DOCSLIB.ORG

The Fashion of Film: How Cinema Has Inspired Fashion Free

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Fashion of Film: How Cinema Has Inspired Fashion Free FREE THE FASHION OF FILM: HOW CINEMA HAS INSPIRED FASHION PDF Amber Jane Butchart | 224 pages | 08 Sep 2016 | Octopus Publishing Group | 9781784721763 | English | London, United Kingdom 10 great films about fashion | BFI That dress will always be the quintessential Marilyn Monroe look. Chanel, Fendi and of course, Prada, not to mention cameos from designers like Valentino. Who didn't want to rip the curtains off their windows after seeing Scarlett's Vivien Leigh creation? With fashion from the biggest designers, she brought the four ladies into the present. The critics didn't love it, but the fashion made it worth seeing just once though. And Cher's Alicia Silverstone closet? Come on. Natalie Portman and Mila Kunis were the picture of ballerina perfection. Do we need to say anything else? The dress moved beautifully in their signature dance number, even if it was known to create quite a mess on set. From the photo shoots to runway shows, it was absolutely packed with fashion. Her character never wore the same dress twice, which meant more looks to lust after. Pictures via Everett Collection The signature look of this film can be picked out at every Halloween and costume party: the bowler hat, white shirt and pants, black boots, cane and The Fashion of Film: How Cinema Has Inspired Fashion. Michael Corleone's Al Pacino wardrobe evolves and changes as he himself transforms before the audience's eyes. It looks as amazing today as it did then. Pictures via Everett Collection The plot may have been hard to follow, but no one had a hard time paying attention to the men of this action film, dressed in the very finest menswear. And Marion Cotillard's blue dress? Ripley," there was this gem that showcased the best The Fashion of Film: How Cinema Has Inspired Fashion true American style, expertly tailored. Click here - to use the wp menu builder Click here - to use the wp menu builder. Where Are They Now? Want More? Sign Up for Our Newsletter! Follow hollywood. The voluptuous Marilyn Monroe in that beautifully cut, billowing white dress is one of the most famous moments in American film, and one of the most reproduced. Superstars Anne Hathaway and Meryl Streep wore only the best of the best in the big screen adaptation of the best-selling book. Diane Keaton, in the title role, started a style craze thanks to her layering of menswear items for a completely unique look that is still copied to this day. This classic captured The Fashion of Film: How Cinema Has Inspired Fashion height of southern glamour with impeccably tailored suits and lavish gowns. Bringing back Patricia Field, who styled the television show, for the film was the best decision the producers could have made. Clueless was one of the defining films of the 90s that both showcased and inspired some of the decade's biggest trends like baggy pants, slip dresses, mini skirts, and over-the-knee socks. Only the sisters behind Rodarte, Kate and Laura Mulleavy, could create such hauntingly beautiful costumes for this ballet thriller. That little black Givenchy dress with the pearls and gloves cemented Audrey Hepburn's place as a fashion icon, and it's a look that still translates to this day. Stars Fred Astaire and Ginger Rogers are timeless in his sleek tails and top hat and her ostrich feather dress. In the title role, Hepburn again showcased the incredible designs of Givenchy, including that incredible white gown. Another Baz Luhrmann film, all of star Nicole Kidman's outfits were to die for and added to the magical quality of the film. Sofia Coppola's visually stunning film cost millions to produce with extravagant sets and costumes that were inspired by desserts. What could be more sophisticated than Grace Kelly's elegant dresses and chic separates. The signature look of this film can be picked out at every Halloween and costume party: the bowler hat, white shirt and pants, black boots, cane and suspenders. Jennifer Beals' sweatshirt with the cut neck casually slouched to reveal one shoulder took an everyday item and elevated it to create a fashion craze. The Beatles' well-tailored suits and sportswear and their mop-top haircuts truly became their signature in this The Fashion of Film: How Cinema Has Inspired Fashion released at the height of Beatlemania. The gangsters of this mob classic weren't cartoonish in their style, but showed their wealth and sophistication. The poodle skirts, the personalized leather jackets, Sandy's Olivia Newton John skintight pants -- this movie musical had so many major fashion moments it's hard to keep track. The plot may have been hard to follow, but no one had a hard time paying attention