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The Best Part of the *Crazy Rich Asians* Fashion Is the Revival of the Getting-Dressed Montage


As to be expected, there’s a crazy rich amount of designer gowns, over-the-top moments, and an overall obscene display of opulence featured in Crazy Rich Asians. In terms of the fashion, though, one particular scene stands out: Peik Lin Goh (played by Awkwafina) and Oliver T’sien (Nico Santos) act as fashion fairy godparents to Rachel Chu (Constance Wu), making her over for the wedding of the century and transforming her from a somewhat lost NYU economics professor into a fearless, high-fashion force.

There’s music. There’s some dancing. There’s a lot of twirling. There’s a ton of colorful fashion—and equally colorful, laugh-out-loud off-the-cuff snark from Awkwafina and Santos. It’s a revival of a classic rom-com hallmark we haven’t really seen in years: the getting-dressed montage.

It’s a feel-good scene that puts the tension on pause and suspends all the drama just for a second. For a moment, you—and maybe even the characters, too—forget what’s at stake: Rachel is about to enter the underbelly of high Asian society and go head-to-head with her boyfriend’s mother, Eleanor Young (played by the inimitable Michelle Yeoh).

PHOTO: Courtesy of Warner Bros. Pictures

Unlike some of the most memorable getting-dressed montages from rom-coms—in which the heroine loses her glasses, lets down her hair, and suddenly she’s hot (She’s All That); visits an off-kilter dress shop on the way to break up a wedding and ends up recreating iconic movie costumes (The Sweetest Thing); or tries on her former heinous bridesmaid dresses for whatever reason (27 Dresses)—this scene feels more profound. The sequence aims to instill confidence in a character who’s genuinely out of her element and provides pure joy courtesy of the delightfully extravagant fashion.

“I don’t remember [director Jon Chu] pointing out an example from another movie, but I can’t even think of a getting-ready scene where they try on so many dresses,” says costume designer Mary E. Vogt. “This was a scene that he really loved and he wanted to create from whatever costumes I gave him.”

Because “high fashion can all look the same,” according to Vogt, she set out to pick pieces that felt distinct and special, that would give the actors room to play. “I knew Awkwafina and Nico would be making jokes, so I tried to give something that would be easy,” she says. “It’s hard to make a joke about a super elegant dress.”

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PHOTO: Courtesy of Warner Bros. Pictures

And sure enough, Vogt delivered.

Originally, Chu asked for eight dresses for this scene. Vogt pulled 15 options (with five back-ups), each brimming with the promise of potential comedic material. In the film, Peik Lin and Oliver add some colorful descriptions: a short and silver Michael Kors dress was judged “the death of disco,” a bright and colorful prism dress was described as “a clown’s tampon,” and a little pink dress by Malaysian designer Carven Ong called to mind an “ebola virus.” (When asked about how the designers feel about the mirthful attack on their designs, Vogt says: “Oh my god, I don’t know! I hope they’re ok; I hope they have a sense of humor about it.”)

Vogt says the scene was “all totally improvised,” and that Awkwafina and Santos “didn’t need too much prompting.”

PHOTO: Courtesy of Warner Bros. Pictures

“It was very spontaneous and the two actors together were hilarious,” Vogt continues. “Jon is a very spontaneous person, too, and he had no problem taking ideas from the actors and using their ad lib lines—and his light touch gives the whole movie a playful, effervescent, sparkling kind of quality, as though it’s all happening live.”

That playful, lighthearted quality might have something to do with Chu’s filmography, whose well-known projects have been music-filled hits, including various films from the Step Up franchise and Justin Bieber’s Never Say Never documentary. Whatever the reason, that little bit of movie magic was all the film needed to achieve two things: to reveal Rachel’s playful side, and to mark a character transformation moment. For that, Vogt says the scene was important to the director.

PHOTO: Courtesy of Warner Bros. Pictures

“During the movie, Rachel is serious, but this is the only scene where we see Rachel dancing—she’s relaxed and more playful than in any other part,” Vogt says. “Because of it, I didn’t want it to have a dull look. The clothes are there really to enhance the actors without overpowering them.”

