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DesignerPennyRose OF THEBLACKPEARL(2003) PIRATES OFTHECARIBBEAN:CURSE COSTUME DEFINING

© 2014 AMPAS | INSTRUCTIONAL GUIDE | PAGE 1 COSTUME DESIGN DEFINING CHARACTER

INSTRUCTIONAL GUIDE This teacher’s guide was created in collaboration with Deborah Nadoolman Landis, Ph.D., founding director, The David C. Copley Center for the Study of Costume Design, UCLA.

PROGRAM COMPONENTS 1. This instructional guide 2. Four student activity reproducible masters 3. Costume Design Glossary and Suggested Resources 4. Supplemental DVD – optional 5. Selected for Student Viewing

TARGET AUDIENCE This program has been designed for students in secondary school arts, literature, science and communications courses.

PROGRAM OBJECTIVES 1. To enhance student interest in and knowledge about the motion picture creative development and the production process 2. To encourage students to use critical thinking 3. To engage students in an exploration of film as an art form and a medium of communication and expression 4. To help students improve their media literacy 5. To heighten visual and observational skills W will work with an editor to create the film out of all the of scenes thatwere filmedduring production. out film the create to editor an with work will director the completed, is filming situation. After dramatic chooses whatto orconceal reveal aboutacharacter anda whatthedirectorexactly wantsusto see. The director frame) film (the elements. Film isadirector’s medium. visual The audience sees and screenplay) (the narrative of that consistsMovies using cinematic language tell a story bring thecharacters inthescreenplayto life. the story. Costumedesignerscollaborate withactors to the andtheproductiondesignerto tell costume designerscollaborate withthedirector, timeandplace, distant locationorinanimaginary a in past, the present, the in set is film a hether

AVATAR (2009) Costume Deborah L. Scott & Mayes Rubeo

© 2014 AMPAS | COSTUME DESIGN INSTRUCTIONAL GUIDE | PAGE 1 E specific character, in a specific scene aspecific in character, specific costume byoneactor, isworn one as accessories forthecharacters. A they create acloset of clothesand know “who”characters “are” before required bythescript. They must clotheswhen entrance andeveryday beautiful gownsforaglamorous story. Costumedesignerscreate both creating authentic characters in a nolabelsandarefocusedon have clothes, whilecostume designers their labelsandsell designers have different. very their are objectives and fields two these however, costume design; designandfashion There isoften confusion between peopleonscreen. believable and helpactors transforminto and new character’s personality to the audience, communicate thedetailsofa tools thedirector to has tell thestory. Character andCreating theStory Costumes: Telling the Costumes areoneofmany is considered acostume. inamovie garmentworn very visual references. Research mayalso studying historical andcontemporary albums; and yearbooks and family periodicals,school libraries; reviewing and atarchives,museums may includeresearchontheInternet of the design process.portion This costume designerbeginstheresearch After speakingwiththe director, the palette andthemoodoffilm. about colorcharacterization, theoverall specifics and choices casting the the director, costume aboutthe designermaylearn with meeting first the same script. from movies At the different make Two will film. directors different the for vision overall the meets withthedirector to discuss the script,costume characters ineach scene. After reading the and place),takes action the location (where the place), takes action the (when period time happens the scene), the (what in action the describe with studyingthescreenplay. Scripts The costume design process begins begins. movie alifebeforethe has person inastory the audiencethatevery mustbelieve or scenes in the story. Most important, JulieWeiss in thestory. the audience to becompletely engaged andfor seamlessly blend into thestory designer’s goalisforthecostumes to or wrong for a dramatic situation. The a scene, too expensiveforacharacter when the costumes are unrealistic for than historical audience the for distracting is It films. more to costume often are difficult films modern that shopping habits.It maybeasurprise style ofthestudents,includingtheir bedoneintoresearch will thetaste and More students. and teachers staff, of a “researchbible,”containing portraits The her research. compile designer will analbum,called or his in specific becarefultothe designerwill bevery and story the of location specific the dictate will screenplay differently. The influences and diversepopulationswhodress socioeconomic different cultures, dramatically have country of the parts different in schools High visit a local high school. designer will costume a school, high modern-day a For example, if a scene takes place in depending onthesettingofstory. stations, and police hospitals offices, as locations such to trips field include FRIDA (2002)

