On Saturday, Oct.. 19, Wellesley alum, students and moviegoers alike gathered at Capitol Theatre for a one-time showing of “Empire Waist,” the debut feature film of writer, director and Wellesley alum Claire Ayoub ’11, held in collaboration with Cashmerette, a brand which focuses on body positivity and encourages others to sew their own clothes.
When I first saw the announcement on the “Wellesley in Entertainment” Facebook group, I wasn’t sure if I would be able to see the film in a theater. Ayoub had written a letter on her social media stating that 100 theaters in the United States weren’t sure if they would include the film in their showings: “they’re still not convinced there’s ‘enough of an audience’ for it in their communities.” On account of this, she encouraged people to prove them wrong and bring the film to a theater near their area.
“Empire Waist” started strong with the image of our protagonist, Lenore, dressed in black from head to toe. Her style juxtaposed heavily with the brightness of the school behind her, and this contrast became more apparent when Kayla –– the film’s second protagonist –– appeared. The aesthetic opposite of Lenore, Kayla wears colorful and vibrant clothing. As someone who has always found an “opposites attract” moment appealing, I was immediately hooked, and I’m pretty sure everyone in the audience was as well.
One of the most compelling things about “Empire Waist” is the memorable side characters; Ayoub makes it easy to see that each character has a purpose and is meaningfully crafted. Lenore’s father, Mark, for example, captured the audience’s attention with his hilarious one-offs and t-shirts with puns on them (I don’t think I’ll ever get over his “split happens” shirt with a bowling pin graphic on it). Then there’s Kayla’s suspicious grandmother with a fear of Girl Scouts because apparently, “They put cocaine in those thin mints. Nothing God made could be that addicting.” She isn’t wrong about that. Holly Mcdowell’s Tina, a friend of the protagonists, has a lack of situational awareness and added physical comedy which was the perfect touch to the film and kept the audience laughing. And this is just to name a few –– these characters seem just as important and well thought out as Lenore and Kayla, our main protagonists, and such a decision feels particularly rare in films these days. “Empire Waist”, no doubt, highlights the brilliance of Ayoub’s writing and direction.
As a film about fashion, the costumes included also stand out. As Lenore grows in confidence in herself and her work as a fashion designer, the clothes that she makes reflect a growing sense of self. Ayoub stated that “Empire Waist” isn’t a “makeover movie”, which is significant ––the characters don’t change overnight, but they grow into themselves over time. For instance, by the end of the film the all-black outfit which Lenore initially donned changes into a light gray with hints of purple.
After the film’s screening at the Capitol, the founder of Cashmerette, Jenny Rushmore, held a Q&A talkback with Ayoub. Throughout their discussion, the audience got a chance to learn more about the care put into “Empire Waist”. From creating a care plan with actors to help them process the script’s sensitive subject matter, to talking with social workers and teachers for perspective on how to approach the creation of this film, no stone was left unturned. Above all, Ayoub’s behind-the-scenes efforts reveal the importance of creating art in an environment filled with care.
As I look back on Ayoub’s letter about theaters across the United States not wanting to screen “Empire Waist” because there isn’t “enough of an audience” for the film, I’m shocked. The large round of applause that ensued when the credits rolled seems to prove the opposite. People walked out of the theater raving about the film and connecting it to their own experiences and stories –– it certainly has the ability to appeal and speak towards many communities and audiences. I would argue that most people can definitely relate to at least one character in “Empire Waist” –– I know I could.
If you would like to support this film, fear not; there is ample opportunity to do so. On Tuesday, October 29, the film premieres on digital and on-demand. Host a watch party and grab a friend (or two). You won’t regret it.
Contact the editors responsible for this story: Anabelle Meyers, Ivy Buck
