David C. Copley Collection of Costume Designs LSC.2210
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Issue 15 Inspired by L.A
OTIS COLLEGE OF ART AND DESIGN MAGAZINE SPRING 2014 in this issue: 04 - ALUMNI AND FACULTY ISSUE 15 INSPIRED BY L.A. 06 - KEEPING IT SIMPLE AND FRESH: MEG CRANSTON 18 - OTIS REPORT ON THE CREATIVE ECONOMY: 1 IN 10 JOBS IN CA I remember L.A. as blackety-black shadows cast from brutalist blocks that take the history of architecture and reduce and contain it silently, like lunary tombs or Aztec temples morphed into Fome-Cor® cartoons. This kind of light makes decisions easier, more black and white. Good-vs-bad, pure-vs- impure, aspiration-vs-collapse, determined grim optimism-vs-self-indulgent despair. The suggestion of an old Hollywood mono- lithic black-and-white movie set encourages self-invention and self-consciousness as you make your way down an imaginary long white staircase. There’s not another living soul on the set and the spotlight is on you, wiping out any flaw or imperfection, hallucinating yourself into who you wanna be … exactly how I remember it … forward Fashion designer Rick Owens (’81) moved from L.A. to Paris in 2003. 01 03 05 06 1. George Maitland Stanley (’24) 2. Kent Twitchell (’77 MFA) 3. Judithe Hernández (’74 MFA) 4. Insung Kim (’97) 5. Robert Irwin (’50) 6. Hillary Jaye (’90) Muses Fountain, Hollywood Bowl Harbor Freeway Overture mural, New Spring, mural for the Expo Line for Hunt Design Associates The Central Garden, The Getty for Sussman/Prezja & Co. 1938 1993 Terminus Station in Santa Monica, Identity and wayfinding program Center, 1997 Wayfinding and bus graphics Photo courtesy: Hollywood Bowl opening in 2016 for downtown L.A. -
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. -
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. -
Glitter Text
All That Glitters – Spark and Dazzle from the Permananent Collection co-curated by Janine LeBlanc and Roger Manley Randy and Susan Woodson Gallery January 23 – July 12, 2020 Through the ages, every human society has demonstrated a fascination with shiny objects. Necklaces made of glossy marine snail shells have been dated back nearly 135,000 years, while shiny crystals have been found in prehistoric burials, suggesting the allure they once held for their original owners. The pageantry of nearly every religion has long been enhanced by dazzling displays, from the gilded statues of Buddhist temples and the gleaming mosaics of Muslim mosques and Byzantine churches, to the bejeweled altarpieces and reliquaries of Gothic cathedrals. As both kings and gods, Hawaiian and Andean royalty alike donned garments entirely covered with brilliant feathers to proclaim their significance, while their counterparts in other cultures wore crowns of gold and gems. High status and desirability have always been signaled by the transformative effects of reflected light. Recent research indicates that our brains may be hard-wired to associate glossy surfaces with water (tinyurl.com/glossy-as-water). If so, the impulse drawing us toward them may have evolved as a survival mechanism. There may also be subconscious associations with other survival necessities. Gold has been linked to fire or the sun, the source of heat, light, and plant growth. The glitter of beads or sequins may evoke nighttime stars needed for finding one’s way. The flash of jewels may recall an instinctive association with eyes. In jungles as well as open grasslands, both prey and predator can be so well camouflaged that only the glint of an eye might reveal a lurking presence. -
Final J.Min |O.Phi |T.Cun |Editor |Copy
Style SPeCIAl What is shown in Paris today is a dead duck tomorrow.” — Costume designer EDITH HEAD, whose 57-year career owed “ much of its longevity to avoiding trends. C Edith Head’s LEgacy In her day, the famed costume designer ruled at Paramount, dressing everyone from Grace Kelly to Elizabeth Taylor — all the while savvily getting her way By Sam Wasson Kim Novak’s wardrobe for Vertigo, including this white coat with black scarf, was designed to look mysterious. “This girl must look as if she’s just drifted out of the San Francisco fog,” said Head. FINAL J.MIN |O.PHI |T.CUN |EDITOR |COPY Costume designer edith head — whose most unforgettable designs included Grace Kelly’s airy chiffon skirt in Hitchcock’s To Catch a Thief, Gloria Swanson’s darkly elegant dresses in Sunset Boulevard, Dorothy Lamour’s sarongs, and Elizabeth Taylor’s white satin gown in A Place in the Sun — sur- vived 40 years of changing Hollywood styles by skillfully eschewing fads of the moment and, for the most part, gran- Cdeur and ornamentation, too. Boldness, she believed, was a vice. Thirty years after her death, Head is getting a new dose of attention. A gor- geous coffee table book,Edith Head: The Fifty-Year Career of Hollywood’s Greatest Costume Designer, was recently published. And in late March, an A to Z adapta- tion of Head’s seminal 1959 book, The Dress Doctor, is being released as well. ! The sTyle setter of The screen The breezy volume spotlights her trade- Clockwise from above: 1. -