© 2014 AMPAS | COSTUME DESIGN INSTRUCTIONAL GUIDE | PAGE 2 she foundinher research. for eachgarment,creatingthe authenticstyleandshapethat fabric right the on insisted Carter totracksuits. polyester hair ’80s ’70s to pleats ’50s from time, through journey a on printed fabrics. designed usingvintage The audience istaken Carter garments she found with ones that she years. mixed the vintage 30 than more of span a served over presidents who eight Whitaker) Forest by (played butler American African- an of story the (2013), Daniels’ did forLee The Butler Ruth ,as Designers often adaptvintage E.Carter personal evolution. her reflect costumes changing Kahlo’s activist. political and artist an as confident more became she as clothes Mexican Mexican- hand-embroidered colorful Indian . The real Frida in Kahlo wore traditional then 1920s, the aschoolgirl in first ayoung matroninthestylishdressesof , thenas Hayek dressed Weiss Julie designer Costume Hayek). (Salma Kahlo Frida artist Mexican of life film 2002 The place. takes scene each location, costumes helptheaudience knowwhenandwhere decades,orissetinadistant When ascreenplaycoversseveral T-. when required must be dressed appropriately in and and teenagers, world, theyaremodern exist inanimaginary PotterAlthough Harry Ron andhisfriends andHermione to create the costumes for Hogwarts’ colorful faculty and staff. school .Makovsky dependeduponherimagination Makovsky yettraditionalEnglishprivate researchedmodern costuming.period andfantasy CostumedesignerJudianna modern, mixes (2001), Harry Potter andtheSorcerer’s Stone Frida onthe isbased Costume DesignerJudiannaMakovsky THE SORCERER’SSTONE(2001) HARRY POTTERAND and researchisusefulfordesigning costumes. value? Discusswithyourstudents howthiskindofanalysis How sentimental heorshehadit?Doesithave longhas how heorsheobtainedthe item. Was itagift orapurchase? thathe or she is wearing. or anaccessory Ask eachto relate Have ofclothing eachofyourstudentsdescribeanarticle SUPPLEMENTAL ACTIVITY be instyletoday? today?in fashion What elementsofthecostume mightnot thepaintings? in be might costume the of differ? elements they How What do portraits the like do the look film the much in How people film. the in costumes the to costumes historical paintings.Compareactualhistoricalas portrait well books, as that period usingcostume andhistory from ’s movement? Ask studentsto researchactualclothing and when reveal costumes where the film takes place. Do the period costumes affect the the how Discuss past). recent or distant the in set (one film period a students your Show museums. inmodern Antoinette thatarepreserved thecourtofMariedid notresemblethoseofgarmentsfrom These . hadtherightsilhouette fortheperiod,buttheircolors sherbet-colored created Canonero Milena be more appealing to a young female audience, so designer a pastel color palette inspiredbyFrench macaronswould For color, exaggerate may silhouetteand effect. style dramatic for but they do need to look right to the audience. Designers exactly, period film’s the duplicate to have not do Costumes (2006), director felt that felt Coppola Sofia director (2006), Marie Antoinette

