Los Angeles Fashion Week: on with the Shows by Andrew Asch Retail Editor
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
The Evolution of Brassiere in the 20Th Century
Western Michigan University ScholarWorks at WMU Honors Theses Lee Honors College 12-10-2012 The Evolution of Brassiere in the 20th Century Jolene Khor Western Michigan University, [email protected] Follow this and additional works at: https://scholarworks.wmich.edu/honors_theses Part of the Journalism Studies Commons Recommended Citation Khor, Jolene, "The Evolution of Brassiere in the 20th Century" (2012). Honors Theses. 2342. https://scholarworks.wmich.edu/honors_theses/2342 This Honors Thesis-Open Access is brought to you for free and open access by the Lee Honors College at ScholarWorks at WMU. It has been accepted for inclusion in Honors Theses by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. Running Head: The Evolution of Brassiere in the 20th Century 1 The Evolution of Brassiere in the 20th Century Jolene Khor Western Michigan University The Evolution of Brassiere in the 20th Century 2 Abstract It is common knowledge that a brassiere, more widely known as a bra, is an important if not a vital part of a modern woman’s wardrobe today. In the 21st century, a brassiere is no more worn for function as it is for fashion. In order to understand the evolution of function to fashion of a brassiere, it is necessary to account for its historical journey from the beginning to where it is today. This thesis paper, titled The Evolution of Brassiere in the 20th Century will explore the history of brassiere in the last 100 years. While the paper will briefly discuss the pre-birth of the brassiere during Minoan times, French Revolution and early feminist movements, it will largely focus on historical accounts after the 1900s. -
Master Class with Monique Prudhomme: Selected Bibliography
Master Class with Monique Prudhomme: Selected Bibliography The Higher Learning staff curate digital resource packages to complement and offer further context to the topics and themes discussed during the various Higher Learning events held at TIFF Bell Lightbox. These filmographies, bibliographies, and additional resources include works directly related to guest speakers’ work and careers, and provide additional inspirations and topics to consider; these materials are meant to serve as a jumping-off point for further research. Please refer to the event video to see how topics and themes relate to the Higher Learning event. Film Costume Design (History and Theory) Annas, Alicia. “The Photogenic Formula: Hairstyles and Makeup in Historical Style.” in Hollywood and History: Costume Design in Film. Edward Maeder (ed). Los Angeles: Los Angeles County Museum of Art, 1987. 52-77. Chierichetti, David, and Edith Head. Edith Head: The Life and Times of Hollywood's Celebrated Designer. New York: Harper Collins Publishers, 2003. Coppola, Francis Ford, Eiko Ishioka, and Susan Dworkin. Coppola and Eiko on Bram Stoker's Dracula. San Francisco: Collins Publishers, 1992. Gutner, Howard. Gowns by Adrian: The MGM Years 1928-1941. New York: Harry N. Abrams, 2001. Jorgensen, Jay. Edith Head: The Fifty-Year Career of Hollywood's Greatest Costume Designer. Philadelphia: Running Press, 2010. Landis, Deborah N. Dressed: A Century of Hollywood Costume Design. New York: Collins Design, 2007. ---. Film Craft: Costume Design. New York: Focal Press, 2012. Laver, James, Amy De La Haye, and Andrew Tucker. Costume and Fashion: A Concise History. New York: Thames & Hudson, 2002. Leese, Elizabeth. Costume Design in the Movies: An Illustrated Guide to the Work of 157 Great Designers. -