to the men of this action film, dressed in the very finest menswear. Before 's "The Talented Mr. Richard Gere's turn as a gigolo helped put Giorgio Armani on the map, thanks to his sleek suits and striking jackets, all of which gave off an air of sophistication and cool. Oct 21, 6 Fashion Collections Inspired by Film - Fashionista Film has the capacity to make not just a star of its leading women, but a fashion icon too. Whether you're a cinephile or fashion fan, brush up on your trivia with our favourite iconic looks from the movies - each paired with a fun and interesting fact about the style on show in the film. What's your favourite fashionable film? Is there a big screen style icon we've overlooked? Share your views in the comments section below. The image of Anita Ekberg emerging from the Trevi fountain in a black dress is one of the most memorable scenes in film history. FACT: Few knew how much La Dolce Vita was inspired by fashion - director Fellini claimed that Balenciaga's sack dress, with its dramatic silhouette which flutters like Anita's black ballgowninspired the film. The eccentric, menswear-inspired outfits in Annie Hall - vintage men's clothing, baggy trousers and fedora hats - caught on, with pantsuits and men's clothing becoming a major trend for women after the film's release. This emerald green silk dress from the infamous library scene in Atonement sparked high street copycats the world over, and also contributed to costume designer Jacqueline Durran being nominated for an Academy Award. Breakfast at Tiffany's may be the Audrey Hepburn film most often cited as people's favourite, but her chic fifties outfits in Roman Holiday are just as iconic - think skipping around Rome in a dirndl skirt and espadrilles. FACT: The film inspired a true fashion fairytale - at the end of production, Paramount gave Audrey the entire wardrobe from the film, including her hats, shoes, handbags and jewellery. What to wear on the streets of LA in ? A fur coat and pompadour haircut, obviously. Ridley Scott's Blade Runner became a cult hit for the weird and wonderful costumes - a mix of the futuristic and film noir. FACT: Despite a tense atmosphere on set thanks to director Ridley Scott actress Sean Young pictured had "fond memories" of costume designer Charles Knode, who let her keep this fur coat after the film wrapped. He then went on to create the costumes for Braveheart. Jane Fonda's futristic costumes summed up the sixities style - kitsch, playful and more than a little sex kitten-ish. FACT: The costumes in Barbarella are credited to the legendary sixties designer Paco Rabanne, though most were actually created by Jacques Fonteray, and influenced by Jean-Claude Forest, who originally created the character. As The Fashion of Film: How Cinema Has Inspired Fashion sexually-frustrated housewife who turns to prostitution for satisfaction, Catherine Deneuve's wardrobe in Belle Du Jour was sixties-prim with a dash of sexuality - think figure-hugging pencil skirts, silk blouses and stiletto heels. FACT: Shoe designer Manolo Blahnik was so taken aback by this scene he created a whole collection inspired by Charlotte's 'spectator shoes' in the s. Stealing money has never looked this stylish. Although set in the s, the Bonnie's wardrobe has a seventies feel, with its berets, tweed and fine knits. FACT: This iconic scene, where she dances provacatively in a split skirt, led to the film being condemned by the Catholic League of Decency. The white and gold dress pictured weighed a whopping 45 pounds. With their Alaia mini-dresses, matchy-matchy suits, knee-length socks and walk-in wardrobes, who didn't want to dress like Cher and Dionne during the 90s? FACT: There are 53 different kinds of plaid used in Cluelessseven of which are worn by Cher, and twelve by other major characters. The film went on to win the Oscar for Best Costume Design. FACT: Luckily the s style was drop-waisted - Farrow was pregnant during the shooting and the film had to be shot wearing loose, flowing dresses. One of Marlene Dietrich's most iconic film looks can be seen in Desire. This fur-lined dressing gown was created by designer Travis Banton, who did her first movie costumes at Paramount. FACT: Banton was credited with creating the "Dietrich style" - a heady mix of exotic glamour, androgynous pieces, and lots of leg. Little Edie pictured said she dressed "for combat" in old fur coats and with scarves wrapped around her head. FACT: Little Edie's kooky style was evident at the premier of the film - she wore her red dress backwards, with the zip down the front. How to dress if you're in a the cool girl clique in a cult s high school movie? In bright, padded blazers, clashing plaids, multi-coloured tights and lots of scrunchies, of The Fashion of Film: How Cinema Has Inspired Fashion.