© 2014 AMPAS | COSTUME DEISGN INSTRUCTIONAL GUIDE | PAGE 3 I unique personalityandstyle. their reflect that clothes in dressed is character each us, like and time, first the for characters the meet we begins, movie herbestfriend. scarffrom andabirthday When a hermom’s thelocalmall, apairofearringsfrom , worn Costume DesignerSharenDavis (2006) Costumes: Creating People gowns. Costume designer used color to Katniss makes wearing spectacular atriumphant return by creating a persona. must survive After the games, the spotlightwhenshearrives attheCapitol a as Tribute and is often into seenwithherbowandarrows.Katniss isthrust family.her starving Shewears simple,functionalclothingand district. Since her father’s death, Katniss must hunt to feed coal-mining Appalachian rural a in lives Lawrence, Jennifer In before oneword ofdialogueisspoken. about thispersonatanexactmomentinhisorherlife, even the character to theaudience. Costumesconvey information they determine the most effective Together, way to film). express the personality of the through undergoes character the changes psychological and emotional (the arc dramatic and problem), drinking a or troubles money anxiety,depression, personality, as character’s (such the consider challenges actor thedirector,Before shootingstarts, costume designerand day. day, On a typical might wear a teenager a favorite well- our personality. It’s clotheseach rarethatpeoplewear new of expression an are and taste our define clothes life, real n 21) Ktis vren pae by played Everdeen, Katniss (2012), The Hunger Games different for his roleas in be altered to fit each actor. After actor Harrison Ford tried on When costumes are purchased or rented for a film, they must them looklike onaranch. beenworn theyhave often dusted onto cowboy ,clothesandhatsto help and files costumes.more to Sterile “fuller’s earth” age claycalled is blades, razor sandpaper, airbrushes, bleach, uses dye andmineraloilto add“sweat stains.” The costume crew garments multipletimes. Aging tools includesuedebrushes, made ornewly cleaningnew ordry beginbywashing crew To or“breakdown” age acostume, thedesignerandcostume areas. cook’s and mechanic’s uniform may be soiled in specific knee; and pockets are stretchedby car keys and cell phones. A shirts show wear on the cuffs, collars and hem; jeans bag at the knees, wherethisprocess would happennaturally. and to showwear, atelbowsand includingfadingandfraying aged be may Garments film. a for costumes the manufacture , ordesignand Costume designersmaypurchase, sophisticated andglamorous. With greater success, theircostumes become increasingly these young singers wear simple, homemade dresses. amateur talentcontests to worldwide fame. At thebeginning, Dreamgirls (2006) follow the journey of a 1950s girl group from Costume designerSharenDavis’s costumes forthemusical the Capitol. for thedistrictsandcolorful gownsandexcessive stylesfor separate theworlds; understated graysandblueswere worn Raiders of the Lost Raiders oftheLost (2012) THE HUNGERGAMES

© 2014 AMPAS | COSTUME DESIGN INSTRUCTIONAL GUIDE | PAGE 4 RAIDERS OF THE LOST ARK (1981) Costume Designer Deborah Nadoolman student to presenttheircharacter designto theclass. “moodboards.” called collages When complete, each ask a costume designforthecharacter usingdrawingsandphoto andwhy. pointinthe story particular Ask studentsto create accessories that would be appropriate for the character at a obstacles. Have students consider thecolors, patterns and students toarc andask listthecharacter’s and challenges onthisdescription. Discussthecharacter’sbased dramatic socialstatus, attitudes, background and gender including age, they know about the character,students to list everything Read acharacterscreenplay. descriptionfrom Ask your complement thescene bedistracting. andnever designed intheappropriate color, periodandstyle,must orstuntdriving. Costumesforbackgroundtalentare high falls costumes mustbeconstructed to accommodate paddingfor theactorsas thattheyaredoublinginanactionscene. Their designer. thesamecostumes Stuntperformerswear exactly and each requires the attention of a professional costume to auniquepart playintheproduction Each oftheseroles has called background talent), and sometimes, animated characters. (also extras doubles, ,stunt actors, supporting principal Costume designers create costumes andprovide forthe tojacket lookidenticalonscreen. thenaged was when heusedthefamousIndiana Jones whip.EachIndy back. HarrisonThis pleatallowed Ford to raisehisarmfreely leatherjackets,dozen new eachwithan“action pleat”atthe . Nadoolman designed and manufactured a Jones’sIndiana of style the about specific very was Spielberg a narrower and brim to keep hiseyesvisibleto thecamera.Director Steven face his flatter to lower a with a Ark the same? itremained yearsorhas few thepast their stylechangedover to Has compare theirpersonalstyleandthatoffriends. students Ask effect? final the to contribute costume their of the choices theymadeforeachsituation. How doeseachpart theirownclosets.Discuss using clothesandaccessories from out athome. Ask themto create anappropriate costume hanging or date a interview, job a as such situation, specific occasions. different for clothes Divide yourstudentsinto groups.Give small eachgroupa different choose all We SUPPLEMENTAL ACTIVITY 18) csue einr eoa Ndomn created Nadoolman Deborah designer costume (1981),