It’s easy to overlook the montage, to judge it for its frivolity, or to even dismiss it as another opportunity to showcase more luxury. But the scene plays a much bigger role (albeit a covert one) that helps not only in furthering the plot, but driving home the overall message of the film. As Chu told Deadline: “It’s called Crazy Rich Asians, but it’s really not about crazy rich Asians. It’s about Rachel Chu finding her identity and finding her self-worth through this journey back into her culture, which, for me as a filmmaker, exploring my cultural identity is the scariest thing.”

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PHOTO: Courtesy of Warner Bros. Pictures

With the sartorial support of Peik Lin and Oliver, Rachel confidently emerges—in a ethereal Marchesa gown, crafted out of tulle. The dress appears soft, but acts as something like a suit of armor.

In a way, that’s what fashion’s all about.

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Some Critics Say the Biracial Actors in Crazy Rich Asians Aren’t Asian Enough—But I Call Bullshit



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Crazy Rich Asians Is the Love Letter to My People I Never Had a Chance to Write


The first time I got to write a featured role for an Asian character was on a one-hour network TV drama. I was a staff writer and my showrunner told me he had an idea for my episode. “It’s about two sisters. Two HOT sisters. And they’re Asian. Like the Hilton sisters, but Asian.”

I’d like to say I was secure enough in myself and my views on cultural representation to tell him to stick it up the hole he was pulling these ideas from, but I didn’t. I was just psyched I had a job. Also, this was before Twitter, chronic wokeness, and #MeToo. Instead, I opened my notebook, licked my pen (figuratively), and asked, “So what are these two hot Asian sisters doing?” My showrunner shrugged. “They’re running around for two acts being hot.” I dutifully scribbled “Asians Being Hot” in my notebook.

That was just the beginning. That same showrunner also wanted me to feature Chinese triads, have them use Japanese throwing stars, and get into a kung-fu fight with our (white) lead. To not feel like I was totally selling out my race and culture, I tried to own it. Subvert expectations. I had the badass triads selling imitation handbags. (OK, that was more a dive into different stereotype.) I tried replacing the throwing star with another less culturally on-the-nose weapon: guns! And I tried to not have a scene between our other (also white) lead and his Chinese contact at a roast duck restaurant. I tried, but I failed. If you find this distasteful, it’s worth noting the episode did great with a 3.0 rating in the demo, which is astronomical for today’s standards. America did not share your squeamishness for racial stereotypes.

Adele Lim at the ‘Crazy Rich Asians’ premiere

That was over 10 years ago, and the shows I’ve worked on since have not come close to that level of doofy obliviousness. (Also, now that I’m more established in my career, I don’t put up with that nonsense.) But there are other issues I’ve faced in depicting my culture—or, more accurately, not depicting it. Of the dozen or so shows I’ve written on, none of them had an Asian lead. Only one had an Asian character in their main cast. And the few instances where I’d write a strong, sexually appealing Asian male guest character, I’d face pushback from the showrunner or casting. “Can he be Latino? Or African American?” was usually the first response, as if one minority was interchangeable for another. Casting would claim the talent pool wasn’t there, but I realized if I was an annoying enough jerk about it, they’d eventually find me the right actor.

So when director Jon Chu—who I’d worked with before, we sold a TV pilot together—asked if I’d be interested in working on the screenplay adaptation for Crazy Rich Asians (with co-screenwriter Peter Chiarelli), based on a book by Kevin Kwan featuring all Asian characters, my reply was not so much “yes” as it was “OH MY GOD. YES, PLEASE! WHEN CAN I START?!” It didn’t matter that I didn’t have the time (I was a full-time writer and producer on another TV show), had no idea how much or little money it would be, and I’d never written a movie before. I just knew this was a once-in-a-lifetime opportunity, and that I was going to make it work.

My rabid enthusiasm for the book went beyond the fact its entire galaxy of amazing characters was Asian. Jon didn’t know it, but I grew up in Southeast Asia in the same overseas Chinese community and culture the book is set in. (Alright, not the exact same culture—we were middle class. I like to say my family isn’t rich, but plenty crazy.)

In a world where the majority of lead characters is male and white and you’re not, that’s a constant challenge.