Deborah Nadoolman Landis V&A Publishing Contents
HOLLYWOOD Edited by DEBORAH NADOOLMAN LANDIS V&A PUBLISHING CONTENTS 1 THE ART OF BECOMING 2 DEFINING THE CHARACTER Sponsor's foreword 8 What is costume design? 48 The costume of silent comedy Deborah Nadoolman Landis David Robinson Preface n Debbie Reynolds Moving pictures, silent movies Sound comedy: louder and funnier and the art of William Hogarth 56 John Landis Setting the scene: A ileen Ribeiro Silhouettes of seduction 110 a short history of Designing The Last Emperor 68 Jean L. Druesedow Hollywood costume James Acheson design 1912-2012 12 Hollywood and history 126 Deborah Nadoolman Landis The process of transformation 72 Edward Maeder Kristin M. Burke Banton's beauties 132 Designing for the Coen Brothers 76 Deborah Nadoolman Landis Mary Zophres Costume and fashion 138 Transformations: Johnny Depp 80 Valerie Steele Keith Lodwick Beaton's Fair Lady 146 Creative collaborations 84 Keith Lodwick Edith Head and Alfred Hitchcock Unfashioning costume design 150 Martin Scorsese and Sandy Powell Booth Moore Mike Nichols and Ann Roth Tim Burton and Colleen Atwood Transformations: an interview with Robert De Niro 158 Deborah Nadoolman Landis Transformations: an interview with Meryl Streep 162 Deborah Nadoolman Landis Ann Roth in conversation 168 Peter Biskind 3 COLLECTORS & COLLECTING 4 NEW FRONTIERS The exhibition odyssey 178 Afterlife: ensuring the enduring interest Notes 306 Deborah Nadoolman Landis of a web audience 264 Further reading 309 Chris Laverty Looking behind the wizard's curtain 188 Christopher Frayling Why design? 272 Filmography 310 Jeffrey Kurland The treasure hunt 202 Picture credits 314 Keith Lodwick Fantasy, sci-fi and superheroes 280 Acknowledgements Jacob McMurray 315 Showcasing the talent 212 Index Sam Catley The challenges of Mocap and CGI 294 316 Joanna Johnston A collectors'tale 216 Larry McQueen The collecting imperative: a studio perspective 228 Deidre Thieman Actress and collector 236 Debbie Reynolds Blades 242 Christopher Frayling Gunslingers 246 Christopher Frayling 90027, Hollywood is a zip code: the LA connection 252 Beth Werling . -
Kleidung / Mode / Couture / Kostümdesign Im Film: Eine Erste Bibliographie 2011
Repositorium für die Medienwissenschaft Hans Jürgen Wulff; Ludger Kaczmarek Kleidung / Mode / Couture / Kostümdesign im Film: Eine erste Bibliographie 2011 https://doi.org/10.25969/mediarep/12753 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Wulff, Hans Jürgen; Kaczmarek, Ludger: Kleidung / Mode / Couture / Kostümdesign im Film: Eine erste Bibliographie. Hamburg: Universität Hamburg, Institut für Germanistik 2011 (Medienwissenschaft: Berichte und Papiere 122). DOI: https://doi.org/10.25969/mediarep/12753. Erstmalig hier erschienen / Initial publication here: http://berichte.derwulff.de/0122_11.pdf Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0/ Attribution - Non Commercial - No Derivatives 4.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ https://creativecommons.org/licenses/by-nc-nd/4.0/ Medienwissenschaft / Hamburg: Berichte und Papiere 122, 2011: Mode im Film. Redaktion und Copyright dieser Ausgabe: Ludger Kaczmarek, Hans J. Wulff. ISSN 1613-7477. URL: http://www.rrz.uni-hamburg.de/Medien/berichte/arbeiten/0122_11.html Letzte Änderung: 20.2.2011. Kleidung / Mode / Couture / Kostümdesign im Film: Eine erste Bibliographie. Zusammengest. v. Hans J. Wulff u. Ludger Kaczmarek Inhalt: da, wo die Hobos sind, er riecht wie einer: Also ist er Einleitung einer. Warum sollte man jemanden für einen anderen Bibliographien halten als den, der er zu sein scheint? In Nichols’ Direktoria Working Girl (1988) nimmt eine Sekretärin heimlich Texte für eine Zeit die Rolle ihrer Chefin an, und sie be- nutzt auch deren Garderobe und deren Parfüm. -