Load more

Recommended publications
  • Puvunestekn 2
    1/23/19 Costume designers and Illustrations 1920-1940 Howard Greer (16 April 1896 –April 1974, Los Angeles w as a H ollywood fashion designer and a costume designer in the Golden Age of Amer ic an cinema. Costume design drawing for Marcella Daly by Howard Greer Mitc hell Leis en (October 6, 1898 – October 28, 1972) was an American director, art director, and costume designer. Travis Banton (August 18, 1894 – February 2, 1958) was the chief designer at Paramount Pictures. He is considered one of the most important Hollywood costume designers of the 1930s. Travis Banton may be best r emembered for He held a crucial role in the evolution of the Marlene Dietrich image, designing her costumes in a true for ging the s tyle of s uc h H ollyw ood icons creative collaboration with the actress. as Carole Lombard, Marlene Dietrich, and Mae Wes t. Costume design drawing for The Thief of Bagdad by Mitchell Leisen 1 1/23/19 Travis Banton, Travis Banton, Claudette Colbert, Cleopatra, 1934. Walter Plunkett (June 5, 1902 in Oakland, California – March 8, 1982) was a prolific costume designer who worked on more than 150 projects throughout his career in the Hollywood film industry. Plunk ett's bes t-known work is featured in two films, Gone with the Wind and Singin' in the R ain, in which he lampooned his initial style of the Roaring Twenties. In 1951, Plunk ett s hared an Osc ar with Orr y-Kelly and Ir ene for An Amer ic an in Paris . Adr ian Adolph Greenberg ( 1903 —19 59 ), w i de l y known Edith H ead ( October 28, 1897 – October 24, as Adrian, was an American costume designer whose 1981) was an American costume designer mos t famous costumes were for The Wiz ard of Oz and who won eight Academy Awards, starting with other Metro-Goldwyn-Mayer films of the 1930s and The Heiress (1949) and ending with The Sting 1940s.
    [Show full text]
  • THTR 433A/ '16 CD II/ Syllabus-9.Pages
    USCSchool of Costume Design II: THTR 433A Thurs. 2:00-4:50 Dramatic Arts Fall 2016 Location: Light Lab/PDE Instructor: Terry Ann Gordon Office: [email protected]/ floating office Office Hours: Thurs. 1:00-2:00: by appt/24 hr notice Contact Info: [email protected], 818-636-2729 Course Description and Overview This course is designed to acquaint students with the requirements, process and expectations for Film/TV Costume Designers, supervisors and crew. Emphasis will be placed on all aspects of the Costume process; Design, Prep: script analysis,“scene breakdown”, continuity, research, and budgeting; Shooting schedules, and wrap. The supporting/ancillary Costume Arts and Crafts will also be discussed. Students will gain an historical overview, researching a variety of designers processes, aesthetics and philosophies. Viewing films and film clips will support critique and class discussion. Projects focused on specific design styles and varied media will further support an overview of techniques and concepts. Current production procedures, vocabulary and technology will be covered. We will highlight those Production departments interacting closely with the Costume Department. Time permitting, extra-curricular programs will include rendering/drawing instruction, select field trips, and visiting TV/Film professionals. Students will be required to design a variety of projects structured to enhance their understanding of Film/TV production, concept, style and technique . Learning Objectives The course goal is for students to become familiar with the fundamentals of costume design for TV/Film. They will gain insight into the protocol and expectations required to succeed in this fast paced industry. We will touch on the multiple variations of production formats: Music Video, Tv: 4 camera vs episodic, Film, Commercials, Styling vs Costume Design.
