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Versace's Native American
VERSACE’S NATIVE AMERICAN A COLONIZED FEMALE BODY IN THE NAME OF AESTHETIC AND DYNASTIC GLORY 1 In this contemporary moment fashion designers have the means to collaborate with Native American fashion designers. However, there is still a flourishing fashion market that refuses to recognize Native American tribes as owners of intellectual property.1 While some brands may initially start on the right track via collaboration with Native artists, it may not always end in success.2 Most recently, Versace has included Native American designs in their ready-to-wear fashion for the 2018 Spring-Summer season. This component of the collection belongs to a tribute honoring Gianni Versace and his original FW ’92 Native American print (Figures 1 and 2).3 I will be discussing the implications of the revived Native American print and how it affects Native North American men and women. In this essay, I will look at Versace’s legacy and his original print; the new Native American Tribute Collection by Donatella Versace; and Donna Karan’s collaboration with Pueblo artist, Virgil Ortiz. I argue that respectful recognition of Native North American property is thrown aside for aesthetic and dynastic glory, which in turn, allows non-Native designers to colonize the ‘exotic’ Native woman’s body by denying Native North American men and women the opportunity to represent themselves to the global fashion community. Virgil Ortiz’s collaboration with Donna Karan illustrates how respectful collaboration can shape the dominant society’s perception of Native North American women. If we use Native North American fashion as a framework to understand how Native designers are working to dismantle mainstream stereotypes, it is imperative that global designers 1 “Navajo Nation Sues Urban Outfitters,” Business Law Daily, March 18, 2012. -
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. -
Profiles in History December 2012 Auction 53 Prices Realized Lot Title Winning Bid Amount 2 Vintage Futuristic City Photograph F
Profiles in History December 2012 Auction 53 Prices Realized Lot Title Winning Bid Amount 2 Vintage futuristic city photograph from Fritz Lang’s Metropolis. $1,200 3 Mary Philbin “Christine Daae” photograph from The Phantom of the Opera. $300 4 Louise Brooks publicity portrait. $2,500 5 Louise Brooks portrait for Now We’re in the Air. $400 9 Alfred Cheney Johnston nude portrait of Peggy Page. $1,000 10 Alfred Cheney Johnston oversize nude portrait of Julie Newmar. $1,200 11 Alfred Cheney Johnston Portrait of unidentified seated nude. $600 13 Vintage Carroll Borland as “Luna” photograph from Mark of the Vampire $325 16 Katharine Hepburn oversize gallery portrait by Ernest A. Bachrach. $200 17 Katharine Hepburn oversize gallery portrait by Ernest A. Bachrach. $1,100 18 Pair of Katharine Hepburn oversize gallery portraits by Ernest A. Bachrach. $1,700 19 Katharine Hepburn oversize gallery portrait by Ernest A. Bachrach. $1,200 20 Katherine Hepburn oversize gallery portrait by Ernest A. Bachrach. $475 21 Katherine Hepburn oversize gallery portrait by Ernest A. Bachrach. $650 22 Katherine Hepburn oversize gallery portrait for Sylvia Scarlett by Ernest A. Bachrach. $300 23 Katherine Hepburn oversize gallery portrait by Ernest A. Bachrach. $1,200 24 Katherine Hepburn oversize gallery portrait by Ernest A. Bachrach. $450 25 Katherine Hepburn oversize gallery portrait by Ernest A. Bachrach. $450 26 Katherine Hepburn oversize gallery portrait by Ernest A. Bachrach. $225 27 Katherine Hepburn oversize gallery portrait by Ernest A. Bachrach. $200 28 Katherine Hepburn oversize gallery portrait by Ernest A. Bachrach. $200 29 Pair of Katherine Hepburn oversize gallery portraits by Ernest A. -
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. -
I Found the Fountain of Youth and I Fell in a Claire Inc Collection ——— Autumn / Winter 2011
