when everything comes together. On occasion I have had to plead with her not to cry when she's seen the finished result. It's so inspiring to see someone care that much about her work and the real art that is what she does. On a show as stylized as Mad Men that's important to the honesty of the storytelling and to the actors. There have been very few times I've questioned her judgment, but when I have, she's just said in her delicate