    [Show full text]
  • During the 1930-60'S, Hollywood Directors Were Told to "Put the Light Where the Money Is" and This Often Meant Spectacular Costumes
    During the 1930-60's, Hollywood directors were told to "put the light where the money is" and this often meant spectacular costumes. Stuidos hired the biggest designers and fashion icons to bring to life the glitz and the glamour that moviegoers expected. Edith Head, Adrian, Walter Plunkett, Irene and Helen Rose were just a few that became household names because of their designs. In many cases, their creations were just as important as the plot of the movie itself. Few costumes from the "Golden Era" of Hollywood remain except for a small number tha have been meticulously preserved by a handful of collectors. Greg Schreiner is one of the most well-known. His wonderful Hollywood fiolm costume collection houses over 175 such masterpieces. Greg shares his collection in the show Hollywoood Revisited. Filled with music, memories and fun, the revue allows the audience to genuinely feel as if they were revisiting the days that made Hollywood a dream factory. The wardrobes of Marilyn Monroe, Elizabeth Taylor, Julie Andrews, Robert Taylor, Bette Davis, Ann-Margret, Susan Hayward, Bob Hope and Judy Garland are just a few from the vast collection that dazzle the audience. Hollywood Revisited is much more than a visual treat. Acclaimed vocalists sing movie-related music while modeling the costumes. Schreiner, a professional musician, provides all the musical sccompaniment and anecdotes about the designer, the movie and scene for each costume. The show has won critical praise from movie buffs, film historians, and city-wide newspapers. Presentation at the legendary Pickfair, The State Theatre for The Los Angeles Conservancy and The Santa Barbara Biltmore Hotel met with huge success.
    [Show full text]
  • DRAWING COSTUMES, PORTRAYING CHARACTERS Costume Sketches and Costume Concept Art in the Filmmaking Process
    Laura Malinen 2017 DRAWING COSTUMES, PORTRAYING CHARACTERS Costume sketches and costume concept art in the filmmaking process MA thesis Aalto University School of Arts, Design and Architecture Department of Film, Television and Scenography Master’s Degree Programme in Design for Theatre, Film and Television Major in Costume Design 30 credits Acknowledgements I would like to thank my supervisors Sofia Pantouvaki and Satu Kyösola for the invaluable help I got for this thesis. I would also like to thank Nick Keller, Anna Vilppunen and Merja Väisänen, for sharing their professional expertise with me. Author Laura Malinen Title of thesis Drawing Costumes, Portraying Characters – Costume sketches and costume concept art in the filmmaking process Department Department of Film, Television and Scenography Degree programme Master’s Degree Programme in Design for Theatre, Film and Television. Major in Costume Design Year 2017 Number of pages 85 Language English Abstract This thesis investigates the various types of drawing used in the process of costume design for film, focusing on costume sketches and costume concept art. The research question for this thesis is ‘how and why are costume sketches and costume concept art used when designing costumes for film?’ The terms ‘costume concept art’ and ‘costume sketch’ have largely been used interchangeably. My hypothesis is that even though costume sketch and costume concept art have similarities in the ways of usage and meaning, they are, in fact, two separate, albeit interlinked and complementary terms as well as two separate types of professional expertise. The focus of this thesis is on large-scale film productions, since they provide the most valuable information regarding costume sketches and costume concept art.
