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Launching next month, Dorothy Grant: An Endless Thread celebrates the work of the Haida designer, a fashion pioneer who began her career in the 1980s. Born to the Raven clan in Hydaburg, Alaska, Grant first learned to sew and weave from her grandmother when she was 13 and began creating costumes for Haida dance groups in her community. In 1989, she launched her first clothing collection, called Feastwear. The collection featured modern lines hand-embroidered with Northwest Coast draping—a Native art form that uses soft, curvaceous lines to outline abstract symbols like bears and eagles. Grant was one of the first to do so through contemporary styles.

This tracking shot of what I thought was a luxury New York apartment reminded me of one of my all-time favorite movie scenes: the scene where they robbed Audrina's house in The Bling Ring. In the early 1960s, the Northwest Coast Renaissance saw indigenous artists—from the Haida to the Kwakwaka'wakw—revive their traditional crafts across areas like Alaska, Washington, and British Columbia. Pioneering artists like Bill Reid and Art Thompson began resurrecting the distinctive masks, blankets, spruce root hats, and totem poles their ancestors had been making for centuries, sparking an artistic movement that lasted well into the 1990s. At the same time, a similar movement was taking place in the world of high fashion, and a new book highlights the work of one particular indigenous designer who paved the way forward.

I'm about to watch a two-hour compilation film of Nicole Kidman taking out the trash, so I'm probably not the best judge of whether her upcoming Babygirl—an A24 production that also stars Harris Dickinson and Antonio Banderas—is actually any good or just compelling enough to get Carol-loving audiences lining up in theaters on Christmas Day. (For what it's worth, the reviews for it in Venice were pretty good!) One thing's for sure, though: Babygirl has inspired conversation.

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