NOMINEES WINNING ALL / NONE [Updated Thru 88Th Awards (2/16)]
NOMINEES WINNING ALL / NONE [Updated thru 88th Awards (2/16)] WINNING ALL [Nominees with 2 or more competitive nominations, winning all] 4 Mark Berger 2 Mark Harris 4 Glen Robinson [plus 2 Sci/Tech Awards] 2 Helen Hayes 3 James Acheson 2 Rabbi Marvin Hier 3 Cecil Beaton 2 David Hildyard 3 Randall William Cook 2 Thomas Howard 3 Jacques-Yves Cousteau 2 Sarah Kernochan 3 Vernon Dixon 2 Barbara Kopple 3 Alex Funke 2 Ring Lardner, Jr. 3 Winton Hoch [plus 1 Sci/Tech Award] 2 Vivien Leigh 3 David MacMillan 2 Andrew Lockley 3 John Meehan (Art Director) 2 Branko Lustig 3 Giorgio Moroder 2 John Mollo 3 Carlo Rambaldi 2 Marc Norman 3 Jim Rygiel 2 Sharmeen Obaid-Chinoy 3 United States Navy 2 Paramount Publix Studio Sound Dept. 3 Saul Zaentz [plus 1 Thalberg Award] 2 Paramount Studio [plus 1 Sci/Tech Award] 2 Ben Affleck 2 Mario Puzo 2 Robert Amram 2 Luise Rainer 2 Manuel Arango 2 Tony Richardson 2 Richard Attenborough 2 Stephen Rosenbaum 2 Karen Baker Landers 2 Albert S. Ruddy 2 Frank Borzage 2 Denis Sanders 2 Simon Chinn 2 Gustavo Santaolalla 2 Pierre Collings 2 Tom Scott 2 Mark Coulier 2 Robert Skotak 2 Michael Douglas 2 Kenneth Smith 2 Robert Epstein 2 Kevin Spacey 2 Freddie Francis 2 John Stears 2 Roger K. Furse 2 Hilary Swank 2 Harry Gerstad 2 John Truscott 2 Sheridan Gibney 2 Marcel Vertes 2 Mel Gibson 2 Christoph Waltz 2 Benjamin Glazer 2 Paul Weatherwax 2 William Goldman 2 Russell Williams II 2 Elizabeth Haffenden 2 Peter Young WINNING NONE [Nominees with 8 or more competitive nominations, winning none] 20 Kevin O'Connell 9 Ingmar Bergman [1 Thalberg Award] 16 Greg P. -
Victoria's Secret As a Do-It-Yourself Guide Lexie Kite University of Utah
Running Head: VS as a Do‐It‐Yourself Guide 1 From Objectification to Self-Subjectification: Victoria’s Secret as a Do-It-Yourself Guide Lexie Kite University of Utah Third-Year Doctoral Student Department of Communication 1 Running Head: VS as a Do‐It‐Yourself Guide 2 In the U.S. and now across the world, a multi-billion-dollar corporation has been fighting a tough battle for female empowerment since 1963, and according to their unmatched commercial success, women appear to be quite literally buying what this ubiquitous franchise is selling. Holding tight to a mission statement that stands first and foremost to “empower women,” and a slogan stating the brand is one to “Inspire, Empower and Indulge,” the franchise “helps customers to feel sexy, bold and powerful” (limitedbrands.com, 2010). This is being accomplished through the distribution of 400 million catalogs to homes each year, a constant array of television commercials all hours of the day, a CBS primetime show viewed by 100 million, and 1,500 mall storefront displays in the U.S. alone (VS Annual Report, 2009). And to the tune of 5 billion dollars every year, women are buying into the envelope-pushing “empowerment” sold by Victoria’s Secret, the nation’s premiere lingerie retailer. Due to Victoria’s Secret’s ubiquitous media presence and radical transformation from a modest, Victorian-era boutique to a sexed-up pop-culture phenomenon in the last decade, a critical reading of VS’s media texts is highly warranted. Having been almost completely ignored in academia, particularly in the last 15 years as the company has morphed from a place for men to shop for women to a women-only club (Juffer, 1996, p. -