© 2014 AMPAS | COSTUME DESIGN INSTRUCTIONAL GUIDE | PAGE 5 Costumes: Painting the Frame distinctive palette, which is a blue-burgundy that goes into a hot, sandy-burgundy. The hero Peter Quill’s costume was

determined by his shape, the guns, the rockets – there were a PAGE 6 ust as the elements of a painting work together to lot of practicalities to consider. But practical is good, because create a harmonious image, costumes must work within designers have to make those things work.” Jthe composition of a scene. Everything in the frame is designed to help tell the story, including the people, sets, set Costumes can change the shape of an actor’s body to reflect dressings (wall color, furniture, carpets), props and costumes. the time period of the story and the personality of the Color is one of the most important tools that a director uses character. For Man of Steel (2013), costume designer Michael to create the mood of a movie. Wilkinson created the costume to be worn over a muscle . Wilkinson said, “Over the of this we stretched Costume designer Nancy Steiner used different a thin mesh over-suit that is printed with a dimensional chain- to subtly indicate the personality of each member of the mail texture. We wanted to evoke a ‘man of steel’ as though dysfunctional family in Little Miss Sunshine (2006). While the it’s an metal/armor unfamiliar to us on Earth. We wanted costumes’ colors may go unnoticed by the audience, they our Superman to glow on screen, to create a texture that the subconsciously affect viewers’ perceptions of the characters. camera loves, and make him stand apart from the human race.” Costumes are also used to focus attention on the major actors and the important action in a scene. For Guardians of Padding may supply a slim actress with a more rounded shape the Galaxy (2014), costume designer said, or a pregnancy, and give a muscular actor the appearance of “Color was hugely important in this film; there was quite narrow, stooped shoulders or a big belly depending on the a lot of color- and I wanted the ravagers to have a characters they are playing. , girdles and a variety © 2014 AMPAS | COSTUME DESIGN INSTRUCTIONAL GUIDE

LITTLE MISS SUNSHINE (2006) Costume Designer Nancy Steiner his character, sailorBootstrapBill. discard theshoes,Skarsgård invented adistinctive walkfor a pairofshoesthatwere onesizetoo large.Rather than designer presented actor Stellan Skarsgårdwith film 2006 costumes helpactors discovertheircharacter. For the model inhighheelsspeakvolumesabouteachrole.Often, high schoolstudentinsneakers, of a fashion and the strut ofacowboy stroll inboots,thebounce ofa The bowlegged andbustles,to ofthe1960s. hoopskirts theminiskirts costume silhouette – from ancient Roman , to Victorian (1998) different a demands setting historical Each underwear. restricted thanifshewere wearingmore physically modern wearing aperiodcorset orgirdleismoreuncomfortableand posture andhowtheywalk,sitbreathe. An actress actor’s an affects it underwear, the see never may audience hats, low and high heels. pads, large and small Although the their silhouette bywearing corsets andpetticoats, shoulder body. Throughout history, transformed menandwomen have affect the shape and silhouette of the human (1998). in Love Paltrow boyto transformfrom girlandbackforShakespeare gender. CostumedesignerSandyPowell helpedGwyneth different a into actor an transform can undergarments of Costume Designer Sandy Powell Pirates oftheCaribbean: Dead Man’s Chest , costume the scene. characters in backgroundand secondary distinguished from the wayinwhichcostumes of themaincharacters were abouteach character.what these elements reveal Discuss the scene andthesilhouette ofthecostumes. Ask students in thescene? Ask studentstothecolor palette analyze of each ofthemaincharacters inthescene. What happened Show your students a scene from a film. Ask them to describe the desiredeffectinfinalfilm. director, cinematographer andcostume designerto achieve the for way best the is pre-production during makeup and be may fabrics certain too distractingforascene. wide, A cameratest ofcostume, hair feet 40 screen magnified movie a When on photographed. when differently quite film. a of look Patterns andtextures thatlookgreatinpersonmayappear the create who , with closely work designers costume film, on look textures and Because anddifferent lighting cameras affect the way colors how the look of costumes in a specific genre, such as 1950s untiltoday. such genre, specific a in musicals, Westerns the from changed has fiction, science or costumes of look the how andInternetAsk yourstudentsto usethelibrary to research SUPPLEMENTAL ACTIVITY

© 2014 AMPAS | COSTUME DESIGN INSTRUCTIONAL GUIDE | PAGE 7 Costumes: Defining History PAGE 8 ilms set at any time in the past are called period films. Whether the film is an historical epic or a Ffuturistic fantasy, or has flashbacks to an earlier era, the movie’s time period can be instantly defined by the costumes. Throughout history, clothing has played a role in defining an era. Fashion is the mirror ofour civilization. At some point in history, men and women have distorted their bodies into every imaginable shape to achieve a fashionable silhouette.

