“The John Waters movie ‘Cry-Baby’ molded my life. The music, the CLOTHES, the cars and the men with pompadours,” Dominique says, which for me makes very clear why the Oscars should be focusing on the power and magic of great acting and extraordinary storytelling instead of what someone is wearing on the red carpet – especially when it doesn’t even come out of their own closet.
As if she is actually a character from a film based on the ’50s, Dominque feels that she is an “old lady at heart” and actually sets her flaming Karen Elson-inspired red hair with pin curls and setting lotion. There is a 1956 Oldsmobile Rocket parked outside her house, saddle shoes are what she wears to walk the dog and Dominique boasts that “There’s nothing like big boobs, a skinny waist, a huge full skirt, little ankles and real high heels.” Especially interesting is the mix of her very prominent peacock and rose tattoos into the retro red lips and overall feminine pin-up style.
There is no replacing the enrichment that a grandmother with lots of furs and jewels and parents who listened to a lot of blues can bring to a child’s creative world, like it did for Dominque. Similarly, there’s no substitute for the true celebration of the art of cinema and the actors in it, not even another evening gown. Eccentricity is a gift and it comes from the celebration of life, not commerce. Just take a look at the spirit of one of Dominique’s icons, Marchesa Luisa Casati.