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LI Nonprofit Founder on L’Oréal Paris’s ‘Women of Worth’ TV Special Dec. 16



When Lindenhurst native Amanda Munz was studying fashion at F.I.T., she noticed how much material is wasted in the industry and thought, “What can I do with all of this merchandise to make a difference?”

That question led her to earn a master’s degree in public administration from Baruch College and launch her nonprofit, The Fashion Foundation, which sells leftover fashion items and uses the money to donate school supplies to underprivileged students.

“It’s a small organization based on Long Island that anybody can support,” Munz says. “You can buy a top for $10 and make a difference for a local kid in New York.”

Designers from around the world donate their leftover clothing, shoes, and accessories to The Fashion Foundation. Then, anyone can browse and buy the designers’ donations. Munz and her staff of volunteers use proceeds to buy supplies for schools in need in New York City or Long Island.

Munz says she works closely with schools to learn what supplies students can use, buys the items, and delivers donations directly to the schools. She estimates that the organization has made an impact on 16,000 kids with its donations to schools and shelters.

“We realized schools need different things. They might need basic things, and we’re going to get them whatever they need,” she says.

In November, L’Oréal Paris recognized Munz as one of its 10 Women of Worth from across the country. Munz received $20,000 for The Fashion Foundation and a chance to win an additional $25,000 for the Long Island-based organization based on public voting online.

Munz will also appear in an NBC TV special showcasing L’Oréal Paris’s 10 Women of Worth on Thursday, Dec. 16 at 8 p.m.

“When I got that phone call, I had never gotten something like this,” Munz says. “The monetary donation and the exposure is a really exciting honor and it was a really great moment. I did cry.”

Munz got her start in fashion attending the high school Boards of Cooperative Educational Services (BOCES) program in fashion merchandising in Dix Hills. From there, she experienced her first internship at a Long Island company when she was 16 years old.

“I really believe my LI roots got me to where I am because of my head start in BOCES and my internship,” Munz says. “I’m happy to be here and proud to have this organization here.”

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The Hardest Costume Design Challenge on ‘Cyrano’ Had Nothing to Do With the Lead Character



This story about the “Cyrano” costume design first appeared in the Below-the-Line Issue of TheWrap’s awards magazine.

The real Cyrano de Bergerac lived in France in the 17th century, and the Edmond Rostand play that immortalized him begins in 1640. But director Joe Wright made a conscious decision to move the action up a century for his new musical “Cyrano,” which stars Peter Dinklage as the poetic swashbuckler.

“The idea was to re-create Cyrano around the mid-1700s to give the idea of lightness through the costumes,” costume designer Massimo Cantini Parrini said. “The 1600s, while a beautiful period to represent, is very set and rigid. Setting a musical in the 1700s allowed us to make everything light and airy at the same time.”

Parrini achieved that lightness by using delicate and transparent fabrics inspired by watercolors from the 1700s that he’d seen in a museum in Rome. “The colors were so watery and ethereal that I wanted to re-create them through the costumes, using more fabrics one on top of the other, with different colors,” he said.

He worked with natural fibers such as silk and linen, along with fabrics like organza that are “delicate but full-bodied at the same time.” He added, “For me, it is very important to maintain the criteria of the costume itself while capturing the essence of the historical period that I have to represent.”

Costume design for Peter Dinklage’s Cyrano

But Parrini occasionally used costumes that weren’t strictly accurate to the period. “Bringing modernity to a historical language is very important for understanding the costumes,” he said. “It is important for me that the costume is understood even by an audience that knows nothing of the past.”

He also needed to pay attention to the requirement that costumes would need to move with actors who suddenly turned into dancers. “I enjoyed using materials that aided me in creating movement,” he said. “For example, it was wonderful to see the soldiers in their rigid uniforms suddenly become light as air during the dance sequences.”

Costume sketch for the character of De Guiche

His favorite articles of clothing, though, were the ones he designed for Ben Mendelsohn’s villain, De Guiche, while the most challenging designs were for the nuns in a convent where Cyrano’s longtime secret love, Roxanne, lives after her husband is killed in battle. (Costumes for Roxanne, played by Haley Bennett, were designed by Jacqueline Durran.)

“The nuns’ costumes were very difficult because I was looking for modernity and antiquity at the same time—they caused me a great deal of suffering!” he said. “The result is beautiful, though, because the nuns are ‘aliens’ of the 1700s, maintaining an authority that the clergy requires.”

Read more from the Below-the-Line Issue here.

Photo by Jeff Vespa for TheWrap

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‘Spider-Man: No Way Home’ Hits $1.6 Billion at the Box Office



Another week, another set of box office milestones to have fallen at the feet of the Marvel Cinematic Universe’s Spider-Man: No Way Home, continuing what’s been a regularly recurring theme ever since the multiversal blockbuster first hit theaters over a month ago.

Tom Holland’s web-slinger may have lost his box office crown to Ghostface’s return in slasher sequel Scream, but a running domestic tally in excess of $700 million has secured Spidey’s status as the star of the fourth highest-grossing domestic hit of all-time.


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