Media Information 22 September 2016
Media information 22 September 2016 1920s JAZZ AGE Fashion & Photographs 23 September 2016 – 15 January 2017 The Fashion and Textile Museum presents JAZZ AGE: Fashion & Photographs, a major exhibition of 1920s garments alongside portraits by James Abbe. • 1920s JAZZ AGE: Fashion & Photographs presents a glittering display of over 150 haute couture and ready-to-wear garments from 1919 to 1929. • Photographs by James Abbe (1883–1973), film excerpts and magazines highlight the role of graphic art and photography in promoting the 20s look • A Decade of Change is documented through shifting hemlines, waistlines and accessories, from hats to hairbrushes, stockings to cigarette holders. • Four outfits from The Great Gatsby film (2013) by Catherine Martin with Miuccia Prada highlight contemporary fascination with the decade Women’s clothing in the 1920s reflected dizzying social change on an unprecedented scale. From Paris and London to New York and Hollywood, the period following the Great War offered the modern woman a completely new style of dressing. With over 150 garments and accessories from a major private collection, this stunning selection of sportswear, printed day dresses, fringed flapper dresses, beaded evening wear, velvet capes, kimonos and silk pyjamas reveals the glamour, excess, frivolity and modernity of the decade. The exhibition focuses not only on high-end couture but also on the ready-made. It offers a reassessment of the 1920s by showcasing the wide variety of clothing and accessories available to the modern woman, not just the drop-waisted flapper dress immediately associated with the era. Throughout, the exhibition highlights the decade’s changing silhouette including the straighter less exaggerated shape, promoted by haute couture designers such as Lucile and Paul Poiret since the pre-war years, the rising hemline and clothes designed to 1 allow free movement. -
'Perfect Fit': Industrial Strategies, Textual Negotiations and Celebrity
‘Perfect Fit’: Industrial Strategies, Textual Negotiations and Celebrity Culture in Fashion Television Helen Warner Submitted for the degree of Doctor of Philosophy (PhD) University of East Anglia School of Film and Television Studies Submitted July 2010 ©This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that no quotation from the thesis, nor any information derived therefrom, may be published without the author's prior, written consent. Helen Warner P a g e | 2 ABSTRACT According to the head of the American Costume Designers‟ Guild, Deborah Nadoolman Landis, fashion is emphatically „not costume‟. However, if this is the case, how do we approach costume in a television show like Sex and the City (1998-2004), which we know (via press articles and various other extra-textual materials) to be comprised of designer clothes? Once onscreen, are the clothes in Sex and the City to be interpreted as „costume‟, rather than „fashion‟? To be sure, it is important to tease out precise definitions of key terms, but to position fashion as the antithesis of costume is reductive. Landis‟ claim is based on the assumption that the purpose of costume is to tell a story. She thereby neglects to acknowledge that the audience may read certain costumes as fashion - which exists in a framework of discourses that can be located beyond the text. This is particularly relevant with regard to contemporary US television which, according to press reports, has witnessed an emergence of „fashion programming‟ - fictional programming with a narrative focus on fashion. -
English and French-Speaking Legislation Intended to Diminish the Rights Requiring Workers Contribute to Their Own Television Channels Throughout Canada
