From Flower Vase to Film Emperor in Hollywood

Clothes make the man.

Everyone has heard this saying, but without seeing it firsthand, it's often hard to believe that a person's aura can change drastically with different outfits and styles.

That's why in movies like "Pretty Woman" and "The Princess Diaries," people always love to see the moment when the ugly duckling transforms into a swan. The story of Cinderella has become the most adapted fairy tale in film history, proving that some classics never go out of style.

And here, it's the same.

Anna's eyes lit up slightly—

A leather jacket paired with a shirt has a similar effect to Anson's aviator jacket and shirt combo that day. It boldly breaks convention, using a seemingly simple but unconventional mix-and-match to change the overall vibe, adding an element of unpredictability to everyday fashion with a single item, making people's eyes light up.

But whether Anson got the inspiration from Eddie or Eddie got the inspiration from Anson, one thing is certain:

Dior Homme is indeed drool-worthy.

Behind the bold rebellion and subversion, the perfect lines and proportions showcase the beauty of the male figure. Compared to other thin and weak models, Anson's firm, well-proportioned, streamlined muscles fully demonstrate another kind of charm in the design, a charm that words cannot describe.

Rarely, a hint of admiration flickered in Anna's eyes.

Loyal readers who are truly familiar with "Fashion" magazine should know that this is a fashion magazine aimed at women.

From the cover to the inside pages, women's clothing takes the absolute lead. Occasionally, there is men's clothing, but 100% women's outfits are not uncommon.

This is also why Steven and Tom rarely, if ever, accept interviews with "Fashion."

Because of this characteristic, "Fashion" has also encountered some controversy and criticism, but as editor-in-chief, Anna has always been headstrong, insisting on the magazine's style, which has led "Fashion" to achieve incredible success, and it remains an unshakable presence at the top of the pyramid, far ahead of its competitors.

This time, Anna's initiative to invite Anson to collaborate on a feature is indeed very difficult and rare.

In essence, it is because Anna has sensed the changing trends, keenly captured the key, and taken the step to try.

And now, Anna is thinking that perhaps, her steps should be bolder.

Subconsciously, Anna turned her head to look at Steven and said in a low voice, "This is the style you saw in the studio that day."

Steven: ???

From Steven's eyes, it can be seen that he obviously has no impression.

This made Anna helplessly shake her head slightly. Was it still too late for her to change seats? The most important show in the fashion world for a whole decade, or even fifteen years, and she was sitting next to two Philistines?

It's like casting pearls before swine!

Steven chuckled dumbly.

Although Steven couldn't give Anna a response, he really had no concept of fashion. He couldn't see the reason behind this show at all. He couldn't even understand the design and matching of some clothes. Others didn't know, but he wouldn't wear them like that anyway; but he also had his own perspective.

Steven couldn't confirm whether it was his preconceived notions playing tricks, but he could always capture a hint of childish stubbornness in those clear, azure eyes, proudly and lonely using sharpness to hide his wounds—

"This, isn't this Little Frank?" Steven finally couldn't help but lean his body slightly towards Tom's direction and said with a low sigh.

He turned his head and saw Tom's half-smiling eyes.

Caught in the act.

Tom also lowered his voice, "So, this is the Little-Frank-Abagnale we've been searching for?"

Steven could read a hint of schadenfreude from the smile in Tom's eyes, which made him a little depressed. For a moment, he was too stubborn to admit it; but he couldn't say the words of denial and rejection, which made Steven want to roll his eyes.

Tom saw it, but he was an honest man. He knew when he could joke and when he couldn't, like now.

So, Tom didn't tease him, but returned to the topic, "I think he is very malleable and is a different kind of actor from Leonardo."

"Of course, we can choose Leonardo and patiently wait for 'Gangs of New York' to finish filming. Leonardo is definitely not a wrong choice."

"But we can also choose Anson, take a chance, let Anson explore and grope, create a brand new character, and then see how it goes, maybe it will succeed, maybe it will fail."

Tom was very bold and went straight to the core.

Steven didn't speak, shifted his gaze, and quietly watched Anson on the runway.

Tom sighed softly in his heart.

Tom understood Steven. Steven was an excellent director, but in terms of actor selection, he was conservative and mediocre. He had his own comfort zone, and after achieving great success in the past decade, he became more and more accustomed to staying in his comfort zone, refusing to take risks.

So, Tom changed his approach instead of continuing to analyze from a professional perspective, "Steven, when was the last time you used a newcomer who had no experience and no successful works?"

"'The Color Purple,' or 'E.T. the Extra-Terrestrial'?"

"The Color Purple," a 1985 work, was a bold attempt by Steven to switch from commercial to artistic. He adopted a completely new cast with a mindset of no destruction, no construction, and filmed a black film, which is still a shocking move even now.

"E.T. the Extra-Terrestrial," a 1982 work, was an important attempt by Steven to recall his childhood with a cast mainly composed of children.

In a blink of an eye, fifteen years have passed, and Steven seems to no longer have this kind of courage. The choice of actors has become more and more conservative, narrower and narrower, and more and more reliant on the star effect.

So, is this laziness or fear?

Steven admitted that he had never thought about his works from this perspective, after all, actors were indeed not the focus of his attention as a director.

Now being pointed out by Tom, subconsciously, Steven wanted to refute, "'A.I. Artificial Intelligence'!"

Tom looked at Steven with a helpless face, "Haley? Jude? Or Frances?"

"A.I. Artificial Intelligence," this year's summer blockbuster, is also Steven's latest work. The cast of this work is also worthy of attention.

Haley Joel Osment, who became the hottest child star with "The Sixth Sense."

Jude Law, a British actor with works such as "The Talented Mr. Ripley," "Gattaca," "Wilde," and "eXistenZ."

Frances O'Connor, an emerging Australian actress, but has also starred in works such as "Madame Bovary" and "Mansfield Park."

A rebuttal made Steven stunned, and his reaction showed a brief obstacle. Slightly distracted, his eyes followed Anson's footsteps slowly.

Unconsciously, he fell into deep thought.