I came to the States at 18 for college and hustled for years before landing my first TV writing job in Los Angeles. I feel blessed and fortunate for the career I’ve had, but I’ve often felt that there was a level I wasn’t hitting in my work. “Write what you know” is the platitude most often leveled at writers. But in a world where the majority of lead characters is male and white and you’re not, that’s a constant challenge. I had to work doubly hard to make sure their lines sound authentic (enough) or to have a handle on their drives and motivations. And if I did pull from my own experiences, I had to translate them through a fractured prism to make them applicable to a white guy with a strong jawline.

With Crazy Rich Asians, I had to do none of that. I felt these characters in my bones—they looked and acted like my family members or people I knew. Their voices were ones I grew up with. Their vices, predilections, and obsession with food and luxury handbags were details etched in my DNA. One of my favorite scenes in the movie is one that isn’t in the book—we had to compress plot points to squeeze it into a two-hour movie—and that’s a scene of Rachel, the protagonist, playing Mahjong with Eleanor, her boyfriend’s mother.

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It was inspired by the countless hours my family has spent around the Mahjong table, telling stories, working out family issues, and trash-talking the living fuck out of each other. It sounds narcissistic, but I cry every time I watch that scene. Not because of the Mahjong, but because it’s a love letter to my world and my people. One I never had a chance to write before.

Jon Chu has said that he wants our movie to be a movement. And I hope it is, or at least the beginning of an age where we give voice to all people whose stories have yet to be told. Where minorities and women in this country get to be equally celebrated in movies and TV. Having had a taste of it, I know there’s no going back. Kiss my ass, Asian Hilton sisters.

Crazy Rich Asians is in theaters now.

Photos: Warner Bros./Everett Collection, Getty Images



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I Tried to Make Myself Seem Less Asian My Whole Life. Then I Saw Crazy Rich Asians.


Before you have your first slice of pizza, you have no idea what you’ve been missing out on. Once you get a taste of that melty cheese, tomato sauce, and crispy crust, though, you can’t imagine life without it. Watching Crazy Rich Asians was like that for me: I never knew how good it felt to see only Asian faces on screen until it happened. And now? I’ve been living in a white-washed world for 27 years, and I don’t want to go back.

OK, maybe pizza, a quintessentially Italian-American food, was a weird example to share how overwhelmed I felt by Crazy Rich Asians. But it’s indicative of the way life has always been for me, relating to the world through the lens and interests of white people. I was adopted from Seoul, South Korea at seven months old by a loving (and very white) family in upstate New York. I was the only Asian person in my graduating class; at the time, I could count my Asian friends on one hand. I learned a bit about my heritage in bits and pieces—by going to a Baptist church briefly as a kid, attending a Korean mentor program at the local college, and exploring New York City’s Korean restaurants. But I always felt, as Goh Peik Lin (Awkwafina) describes Rachel Chu (Constance Wu) in the movie, like a banana: white on the inside, yellow on the outside.

As I watched the film last week—amongst a crowd of mostly Asian people—I realized I’d grown up without any meaningful pop-culture examples of women who look like me. Growing up, the biggest Asian figures in my life were, well, figure skaters. I idolized Michelle Kwan and Kristi Yamaguchi, both of whom were so talented and beautiful. I tried ice skating to be more like them—and failed miserably. The yellow Power Ranger was cool, but not as cool to me as the pink Ranger. And I liked Japanese-American Claudia from The Baby-Sitters Club fine enough, but it was the four-eyed, red-haired Mallory who I related to most at 13.

I rarely saw Asian characters who weren’t a stereotype. To be fair, I didn’t seek them out, either, because I didn’t feel Asian. In fact, I was so afraid of being seen as a stereotype—or worse, an outcast—that I distanced myself from things like Korean pop music, anime, and Pokémon to appear “normal.” Maybe if I had seen a movie like Crazy Rich Asians as a kid, I wouldn’t have felt so alone.

Crazy Rich Asians might be the first time I didn’t see a white person for two hours, period.