    [Show full text]
  • FOREST LAWN MEMORIAL PARK Hollywood Hills Orry George Kelly December 31, 1897 - February 27, 1964 Forest Lawn Memorial Park  Hollywood Hills
    Welcome to FOREST LAWN MEMORIAL PARK Hollywood Hills Orry George Kelly December 31, 1897 - February 27, 1964 Forest Lawn Memorial Park Hollywood Hills Order of Service Waltzing Matilda Played by the Forest Lawn Organist – Anthony Zediker Eulogy to be read by Jack. L. Warner Pall Bearers, To be Announced. Photo by Tony Duran Orry George Kelly December 31, 1897 - February 27, 1964 Forest Lawn Memorial Park Hollywood Hills Photo by Tony Duran Orry George Kelly December 31, 1897 - February 27, 1964 Forest Lawn Memorial Park Hollywood Hills Orry-Kelly Filmography 1963 Irma la Douce 1942 Always in My Heart (gowns) 1936 Isle of Fury (gowns) 1963 In the Cool of the Day 1942 Kings Row (gowns) 1936 Cain and Mabel (gowns) 1962 Gypsy (costumes designed by) 1942 Wild Bill Hickok Rides (gowns) 1936 Give Me Your Heart (gowns) 1962 The Chapman Report 1942 The Man Who Came to Dinner (gowns) 1936 Stage Struck (gowns) 1962 Five Finger Exercise 1941 The Maltese Falcon (gowns) 1936 China Clipper (gowns) (gowns: Miss Russell) 1941 The Little Foxes (costumes) 1936 Jailbreak (gowns) 1962 Sweet Bird of Youth (costumes by) 1941 The Bride Came C.O.D. (gowns) 1936 Satan Met a Lady (gowns) 1961 A Majority of One 1941 Throwing a Party (Short) 1936 Public Enemy’s Wife (gowns) 1959 Some Like It Hot 1941 Million Dollar Baby (gowns) 1936 The White Angel (gowns) 1958 Auntie Mame (costumes designed by) 1941 Affectionately Yours (gowns) 1936 Murder by an Aristocrat (gowns) 1958 Too Much, Too Soon (as Orry Kelly) 1941 The Great Lie (gowns) 1936 Hearts Divided (gowns)
    [Show full text]
  • LE PAROLE DELLO SCHERMO 2006 Cineteca Del Comune Di Bologna Comune Di Bologna – Settore Cultura E Università
    Festival Internazionale di Letteratura e Cinema LE PAROLE DELLO SCHERMO 2006 Cineteca del Comune di Bologna Comune di Bologna – Settore Cultura e Università II Edizione Bologna, martedì 27 giugno – venerdì 30 giugno 2006 LE PAROLE DELLO SCHERMO - FESTIVAL INTERNAZIONA- Manzoni 5), Oratorio di Santa Maria della Vita (via Clavature LE DI LETTERATURA E CINEMA 7), Cortile di Palazzo d’Accursio (Piazza Maggiore 6) SECONDA EDIZIONE • Spettacoli teatrali: Ritratto del Novecento (Teatro DMS, Via Bologna, 27 GIUGNO-30 GIUGNO 2006 Azzo Gardino 65), Mosca e Petuski 125 Km (partenza da Cortile Manifattura delle Arti, Via Azzo Gardino 65) Promosso da: • Mostra fotografica di Angelo Novi: Sala d’Ercole di Palazzo Comune di Bologna - Settore Cultura e Rapporti con l’Università d’Accursio (Piazza Maggiore 6) inaugurazione il 30 giugno Cineteca del Comune di Bologna alle ore 12:30 – dall’1 al 23 luglio ore 10-19. Ingresso libero Con il contributo di: Fondazione Carisbo Per informazioni Granarolo • Segreteria del Festival Montblanc via Riva di Reno 72 - Bologna - Tel 051 219 48 24 - Fax 051 219 Groupama Assicurazioni 48 21 Librerie.COOP e-mail: [email protected] ASCOM Sito web: www.cinetecadibologna.it/paroledelloschermo.htm Bologna Art Hotels dal 27 al 30 giugno infopoint all’esedra di Sala Borsa dalle 10 alle 20 • Cinema Lumière - Via Azzo Gardino 65 - Bologna - Tel. Con la collaborazione di: 051 219 53 11 150° anniversario rapporti italo-turchi Cinema Arlecchino – Via Lame 57 – Bologna – Tel. 051 Ambasciata italo-turca 522175 Amici di Babette ASL (Accendi molti fuochi) Modalità di accesso Banca di Bologna Ingresso singolo intero cinema Lumière e Arlecchino: Euro 4,00 Biblioteca comunale dell’Archiginnasio Ingresso singolo ridotto cinema Lumière e Arlecchino: Euro 2,00 Bologna Fiere Spa per i soci CRAL HERA Bologna, Coop Adriatica, dipendenti comunali.