Join The Stand Up, Fight Back Campaign! IATSE Political Action Committee Voucher for Credit/Debit Card Deductions I hereby authorize the International Alliance of Theatrical Stage Employees, Moving Picture Technicians, Artists and Allied Crafts of the United States Political Action Committee, hereinafter called the IATSE-PAC to initiate a deduction from my credit card. This authorization is to remain in full force and effect until the IATSE-PAC has received written notification from me of its termination in such time and in such manner as to afford the parties a reasonable opportunity to act on it. Check one: President’s Club ($40.00/month) Leader’s Club ($20.00/month) Activist’s Club ($10.00/month) Choose one: Or authorize a monthly contribution of $________ Mastercard Discover Authorize a one-time contribution of $________($10.00 minimum) VISA American Express Card #: _____________________________________ Expiration Date (MM/YY): ____/____ Card Security Code: ______ Employee Signature_______________________________ Date________________ Last 4 Digits of SSN___________ Local Number_____________ ET Print Name_____________________________________Email______________________________________ Phone Number________________________ Home Address_______________________________________ City ____________________________ State/Zip Code _____________________________ Billing Address_________________________ City_________________ State/Zip Code______________ Occupation/Employer_____________________ This Authorization is voluntarily made based on my specific -
Alvar Aalto. Ken Adam. Ai Weiwei. Doug Aitken. Lawrence Alma-Tadema. Robert Altman
ALVAR AALTO. KEN ADAM. AI WEIWEI. DOUG AITKEN. LAWRENCE ALMA-TADEMA. ROBERT ALTMAN. MARTIN AMIS. MICHELANGELO ANTONIONI.DIANE ARBUS . AUNTIE MAME. ADAM BARTOS.SAUL BASS. FRANCIS BACON. BILLY BALDWIN. MATTHEW BARNEY. BAUHAUS. AUBREY BEARDSLEY. CECIL BEATON. NORMAN BEL GEDDES.WILLIAM BLAKE.RICARDO BOFILL. HIERONYMOUS BOSCH.ETIENNE LOUIS BOULLEE. GUY BOURDIN. DAVID BOWIE. ROBERT.F. BOYLE. JOHN BOX . ISAMBARD KINGDOM BRUNEL.HENRY BUMSTEAD.ANTHONY BURGESS. EDWARD BURTYNSKY . JOHN LE CARRE.FRANCOIS CATROUX.NICK CAVE.DAVID CHIPPERFIELD. LYNNE COHEN. JOHN CONSTABLE.BENJAMIN CONSTANT.GREGORY CREWDSON. JACQUES LOUIS-DAVID.EUGENE DELACROIX .THOMAS DEMAND .GUSTAVE DORE .EDMUND DULAC.TONY DUQUETTE. WILLIAM EGGLESTON.OLAFUR ELIASSON. DANTE FERRETTI. IAN FLEMING . FLUX.LUCIEN FREUD.FUTURE SYSTEMS. THEODORE GERICAULT .ALEXANDER GIRARD .NAN GOLDIN.ERNO GOLDFINGER . ANDY GOLDSWORTHY . PETER GREENAWAY. NICHOLAS GRIMSHAW.WALTER GROPIUS .ANDREAS GURSKY. FRANS HALS.ROBERT PARKER HARRISON.HAROLD AND MAUDE.THOMAS HEATHERWICK.DAVID HICKS.TODD HIDO.ALFRED HITCHCOCK . CANDIDA HOFER. WILLIAM HOGARTH. HUNDERTWASSER . AXEL HUTTE. IRATA ISOZAKI. TOYO ITO. ALEJANDRO JADOROWSKY. JEAN –PIERRE JEUNET and MARC CARO. A.QUINCY JONES. LOUIS KHAN.REM KOOLHAAS . STANLEY KUBRICK.KENGO KUMA. HENRI LABROUSTE. MORRIS LAPIDUS .DENYS LASDUN. CLAUDE NICOLAS LEDOUX. MING CHO LEE.SERGIO LEONE. IVAN LEONIDOV .RICHARD LESTER .JEAN –JACQUES LEQUEU .EDWIN LONGSDON LONG.BERTHOLD LUBETKIN..EDWIN LUTYENS.DAVID LYNCH. KAZIMIR MALEVICH .ROB MALLET-STEVENS. THE MAN WHO FELL TO EARTH.ANTHONY MASTERS.SYD MEAD.WILLIAM CAMERON MENZIES.RICHARD MISRACH. DON McCULLIN . MORPHOSIS. VLADEMIR NABAKOV.ODD NERDRUM.PIER LUIGI NERVI.OSCAR NIEMEYER.ANDRE LE NOTRE. MIKE NICHOLS. IRWIN OLAF. ONE FROM THE HEART.GABRIEL OROZCO.BILL OWENS. MARTIN PARR.JOHN PAWSON.CHRISTOPHER PAYNE .PIRANESI.ROBERT POLIDORI.GIO PONTI . -
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. -
HH Available Entries.Pages
Greetings! If Hollywood Heroines: The Most Influential Women in Film History sounds like a project you would like be involved with, whether on a small or large-scale level, I would love to have you on-board! Please look at the list of names below and send your top 3 choices in descending order to [email protected]. If you’re interested in writing more than one entry, please send me your top 5 choices. You’ll notice there are several women who will have a “D," “P," “W,” and/or “A" following their name which signals that they rightfully belong to more than one category. Due to the organization of the book, names have been placed in categories for which they have been most formally recognized, however, all their roles should be addressed in their individual entry. Each entry is brief, 1000 words (approximately 4 double-spaced pages) unless otherwise noted with an asterisk. Contributors receive full credit for any entry they write. Deadlines will be assigned throughout November and early December 2017. Please let me know if you have any questions and I’m excited to begin working with you! Sincerely, Laura Bauer Laura L. S. Bauer l 310.600.3610 Film Studies Editor, Women's Studies: An Interdisciplinary Journal Ph.D. Program l English Department l Claremont Graduate University Cross-reference Key ENTRIES STILL AVAILABLE Screenwriter - W Director - D as of 9/8/17 Producer - P Actor - A DIRECTORS Lois Weber (P, W, A) *1500 Major early Hollywood female director-screenwriter Penny Marshall (P, A) Big, A League of Their Own, Renaissance Man Martha -
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.