Instead, I had to wait until I was 27; Crazy Rich Asians was the first time I saw a full Asian cast in anything. It might be the first time I didn’t see a white person for two hours, period. But after that initial, “Wow! Everyone is Asian!” feeling, I realized the movie is no different than any other (predominately white) romantic comedy I’d watched before. This isn’t a story that’s only accessible to Asian people; the friendships and relationships are nuanced and interesting, but they’re not groundbreaking. A makeover to impress a boyfriend’s family? Seen it. A battle against mean girls? Done before. What really got me was that I could finally see myself in the leading role. And the best friend role. And even the weird brother role. All of these characters are Asian, and none are the punchline.

My friend Marianne, who is half Filipino, agrees. “Seeing people who looked like me portray characters in a rom-com storyline that would typically have a white cast—with an ambiguously brown sidekick because, you know, diversity—was a huge deal,” she says. “I related to Rachel’s overall experience of, yes, she is Asian, but not quite Asian enough.” Kristina, who is also Filipino, echoed this. “I felt emotional seeing a protagonist [Rachel Chu] that not only looked like me, but she was someone who was complex, confident, vulnerable, and passionate.”

But Rachel wasn’t the only relatable character. The theater roared when Peik Lin (Awkwafina) made her grand, pajama-clad entrance. Later, as we watch her family’s lavish lunch, I teared up when her mom said “simple food, lah,” a Malay term used frequently in the book that didn’t have to be subtitled or explained. It just existed. The audience cackled when Peik Lin’s dad scolded his youngest kids to finish their chicken because there are “lots of starving children in America.”

PHOTO: ©Warner Bros/courtesy Everett Collection / Everett Collection

This difference stuck out to Emily, who is Korean and says she was moved by the way the movie navigated the cultural differences between Asian Americans and “Asian Asians.” This came through in the differences between Eleanor, an Asian tiger mom dedicated to family and loyalty, and Rachel’s mom Kerry, a first-generation immigrant who raised her daughter on her own. “What the film does beautifully is not pit these two women or cultural styles of parenting against each other, but embrace the validity in both,” Emily says. “I grew up with a mix of both, and it was touching to see both sides explored in the movie—and also gain a greater sense of appreciation for my family, too.”

I may not ever understand what it’s like to be a crazy rich Asian, passing down traditions of dumpling-folding and Mahjong (although my Jewish grammy is great at the game), but I do understand feeling like I’ll never be enough. Rachel’s monologue about knowing she’ll never measure up hit close to home, and I considered how I would be seen if I dated a man from a traditional Asian family. Would I be accepted? I’d like to think so.

By the time the credits started to roll, everyone in the theater was clapping, cheering, and wiping away tears. It felt like a celebration of being Asian, and that buzz has stayed with me ever since. I hope this shows Hollywood that an all-Asian cast won’t keep people from relating to a movie. Just like how I, a Korean-American woman, can relate to She’s All That and A Walk to Remember, people of all races can find similarities in stories about family ties, relationships, and that outsider-looking-in feeling. It’s time for more stories to be told with all kinds of people represented, and I hope Crazy Rich Asians is just the first of many Asian-led movies and TV shows I’ll see in my lifetime.

Maybe I’ll even see a story about an adopted woman trying to figure out her identity. Maybe I’ll even write it.

Alyse Whitney is a writer and editor at Bon Appétit.

Photos: Warner Bros./Everett Collection



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*Crazy Rich Asians* Is a Hit With Critics—and Why That's So Important


Crazy Rich Asians isn’t even out yet, and Hollywood is already raving about it. The highly-anticipated adaptation of Kevin Kwan’s hit novel has an impressive 100 percent rating on Rotten Tomatoes, based on 19 reviews. Granted, there’s a chance this rating could drop as more come in, but the fact it’s currently at 100 percent all but confirms Crazy Rich Asians is headed for a Certified Fresh Rating—and, hopefully, box office success.

“Seeing this kind of onscreen representation is incredibly satisfying, especially via Kwan’s rich page-turner,” reads the review from Time Out. “A loving take on Kwan’s books, bundled up in a wildly entertaining package,” says Kate Erbland from IndieWire.

And these are just two of many stellar reviews from top critics. In addition to their actual reviews, many of them took to Twitter to express their enthusiasm for the movie. “After seeing #CrazyRichAsiansMovie I wanted to reread the book and rewatch the movie, AT ONCE. It made me that happy, and not just because of the outfits (though they are stellar),” Moira MacDonald from The Seattle Times tweets.

