o Proliferation of ready-to-wear on the screen
o Patricia Field’s (‘Devil Wears Prada’, ‘Sex and the City’, ‘Confessions of a Shopaholic’) Designer’s have begun to fight to get their designs on the screen
o Fashion is now a force in the film industry
o People have become much more aware of designer, while recent cinema has reflected that, eg. ‘The September Issue’
o Looking for cultural capital
o Tracy Emmet-Turned her life into her art, while continually wearing Vivienne Westwood
o Different kinds of collaboration between designer and film costume
o Jean Paul Gaultier in “The Fifth Element” wanted to work with the film and characters rather than just to promote his designs
o Designers and film have also seen to simply put aspects of their collections into the film as a promotional aspect
o Product placement goes further back-1923-first film adaption of the Ten Commandments
Natalie Portman cover of Bazaar-a reflection of Audrey Hepburn in “Breakfast at Tiffany’s”
o Narrative- A chain of events in a cause-effect relationship occurring in time and space
o Narrative is a standard cinematic form, whereupon all elements of film language (plot, cinematography, sound, acting, editing, costume, etc.)
o “A result of having arrived at the distinction between costume and couture design is the belief that clothes can function independently of the body, character and narrative, that through them alternative discursive strategies can be evolved that, in turn, question existing assumptions…” (Bruzzi)
o Adrian saw costume as telling the story, and aiding in the build up of character. He stated that one should be able to line up one characters costumes from start to finish, and they in itself should depict a story
o Couturier’s prerogative is to create clothes as spectacle, but costume designer must serve the narrative
o Mae West “Every Day’s a Holiday” (1936) Costume by Schiaparelli
Catherine Deneuve and Yves Saint Laurent and their relationship began with the film “Belle de Jour” and continued to work together until his death
o The Muse-what constitutes a muse? The phrase began to be used between the relationship of Audrey Hepburn and Givenchy
Audrey Hepburn and Givenchy:
Two trademark ‘looks’
o Young, bohemian look
o European elegance
o Her body on screen is never sexualized in the way typical for the starlets of that era-her image on screen seems to be constructed to appel to the female gaze.
o “Surely the vogue for asexuality can go no further than this weird hybrid with butchered hair?” (Contemporary review of Sabrina Fair in ‘Films and Filming’)
o Church Gibson, p. (2006) ‘New Stars, New Fashions and the Female Audience: Cinema, Consumption and Cities 1953-1966’ in Breward, c and Gilbert, D (eds.) ‘Fashion’s World Cities’
Cinderella Story/ Makeover Movies:
o Joan Crawford’s films
o Bette Davies: Now, Voyager
o Audrey Hepburn: Sabrina, Funny Face, My Fair Lady
o 1970’s: Shampoo, Grease
o 1980’s: Working Girl, Pretty Woman (Third level of fashion eg. The end of the film the protagonist has developed a wardrobe for herself, that is neither the Hooker outfit she once donned, or the designer outfits which were bought for her)
o Recent: Clueless, Miss Congeniality, Legally Blonde, She’s All That, The Devil Wears Prada
o “Barbarella” (1968) Fashion at it’s most futuristic. The 60’s was the last time fashion looked forward in time
o “2001: A Space Odyssey”
o “The Great Gatsby” (1974)
o “Kika” (1993)
o “Dolls” a film by Takeshi Kitano. Designer for the film is Yohji Yamamato, and this is the only film he designed for
No comments:
Post a Comment