Knit a Homer NEW YORK — As the Academic Year Ends, WWD Brings You Round Two of Our Coverage of Student Fashion Shows
WYATT EXITS WARNACO/2 MUDD’S NEW BACKERS/2 WWDWomen’s Wear Daily • The Retailers’TUESDAY Daily Newspaper • May 25, 2004 • $2.00 Ready-to-Wear/Textiles Knit a Homer NEW YORK — As the academic year ends, WWD brings you round two of our coverage of student fashion shows. The final grade? Another handful of bright hopefuls with the right training and enough creative mojo to make things interesting. Here, from Nan Kyoung Seo, an MFA student at the Academy of Art University in San Francisco, an intricately knitted angora and lambskin coat over a silk, cotton and Lycra spandex turtleneck. Winner of the CFDA Best Portfolio Scholarship in 2003, she says her collection was inspired by “a maze in winter with snow-covered branches.” For more student designers, see pages 6 and 7. Burberry’s Bonanza: Luxe Brand Eyes Growth As Earnings Climb 75% By Samantha Conti LONDON — The turnaround is over at Burberry and now the brand’s in growth mode. Rose Marie Bravo, its chief executive officer who over the last six years has overseen the transformation of the British label from a dusty company known for trenchcoats to one of luxury’s major brands, said Monday that Burberry is entering its next phase. “In many ways, this is a new era for Burberry,” said Bravo, who joined Burberry in September 1997. “We’ve completed the turnaround, and now See Burberry’s, Page12 PHOTO BY RANDY BROOK RANDY PHOTO BY 2 WWD, TUESDAY, MAY 25, 2004 WWDTUESDAY Ready-to-Wear/Textiles New Asian Backers at Mudd GENERAL By Scott Malone more than 17,000 employees at its “We have the potential to grab factories in China and Cambodia. -
A New Direction
PLUS: A closer look at the manufacturing woes in China’s A NEW Pearl River Delta. PAGE 6 DIRECTION LVMH HAS TAPPED THE OPENING CEREMONY DUO OF HUMBERTO LEON AND CAROL LIM AS CREATIVE DIRECTORS OF KENZO. PAGE 3 OVERSEAS EXPOSURE Kellwood Mixes It Up With Scotch & Soda By LISA LOCKWOOD WHEN MICHAEL KRAMER WALKED INTO SCOTCH & Soda’s fi rst U.S. store in Manhattan’s SoHo neigh- borhood, he was blown away. “I had a coronary. I was ‘Oh my God, the product is amazing,’” said Kramer, TUESDAY, JULY 12, 2011 ■ WOMEN’S WEAR DAILY ■ $3.00 president and chief executive offi cer of Kellwood Co. “I called them and they weren’t for sale, but I just WWD kept banging on their door,” he said. After six months of negotiations, an affi liate of Sun Capital Partners and Kellwood reached a deal Monday to acquire the Amsterdam-based fashion brand. “They are true designers that keep innovating,” said Kramer, noting the deal is expected to close next month. Terms of the private transaction weren’t disclosed, and the Scotch & Soda founders and man- agement team will continue in their respective roles. Kramer said Scotch & Soda’s business generates wholesale volume of 250 million euros, or $350 mil- lion at current exchange, and represents Kellwood’s biggest and fi rst international acquisition. “It’s huge and it’s hugely profi table,” Kramer said. Begun as a men’s wear label, Scotch & Soda has expanded to include a women’s collection called Maison Scotch, a boys’ collection called Scotch Shrunk, a girls’ collection called Scotch R’Belle, and its most recent venture, Amsterdams Blauw, a high- profi le denim collection. -
Estta272541 03/17/2009 in the United States Patent And