“Crazy Rich Asians picked an auspicious date to lift its review embargo, but by delivering a satisfying, highly entertaining romantic comedy, the filmmakers have made their own luck,” writes Brian Lowry from CNN.

And here are some more tweets from critics:

“I wanted to rewatch CRAZY RICH ASIANS as soon as the credits started rolling. It’s a wonderful romantic comedy with culturally distinct (but universally relatable) stakes. It’s also a moving-as-hell affirmation of Asian American identity,” tweets Inkoo Kang from Slate.

“#CrazyRichAsians takes the fairy tale trope that has defined our cultural understand of romance, and gives it new life by showing that it doesn’t belong to blue-eyed, blonde haired Cinderella,” writes Anne Cohen for Refinery 29.

This bout of critical acclaim is coming on the heels of #GoldOpen, a social media campaign started by digital media entrepreneur Bing Chen to make sure Crazy Rich Asians has a banner opening weekend. “EVERY MOVEMENT NEEDS ITS MAFIA,” he tweeted earlier. “That’s why 100+ of us have bought out theaters to give #CrazyRichAsians a #GoldOpen. Join us and buy your tickets NOW for opening week on @Fandango.com.”

This early praise should certainly help drive viewers to movie theaters next weekend. After all, the 24/7 nature of our news cycle makes positive reviews impossible to ignore—and with people’s time and funds limited, they want to make sure they’re seeing something good.

The early Twitter response to Crazy Rich Asians seems to mirror this Rotten Tomatoes slam drunk. Check out some responses, below:

Crazy Rich Asians hits theaters August 15.

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Hollywood Wanted a White Actress to Lead Crazy Rich Asians—So Author Kevin Kwan Fought Back

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I Tried Sephora’s Free Pore Vacuum Facial, and the Results Were Crazy


Once upon a time, facials were only for the rich and the brave. You would pull up, sign over $100 or more, and feel the warm embrace of a waffle knit towel while an esthetician stroked your face for an hour. Then would come extractions, the technical name for a pro going pore by pore to squeeze out gunk and blackheads. Now you can just walk into Sephora and get your pores vacuumed—yes, vacuumed—for free.

Earlier this year, Sephora announced it would start offering complimentary Perk Hydrating Facials in 100 stores across the U.S. The only catch being that you also have to buy $75 worth of products during your trip, which, honestly, you’d probably do there anyway. Unlike regular extractions, the Perk “pore vacuum” promises to be quick and painless. It’s also the absolute grossest thing ever, because all of the stuff it sucks out your skin goes straight into a jar of blue liquid for you to see. So, like I said, gross; but also intensely satisfying—not unlike a pimple-popping video.

Naturally I needed this thing on my face right away, so I headed to the Herald Square location in New York City ready to be $75 and a jar of dead skin lighter. My first question was how Sephora could keep things relaxing—and hygienic—in such a busy location. There’s nothing like a screaming toddler getting handsy with eyeshadow swatches to ruin the mood you traditionally get with a facial.

But when I arrived, my Sephora Skincare Advisor (SSA), Veridiana, assuaged my fears. The Skincare Studio, where they perform the treatment, looks like one of the store’s mirrored testing banks, but instead of being centrally located, they place the bank next to a wall. The logic is that your advisor can block out the traffic (and people dodging in for tissues), so it feels like more of an intimate experience. I was literally the first and only shopper in the store, but Veridiana started by demonstrating how they sanitize the machine’s mechanism before every use, which was great. Even just the thought of someone else’s pore junk intermingling with my own is too horrible to entertain—I want to see my skin trash, and mine only (I’m mostly kidding, though I do appreciate un-skewed results).

Next came a brief consultation to talk through my skin concerns. I’ve noticed some small, under-the-skin, not-quite-pimples on my cheeks over the past few weeks, and while I’m still not entirely sure what’s up with them, we agreed that it looks like some kind of congestion. Drawing on the wide world of Sephora’s skin care arsenal, Veridiana returned with a Biossance oil cleanser and a foaming Ole Henrikson cleanser (double cleansing was her number one recommendation; and after seeing the things she’s seen, below, I understand why). Rarely do I remember product recommendations after walking away from a service, and in my defense, skin care’s usually a wait-and-see kind of thing. But Sephora’s app now comes in handy for more than making rash purchases. Your SSA notes what products are used in the app’s “Digital Makeup Guide,” and then if your skin turns out fabulous, it’s not a mystery what worked so well.