Ask your students to use the library and Internet to research fashion from another era. Films can be a great source of general fashion history. Discuss the way in which costumes help to establish the era and define each

TITANIC (1997) Costume Designer Deborah L. Scott character.

SUPPLEMENTAL ACTIVITY

Have students research what a boy or girl their age would wear in various centuries or decades. Ask students to draw or photo-collage examples of these period

costume elements and then compare the period clothes © 2014 AMPAS | COSTUME DESIGN INSTRUCTIONAL GUIDE with their own. Ask students to present and discuss their findings with the class. T Costumes: Culture and Identity Costume DesignerJanyTemime THE GOBLETOFFIRE(2005) HARRY POTTERAND branches. More loosely, meana service auniformcansimply different the among and country to country from are indicated bypatchesandmedals. These uniformsvary Within themilitary, and important rankingsareextremely insignia. of and color by Themilitary defined uniforms has country every origins. cultural and countries specific profession person’s a or position. A Scottish kiltandakimonoareemblemsof identify instantly to us allow – hat worker’s and khakis, a nun’s polo habit or a chef’s fast-food a uniform, police a as such – Uniformsidentity. individuality and provides cluestoindividuality andprovides ourcultural for creativeexpression.Clothingestablishes he choices we make anopportunity eachdayprovide to describe howitmakes themfeel. them ask Then significance. and importance its accessory, ofthat they arewearing. Have themdescribethehistory Ask studentsto ofclothingorjewelry chooseonearticle SUPPLEMENTAL ACTIVITY step? This activitycanincludeaphotomontage. first the be would What person? opposite the become to tohave make to theirhair, makeup, accessories andclothing their ownpersonality. How manyadjustmentswould they Ask studentsto create alookthatexpressestheopposite of social group. particular a of uniform accepted the be can T-shirt a and and tiecanbetheuniformofabusinessperson,whilejeans distinctive personalstylethatisrecognized byothers. A suit

© 2014 AMPAS | COSTUME DESIGN INSTRUCTIONAL GUIDE | PAGE 9 M ______Why arethesecostume ______details important? ______What dothecostumes throughoutthefilm?______tell you about theexperiences oftheprotagonist ______What dothecostumes tell youabouttheworld theprotagonist? Do theprotagonist’s costumes remainconsistent, throughoutthefilm?______ordotheyevolve ______the film______Now describetheprotagonist’s costume attheendingof ______beginning ofthefilm______ofcostumeDescribe theprotagonist’s atthe styleortype Where doesthefilmtake place? ______character? ______View thefilmyour chosen.teacher has Whoisthemain story.chooses eachpiece to create realpeopleforevery designer costume The for films. contemporary or purchased in characters designed specifically be may the Clothes director. of the vision and characters, different the – DeborahNadoolmanLandis director, andthedirectortellsstory.” actor, theactorgivescharacterto “The CostumeDesignergivestheclothesto COSTUMES: TELLINGTHESTORY ACTIVITY 1 the story isset,therelationshipsbetween the story design, includingthetimeandplace inwhich costume influence elements different any