    [Show full text]
  • PRICES REALIZED DETAIL - Hollywood 65 Auction 65, Auction Date: 10/17/2014
    26662 Agoura Road, Calabasas, CA 91302 Tel: 310.859.7701 Fax: 310.859.3842 PRICES REALIZED DETAIL - Hollywood 65 Auction 65, Auction Date: 10/17/2014 LOT ITEM PRICE PREMIUM 1 AUTO RACING AND CLASSIC AUTOS IN FILM (14) VINTAGE PHOTOGRAPHS. $350 2 SEX IN CINEMA (55) VINTAGE PHOTOGRAPHS. $4,500 3 LILLIAN GISH VINTAGE PORTRAIT PHOTOGRAPH BY HARTSOOK STUDIO. $200 4 COLLECTION OF (19) PORTRAIT PHOTOGRAPHS OF LUCILLE BALL, TALLULAH $325 BANKHEAD, THEDA BARA, JOAN CRAWFORD, AND OTHERS. 5 ANNA MAY WONG SIGNED PORTRAIT PHOTOGRAPH BY CECIL BEATON. $4,000 6 MABEL NORMAND (7) SILENT-ERA VINTAGE PHOTOGRAPHS. $200 7 EARLY CHILD-STARS (11) VINTAGE PHOTOGRAPHS INCLUDING OUR GANG AND $225 JACKIE COOGAN. 9 BARBARA LA MARR (3) VINTAGE PHOTOS INCLUDING ONE ON HER DEATHBED. $325 10 ALLA NAZIMOVA (4) VINTAGE PORTRAIT PHOTOGRAPHS. $300 11 SILENT-FILM LEADING LADIES (13) VINTAGE PHOTOGRAPHS. $200 13 SILENT-FILM LEADING MEN (10) VINTAGE PHOTOGRAPHS. $200 14 PRE-CODE BLONDES (24) VINTAGE PHOTOGRAPHS. $325 15 CHARLIE CHAPLIN AND PAULETTE GODDARD (2) VINTAGE PHOTOGRAPHS. $350 16 COLLECTION OF (12) OVERSIZE PORTRAIT PHOTOGRAPHS OF RENÉE ADORÉE, $400 MARCELINE DAY, AND OTHERS. 17 COLLECTION OF (17) OVERSIZE PORTRAIT PHOTOGRAPHS OF EVELYN BRENT, $1,200 NANCY CARROLL, LILI DAMITA, MARLENE DIETRICH, MIRIAM HOPKINS, MARY PICKFORD, GINGER ROGERS, GLORIA SWANSON, FAY WRAY AND OTHERS. 18 MYRNA LOY (14) VINTAGE PHOTOGRAPHS INCLUDING SEVERAL RARE $375 PRE-CODE IMAGES. Page 1 of 85 26662 Agoura Road, Calabasas, CA 91302 Tel: 310.859.7701 Fax: 310.859.3842 PRICES REALIZED DETAIL - Hollywood 65 Auction 65, Auction Date: 10/17/2014 LOT ITEM PRICE PREMIUM 19 PREMIUM SELECTION OF LEADING MEN (32) VINTAGE PHOTOGRAPHS.
    [Show full text]
  • Nightmare (Re)Visions: the Failure of Dystopian Literary Adaptations?