Trademark Trial and Appeal Board Electronic Filing System. http://estta.uspto.gov ESTTA Tracking number: ESTTA272541 Filing date: 03/17/2009 IN THE UNITED STATES PATENT AND TRADEMARK OFFICE BEFORE THE TRADEMARK TRIAL AND APPEAL BOARD Proceeding 91183558 Party Plaintiff Temple University -- Of the Commonwealth System of Higher Education Correspondence Leslie H Smith Address Liacouras & Smith, LLP 1515 Market Street, Suite 808 Philadelphia, PA 19102 UNITED STATES [email protected] Submission Motion for Summary Judgment Filer's Name Leslie H Smith Filer's e-mail [email protected] Signature /Leslie H Smith/ Date 03/17/2009 Attachments TEMPLE WORKOUT GEAR SJ Motion with Exhibits and Certif of Service.pdf ( 75 pages )(1933802 bytes ) IN THE UNITED STATES PATENT AND TRADEMARK OFFICE BEFORE THE TRADEMARK TRIAL AND APPEAL BOARD In the Matter of Application No. 77/038246 Published in the Official Gazette on December 18, 2007 Temple University – Of The Commonwealth: System of Higher Education, : : Opposer, : Opposition No. 91183558 : v. : : BCW Prints, Inc., : : Applicant. : SUMMARY JUDGMENT MOTION OF OPPOSER TEMPLE UNIVERSITY – OF THE COMMONWEALTH SYSTEM OF HIGHER EDUCATION TABLE OF CONTENTS Page I. INTRODUCTION…………………………………………………………… 2 II. UNDISPUTED FACTS……………………………………………………… 3 III. THE UNDISPUTED FACTS ESTABLISH A LIKELIHOOD OF CONFUSION BETWEEN THE TEMPLE MARKS AND OPPOSER’S TEMPLE WORKOUT GEAR (AND DESIGN) TRADEMARK…………… 7 A. Likelihood of Confusion is a Question of Law Appropriate for Summary Judgment………………………………………………………………….. 7 B. Under the du Pont Test, the Undisputed Facts Establish A Likelihood of Confusion between Temple’s TEMPLE Marks and Opposer’s TEMPLE WORKOUT GEAR (and design) Mark…………………………………… 7 1. The TEMPLE Marks and the TEMPLE WORKOUT GEAR (and design) Mark Are Similar in Appearance, Sound, Connotation, and Commercial Impression………………………… 8 2. -
CAB Cinema D'autore APRILE 2018 Booklet.Cdr
CENTRO AUDIOVISIVI BOLZANO CENTRO TREVI APRILE 2018 Dalle pagine allo schermo Ogni tre mesi il Centro Audiovisivi di Bolzano mee a disposizione questa brochure contenente Proposte, Novità, Ricorrenze. PROPOSTE NOVITÀ RICORRENZE Un’occasione per conoscere La raccolta cinematografica è La ricorrenza della data di e imparare ad amare il in costante aggiornamento nascita di alcuni dei più grande cinema. Ogni mese e comprende film, famosi aori, arici e regis viene proposto un tema documentari e libri a parre della storia del cinema è diverso per suggerire dalle origini della storia del occasione per ricordare ogni araverso la cinematografia cinema fino a oggi. Ogni mese i capolavori che loro Buona visione! d’autore spun di riflessione mese si arricchisce di ulteriori hanno realizzato. Invito tu e valorizzare il patrimonio film di qualità che vengono a rivedere, scoprire e della mediateca del Centro messi a disposizione di tu i riscoprire le loro opere nella Audiovisivi di Bolzano. ciadini interessa. mediateca. L’editore si rende disponibile per eventuali aven dirio sul materiale ulizzato. 2 3 PROPOSTE Dalle pagine allo schermo pagina 6 NOVITÀ Film dalle origini ad oggi pagina 12 RICORRENZE Penélope Cruz Michelle Pfeiffer pagina 18 4 5 PROPOSTE Aprile 2018 1939 Il mago di Oz VICTOR FLEMING 1939 Via col vento Victor Fleming 1943 Per chi suona la campana SAM WOOD 1948 Macbeth ORSON WELLES 1951 Alice nel paese delle meraviglie AUTORI VARI 1955 Guerra e pace KING VIDOR 1956 Il giro del mondo in 80 giorni MICHAEL ANDERSON 1965 Il door Zivago DAVID LEAN -
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.