I found the fountain of youth and I fell in A Claire Inc Collection ——— Autumn / Winter 2011 Vintage Moschino “Cheap & Chic”—Dollhouse Blazer with Window Pockets Era—80s Size—Small Fabric—Wool/Lined Vintage Chanel—Sleeveless Blouse with Clover Buttons Era—80s Size—Small/Medium Fabric—Silk Vintage Karl Lagerfeld—Tuxedo Maxi Dress with Tulip Skirt & Pockets Era—80s Size—Small/Medium Fabric—Wool/Cotton Vintage Chanel—Neon Cutout Blazer with Black Logo Buttons Era—90s Size—Small Fabric—Wool/Lined Vintage Jean Paul Gaultier—Sheer Black Maxi Dress with Pin Hole Detail Era—90s Size—Small/Medium Fabric—Mesh Vintage Chanel—Opal Blouse (print designed by Jenny Kee circa 1983) Era—80s Size—Small/Medium Fabric—Silk Vintage Moschino “Cheap & Chic”—Quilted Bomber Jacket & Umbrella Era—90s Size—Small Fabric—Acetate/Poly Vintage Gianni Versace “Pret-A-Porter”—Reversible Trench Coat Era—80s Size—Free Fabric—Cotton Vintage Chanel—Polka Dot Maxi Dress with Open Back & Fishtail Hem Era—80s Size—Small Fabric—Silk Vintage Jean Paul Gaultier—Gold Foil Ruffle Jumper with Black Wool Lining Era—90s Size—Small Fabric—Lurex/Wool Vintage Chloe—Sheer Mesh Tassle Cape with Sequin Detail Era—70s/80s Size—Free Fabric—Mesh/Sequin Vintage Moschino “Couture”—Barsony Lamp Tee with Moschino Signed Earrings Era—80s Size—Small Fabric—Cotton Vintage Chanel—Rouched Waist Navy Maxi Skirt Era—90s Size—Free Fabric—Rayon/Poly Vintage Karl Lagerfeld—Accessories Print Trench Coat with Kimono Sleeves Era—80s Size—Free Fabric—Acetate Vintage Oscar De La Renta—High Waisted Maxi Skirt with -
Forbidden Planet Was Nomi- Nated for an Oscar® (Special Effects) and Is Presented in Cinemascope with Color by Deluxe
Alex Film Society presents FORBIDDEN Saturday, July 7, 2007 PLANEt 2 pm & 8 pm Metro-Goldwyn-Mayer (1956) Forbidden Planet was nomi- nated for an Oscar® (special effects) and is presented in CinemaScope with Color by DeLuxe. Print Courtesy of Warner Bros Distributing. Short Subjects: Jumpin’ Jupiter (1955) Warner Bros Merrie Melodies with Porky Pig Warner-Pathé Newsreel Highlights of 1956 Alex Film Society P O Box 4807 Glendale, CA 91222 www.AlexFilmSociety.org ©2007 AFS FORBIDDEN PLANEt Directed by ..................................Fred McLeod Wilcox Color – 1956 – 98 minutes CinemaScope Produced by ................................Nicholas Nayfack Metro-Goldwyn-Mayer Story by ........................................Irving Block & Allen Adler Print Courtesy of Warner Bros Based on William Shakespeare’s “The Tempest” Screenplay by .............................Cyril Hume CAST CREW Walter Pidgeon ......................................Dr. Edward Morbius Cinematographer ............................. George J. Folsey Anne Francis ..........................................Altaira Morbius Editor................................................... Ferris Webster Leslie Nielsen .........................................Commander John J. Adams Production Designers ..................... Irving Block* Warren Stevens .....................................Lt. ‘Doc’ Ostrow Mentor Huebner* Jack Kelly .................................................Lt. Jerry Farman Art Directors ...................................... Cedric Gibbons & Arthur Lonergan Richard -
80S 90S FACING BEAUTIES. Italian Fashion and Japanese Fashion at a Glance
80s 90s FACING BEAUTIES. Italian Fashion and Japanese Fashion at a Glance. Museo della Città - Ala Nuova Rimini 11 ottobre - 8 dicembre 2013 Considerations After a Fashion Exhibit by Simona Segre Reinach. (Associate Professor of Fashion Studies, University of Bologna, Rimini Campus). Fashion curation has become a central preoccupation within fashion studies. Several articles have been written on the subject - illustrating the development, ambivalences and controversies that such a practice entails: the controversy about Diana Vreeland (Steele 2008), the role of exhibitions within the “new fashion history” (M. Riegels 2011, C. Breward 2008), the theoretical (and visual) ambivalences in representing West and East in fashion (Fukai 2010). Nowadays curation seems to be a particularly hot issue in fashion theory. The popularity of fashion in museums goes hand in hand with a new broader reception of what constitutes art, as well as a growing interest in fashion studies. (Fukai 2010b, Riegels 2011). Moving from dress museology to fashion