    Nightmare (Re)visions: The failure of dystopian literary adaptations? MA in English by Independent Study Nic Felton January 2010 *Front cover image from Fahrenheit 451 (1966) Nightmare (Re)visions: The failure of dystopian literary adaptations? It’s funny how the colours of the like real world only seem really real when you viddy them on the screen.1 And like children, you will only swallow all the bitter stuff I have to give you if it is carefully coated in a thick syrup of adventure.2 Literary adaptation theorists believe that we should look beyond the failure or success within adaptation studies but this seemingly cannot be ignored in the case of dystopian literary adaptations. The dystopian text should result in an outstanding and enlightening filmic adaptation, encompassing the cultural and historical points of view of both the author and adapter. However, many dystopian adaptations fail, not only to attract a large audience attendance, but to adequately portray the major themes and narrative evident within the precursor text. As Leitch states “Adaptations imitate novels, novels imitate life” but what happens when this “life” is projected into the future?3 Why do adapters choose to abandon the true dystopian vision? Why do many dystopian literary adaptations fail so spectacularly? This essay will seek to examine the potential reasons for the failure of the dystopian literary adaptation with regards to both audience expectations of the film adaptation and attendance at the cinema The issue of fidelity will be discussed to some extent but I will not seek to justify that the text is far superior to the film (or vice versa).
    [Show full text]
  • Set and Costume Design by Kieron Devlin
    Set and Costume Design by Kieron Devlin Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2002, glbtq, Inc. Reprinted from http://www.glbtq.com Set and costume design and properties for stage and film are fields that have attracted many talented people, a large percentage of whom have been gay men. In fact, this field in the entertainment industry has often been identified specifically as "queer work." While many heterosexuals have also been successful in the area of art direction, set design and decoration for stage and film have a distinctly gay cachet. Perhaps an even "gayer" field is that of costume design. As William Mann has recently documented, even during the worst periods of repression, Hollywood offered opportunities of creative expression for gay men and lesbians, many of whom were open about their sexual orientation. Opera and ballet also offered opportunities for gifted homosexuals. The trend here has been for painters to cross over from the fine arts to the applied arts, adding stage design to their range. For many notable stage designers working in this field, their sexual orientation was never an issue in their professional lives. Among the most significant gay and lesbian artists who are distinguished for their work as set designers are Charles Ricketts, Duncan Grant, Erté (Romain de Tirtoff), Pavel Tchelitchew, Oliver Messel, Cecil Beaton, Léonor Fini, George James Hopkins, Robert Colquhoun, Robert MacBryde, Franco Zeffirelli, David Hockney, Derek Jarman, and Keith Haring. Many gay artists of Hollywood's golden age were extremely versatile, but openly gay men became especially associated with costume design. In some cases, Hollywood costume designers were considered on a par with world class couturiers and fashion designers and had a palpable influence on public taste.
    [Show full text]
  • The Dark Side of Hollywood
    TCM Presents: The Dark Side of Hollywood Side of The Dark Presents: TCM I New York I November 20, 2018 New York Bonhams 580 Madison Avenue New York, NY 10022 24838 Presents +1 212 644 9001 bonhams.com The Dark Side of Hollywood AUCTIONEERS SINCE 1793 New York | November 20, 2018 TCM Presents... The Dark Side of Hollywood Tuesday November 20, 2018 at 1pm New York BONHAMS Please note that bids must be ILLUSTRATIONS REGISTRATION 580 Madison Avenue submitted no later than 4pm on Front cover: lot 191 IMPORTANT NOTICE New York, New York 10022 the day prior to the auction. New Inside front cover: lot 191 Please note that all customers, bonhams.com bidders must also provide proof Table of Contents: lot 179 irrespective of any previous activity of identity and address when Session page 1: lot 102 with Bonhams, are required to PREVIEW submitting bids. Session page 2: lot 131 complete the Bidder Registration Los Angeles Session page 3: lot 168 Form in advance of the sale. The Friday November 2, Please contact client services with Session page 4: lot 192 form can be found at the back of 10am to 5pm any bidding inquiries. Session page 5: lot 267 every catalogue and on our Saturday November 3, Session page 6: lot 263 website at www.bonhams.com and 12pm to 5pm Please see pages 152 to 155 Session page 7: lot 398 should be returned by email or Sunday November 4, for bidder information including Session page 8: lot 416 post to the specialist department 12pm to 5pm Conditions of Sale, after-sale Session page 9: lot 466 or to the bids department at collection and shipment.