I’d walked in barefaced, but Veridiana cleansed my face anyways with a short face massage before the big guns came out. Working from bare, just-cleansed skin makes the end results all the more gross interesting. The real magic is in said guns, the two vials of serum that came out next. Packed in sealed plastic bags, the first is a mild lactic acid solution that dissolves the cellular glue holding dead skin to your face, while the second is a calming serum that soothes the residual redness. The vacuum “pen” then sucks up the loosened surface cells. I’d been expecting to leave splotchy thanks to extractions, but Veridiana said that’s a common misconception. Only licensed estheticians can perform extractions, so Sephora makes sure to steer clear of the word. Instead, the “vacuum” aspect comes in the mechanism of the serum dispensers’ heads, which suck off the grime and pollution that are on your skin with the power of suction.

All in all, the vacuuming took four minutes. And then I saw this…

PHOTO: Rachel Nussbaum

…And mentally barfed. It looks like an outtake that was too gross for The Shape of Water, between the sludge and dirt and mysterious wisps of mucous-looking stuff. Veridiana LOL’d and said, “That’s New York City,” while I zoomed in and got different angles and let my inner nature photographer run wild. I have no regrets, look at this nightmare content:

I’d do it again in an instant. Not even just for that, although that’d be enough. When I got to work, three people commented on how great my skin looked. The little bumps remain, but I’m impressed, Sephora. For free-but-really-$75, I’ll happily pass up extractions for vacuumed-up pollution goo. What’s more, I’ll now live in horror of the things the air throws at your skin. Double-cleansing, do me right.

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Call Me Crazy, But I Can't Stop Wearing Brown Blush


What if I told you there was a way to make your face look alive, but in a secret way—a way that most people’s eyes just skate right over? You look flushed and healthy, in a Brooke Shields, tawny, sexy-outdoorsy-slightly rough around the edges kind of way. The kind of color that says, “Oh, am I hiking or modeling a picture of health? Is this a photoshoot, or the Pacific Crest Trail?” Other words and phrases I associate with the look are: quarter-zip fleece sweaters, the Sierra Club, sepia, trail mix, and the entire vibe of the 1998 movie Stepmom, featuring Susan Sarandon and a young Julia Roberts. Hello, my name is Rachel. And I’m obsessed with brown blush.

Not to be one of those people, but pink blush is out (for me). Instead, I’m leaning hard into the look that Sarah Lucero, Stila’s global executive director of creative artistry, created for Tibi last fashion week. Ninety-nine percent of fashion week trends fall into camp unwearable, but the look at Tibi was different. Lucero had done models’ eyes in a mix of colorful shades, so to keep it grounded, and she tapped on Stila’s cream blush in the ruddy, tan-meets-peach shade Camellia. It was perfect. Less precious than pink, and because it’s so close to flesh-toned, it’s almost undetectable unless you load it on.

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After wearing brown blush almost exclusively for the past two months, I’ve pinned down the magic that it weaves. It falls completely outside of traditional cheek knowledge, which says that blush on the apples of your cheeks brightens your face, bronzer gives you a glow, and highlighter and contour define your cheekbones. But brown blush? It covers everything with a simple one-and-done, and because it’s not what you’re expecting to see, it reads incredibly natural. I lightly tap it from my apples up to my cheekbones, and stop just under the outside of my eyes. To borrow a phrase from makeup artists everywhere, it brings some color to your face. Your eye follows that line, which emphasizes your cheekbones without the shadow manipulation of contouring.

In terms of product reccs, I’ve stuck with creams like the Stila. Too Faced Pinch My Peach is a good one, along with Onomie’s Boosting Lip + Cheek Stick in Nightingale. The texture does actually make a difference. The Stila and Onomie have formulas on the moister side, which covers your highlighter base with a healthy-looking glisten. The dryer feel of the Too Faced makes it best for beginners, since it’s way harder to overdo. And even if you do, so what? Brown blush is an adventure, in the woods or not.

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