museology entails a change into the practice and methodologies of curation (M. Riegels 2011). This is because fashion exhibits are more and more attracting people in museums and because, for both scholars and students, it is a way of experimenting with the materiality of fashion. It can be argued that there is a continuum, rather than a separation, between different ways in which fashion is exposed: retail, catwalk shows, fashion blogs are all involved in curation - that is in choosing the ways in which to transfomr cloths and garments into specific fashion statements. On the other hand, the experience of professional fashion curators is totally crucial in deciding what is a real exhibit, and what it is just a communication device. -
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. -
David C. Copley Collection of Costume Designs LSC.2210
http://oac.cdlib.org/findaid/ark:/13030/c883403w No online items Finding Aid for the David C. Copley collection of costume designs LSC.2210 Finding aid prepared by Jasmine Larkin, 2020. UCLA Library Special Collections Online finding aid last updated 2020 March 11. Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: https://www.library.ucla.edu/special-collections Finding Aid for the David C. LSC.2210 1 Copley collection of costume designs LSC.2210 Contributing Institution: UCLA Library Special Collections Title: David C. Copley collection of costume designs Creator: Copley, David C. source: David C. Copley Foundation Identifier/Call Number: LSC.2210 Physical Description: 36 Linear Feet(17 oversize flat boxes, 2 boxes) Date (inclusive): 1922-2006, undated Abstract: David C. Copley's collection consists of approximately 502 costume sketches representing designs for film, television, and theatre productions (possibly community theatre). Represented are the designs of many talented costume designers such as: Adrian, Cecil Beaton, Donfeld, Morton Haack, Edith Head, Dorothy Jeakins, Elois Jenssen, Charles LeMaire, Jean Louis, Bob Mackie, Walter Plunkett, Helen Rose, Anthea Sylbert, Travilla, and Theadora Van Runkle. Materials date from 1922 to 2006. Held at UCLA Library Special Collections. Advance notice is required for access to the collection. All requests to access special collections materials must be made in advance using the request button located on this page. Language of Material: Materials are in English. Conditions Governing Access Unprocessed collection. Material is unavailable for access. Please contact Special Collections reference ([email protected]) for more information. -
Costume Institute Records, 1937-2008
Costume Institute Records, 1937-2008 Finding aid prepared by Arielle Dorlester, Celia Hartmann, and Julie Le Processing of this collection was funded by a generous grant from the Leon Levy Foundation This finding aid was generated using Archivists' Toolkit on August 02, 2017 The Metropolitan Museum of Art Archives 1000 Fifth Avenue New York, NY, 10028-0198 212-570-3937 [email protected] Costume Institute Records, 1937-2008 Table of Contents Summary Information .......................................................................................................3 Historical note..................................................................................................................... 4 Scope and Contents note.....................................................................................................6 Administrative Information .............................................................................................. 6 Related Materials .............................................................................................................. 7 Controlled Access Headings............................................................................................... 7 Collection Inventory............................................................................................................9 Series I. Collection Management..................................................................................9 Series II. Curators' and Administrators' Files............................................................