In the acclaimed film, the fashion is a metaphor for a lust of fame and fortune.
works like an ocean wave, dragging you under and spitting you out, head spinning. The film is a nuanced, thorny portrait of a person in crisis — Lydia Tár, played by Cate Blanchett, an imperious and world-renowned Berlin orchestra conductor embroiled in a #MeToo-type scandal — that asks many more questions than it answers, about empathy, cancel culture, and the legacy of artistic giants who abuse their position and power.
Like her approach to music, Tár’s fashion is about both precision and artistic abandon. She makes public appearances in immaculate bespoke suits and rehearses in a beautifully rumpled button-down with the sleeves rolled to the elbow. She’s an expert at layering, wearing turtlenecks under collared shirts and blazers, or casually tossing a sweater over her shoulders.
The more I thought about Tár’s excellent fashion sense, though, the more I started to distrust it. In a film this carefully constructed, it’s not incidental that her material lifestyle is deeply seductive, from her expensive clothes to her modern apartment filled with designer furniture. Instead, aspiration feels like a clever tool to implicate you, the viewer, in Tár’s immoral, often cruel way of moving through the world.
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