    [Show full text]
  • Tihanyi Ildikó Dla Házi Védés 2019.04.10
    Színház- és Filmművészeti Egyetem Doktori Iskola FELÖLTÖZTETETT MOZGÓKÉP Alkotói szempontok a játékfilmes jelmeztervezésben DOKTORI DISSZERTÁCIÓ Tihanyi Ildikó Rita Témavezető: M. Tóth Géza 2019 Hét kis véletlen című film (Gothár Péter, 2019) – werkfotó: Halas István !2 Bevezetés 5 Tézisek 6 I. A játékfilmes jelmeztervezés alapkérdései 10 I.1. Ruhák térben és időben 11 I.1.1. Viselettörténet 15 I.1.2. Divatszociológia 20 I.1.3. Szemiotika 24 I.2. A ruha fizikai jellemzői 28 I.2.1. Szín 32 I.2.2. Forma 37 I.2.3. Anyag 40 I.3. A karakterábrázolás eszközei 43 I.3.1. A szerep életre kel 43 I.3.1.1. Testkép és maszk 44 I.3.1.2. Jelmez 51 I.3.2. Viszonyrendszer és tipizálás 54 II. Jelmeztervezési szisztémák a viselettörténeti korszakok tükrében 60 II.1. Múlt 65 II.1.1. A szuperkópiák realizmusa 66 II.1.2. A stilizáció fokozatai 72 II.1.2.1. A korhűség látszata 73 II.1.2.2. Stilizáció a valósághűség határain belül 77 II.1.2.3. Tudatosan más kor beemelése 80 II.1.4. Ruhák a közelmúlt távlatában 87 II.3. Jelen 93 II.3.1. Dokumentarista és fikciós elemek 94 II.3.2. Generációs filmek 101 II.3.3. A valóságábrázolás szélső határai 110 !3 II.3. Jövő 114 II.3.1. Múltban rekedt világok 115 II.3.2. A jövő jelene 122 II.3.2.1. Mainstream divat 122 II.3.2.2. Marginális irányzatok 127 II.3.3. Jövővíziók 131 II.3.3.1. Stíluspluralizmus 132 II.3.3.2. Uniformizálódás 136 II.3.3.2.
    [Show full text]
  • Puttin' on the Glitz: Hollywood's Influence on Fashion
    SPRING EXHIBIT | LANGSON LIBRARY Puttin' on the Glitz Hollywood's Influence o n Fashion OCTOBER 2010 - APRIL 2011 MURIEL ANSLEY REYNO- 1 -LDS EXHIBIT GALLERY Puttin’ on the Glitz Hollywood’s Influence on Fashion An exhibit in the UC Irvine Langson Library Muriel Ansley Reynolds Exhibit Gallery October 2010 - April 2011 Curated by Becky Imamoto, Research Librarian for History THE UC IRVINE LIBRARIES • IRVINE, CALIFORNIA • 2010 Welcome to the UCI Libraries’ Fall 2010 exhibition. Puttin’ on the Glitz: Hollywood’s Influence on Fashion examines the major impact that Hollywood had and continues to have over fashion. This exciting exhibit highlights films and designers from Hollywood’s golden years through the 20th century, all presented within a historical context. Items on display include significant books, journals, images, videos, and movie posters from the Libraries’ collections, and stunning costumes from UCI’s drama department. The curator is Becky Imamoto, Research Librarian for History. I hope you enjoy the exhibit and return to view others in the future. Gerald L. Lowell Interim University Librarian - 3 - this exhibit examines the history of Hollywood costume design from its inception to the end of the 20th century. In the early 1910s, costume design was little more than an afterthought, with silent screen actresses providing costumes from their personal wardrobes. However, during the Golden Age (1930- 1959), Hollywood realized how much publicity and money could be generated through its promotion of new fashion designs, and so set to work building an image of splendor, luxury, and endless consumption. Hollywood was, and is, a powerful social force that determines what is considered by the rest of the world to be beautiful and glamorous.
    [Show full text]