On Monday night, hours after Daniel Day-Lewis received his eighth Golden Globe nomination, he arrived at the stately Harold Pratt House on Park Avenue to toast the New York premiere of the movie that had earned him the nod, “Phantom Thread,” in which he portrays the renowned British dressmaker Reynolds Woodcock.
Dressed in a casual chambray shirt, pinstriped pants and silver-pegged buckle, he strode onto the red carpet at 10:30 p.m., where dozens of photographers and reporters had camped out. He posed with his co-stars Lesley Manville and Vicky Krieps, and the film’s director, Paul Thomas Anderson. Then he turned around and promptly disappeared, without taking a single question.
It appears that Mr. Day-Lewis, the only performer to win three Academy Awards in the best actor category, was not kidding when he announced in June that he would be retiring after this film.
Fortunately, other guests were in a more celebratory mood.
Tavi Gevinson, the editor of Rookie magazine, wore a furry brown coat and hung out with friends in a corner decorated with books, portraits of important-looking men and festive plants. Sienna Miller, looking like summer itself, circulated with aplomb. And Michael Shannon eyed Mr. Anderson from afar until finally approaching him for a chat.
The film, which many guests had seen earlier that night at a nearby screening hosted by the Cinema Society, explores the intense relationship between Mr. Woodcock and a young woman who becomes his muse, portrayed by Ms. Krieps.
The film has a meditative quality that the actors found deeply moving. “Everything that’s about making the movie was the same, but it was so much more work oriented,” said Ms. Krieps, who wore a lacy red dress by Alexander McQueen. “The set was so quiet and almost spiritual in a way. There was an atmosphere that was almost holy.”
Though the film is set in 1950s London, the ups and downs experienced by the designer are just as relevant today. At least according to Jenna Lyons, the former president and creative director of J. Crew.
“The things that are prevalent for every designer: feeling let down or emotionally spent after you finish something big, and on top of that, constantly wanting to hear feedback, but not wanting to hear feedback, wanting to know people love you, but not wanting to know people love you,” Ms. Lyons said. “Everyone goes through that. You give something of yourself. It’s always tense and emotional.”
Dresses — long, short, voluminous, sleek, layered, monochromatic and colorful — played an important role in the film. They reflected the inner turmoil of Mr. Day-Lewis’s character, and the turbulent connection between him and his lover.
Guests seemed to honor that role, showing up in elegant gowns, suits and furs. It was very cold outside, but plenty of toes were on display.
And what was it like to wear all of the film’s beautiful costumes? “I always loved dresses, like girls love them,” Ms. Krieps said, wrapping a scarf over her strapless dress. But, she added, “It was difficult to be so patient and sportive, and be a nice girl and sit still and not destroy the dress.”