WIZARD OF OZ (1939) Costume Designer Adrian

© 2014 AMPAS | COSTUME DESIGN INSTRUCTIONAL GUIDE | PAGE 10 THE DEVIL WEARS PRADA (2006) Costume Designer

ALICE IN WONDERLAND (2010) THE PRINCESS DIARIES (2001) Costume Designer Costume Designer Gary Jones C Creating Characters ACTIVITY 2 Patricia Field),in Wonderland andAlice Jones),costumes designed by Gary TheDevil Wears Prada(2006, costumes designedby the threedifferentcharacters played by Anne Hathaway inThePrincessDiaries(2001, best byexaminingthepeople thatactors inhabited have duringtheir careers.Compare ƒ ______one costume forthecharacter. After it’s completed, explainyourchoices below. yourcloset,create orclothingfrom Using magazines, pictures from drawings,collages, ______What shouldthecostume sayaboutthecharacter point? ateach important ______pointsdoesthecharacterWhat changesorturning experience inthestory? ______help tell thestory? What kindofclothesoraccessories would thischaracter chooseforhimorherselfto ______which thecharacter lives. socialstatus,attitudes,ethnicity,including age, wherethecharacter lives,andperiodin Now youknowaboutthecharacter, pickacharacter abookandlisteverything from ______andprofessionofdifferentindividuals. economic andsocialstatus,age, List someexamplesofreal-lifeclothesanduniformsthattell youaboutthepersonality, isillustrated The rolethatcostume designers playinmotionpicturestorytelling the audience knowthecharacters. chosenbythecostume designertostyle ofeachcostumecarefully help areall ostumes can tell you a lot about the characters in a movie. The fabrics, fit and (2010, costumes designed byColleen Atwood).

© 2014 AMPAS | COSTUME DESIGN INSTRUCTIONAL GUIDE | PAGE 11 A Costumes: Painting the Frame ACTIVITY 3 ______How dothe costumes andsetswork together ofthescene? to ______tell thestory Did theycomplement the setorcontrast withit?______Discuss howthecolors andsilhouette ofthecostume worked withtheset:______What didthecostume designerdoto drawyoureyeto themaincharacter? ______What isthebackgroundcolor? ______Describe thecolor palette inthescene: ______demeanor, emotionalstate, etc.______Watch thescene yourteacher chosenanddescribethemaincharacter has inthescene. Describethecharacter’s clothes,actions, on thecostume –to ofredandblue. theproportions abeltornot? And shouldwe have We piece ofthepuzzle.” every reviewed said, “Marc Webb, thedirector, wanted to gobackto thecomic bookreferences. We researchedwhatcolors ofredandblueto use For silhouette. ofacharacter like true Spider-Man,This isespecially recognizable byhissuit. whoisinstantly (2014), costume designer Deborah L. Scott had the task of designing the hero’s iconic suit. Scott suit. hero’siconic the designing of task the had Scott L. Deborah designer costume The (2014), Spider-ManAmazing2 the director. Costumes also help the audience immediately identify the central character in a crowd by using color and andthestory.coherent lookfortheframe The color ofthecostumes mustconform palette to chosenby theoverall theelementsinapainting mustwork together,ll andcostumes mustblendwiththelightingandsetsto create a Costume DesignerDeborahL.Scott THE AMAZINGSPIDER-MAN2(2014)

© 2014 AMPAS | COSTUME DESIGN INSTRUCTIONAL GUIDE | PAGE 12 C Costumes: DefiningHistory ACTIVITY 4 ______yourresearch:______from to history thefashion Using books,paintingsandtheInternet, thisperiod.Comparethecostumes inthe film researchtheclothingfrom ______How characters would contemporary dressinsimilarsituations?______How mighttheperiodcostume changethewayactors stand,walkandsit?______What dothecostumes tell youaboutthattimeperiod?______View theperiodfilmyour chosen.teacher has Whendoesthefilmtake place? ______to researchclothesoftheperiod. albumsandschoolyearbooks,photos, andmagazines family paintings, newspapers films, becausethe costumes andproductiondesignarespecific tothatperiodintime.Costumedesignersstudy Films period “periodfilms.” ago arecalled thattake arecalled Even movies setinthepast as 10years placeas little ______ITEM: ______why youwould wear looked it,versushowitwould have 100yearsago: beenworn andwould have has changed throughout it history.how of clothing you might wear Give today one example of a type and the reasons compare and jacket) , skirt, jacket, hat, , boots, (, clothing of piece one hoose THEN: ______NOW: ______

© 2014 AMPAS | COSTUME DESIGN INSTRUCTIONAL GUIDE | PAGE 13 T Costumes: Culture andIdentity ACTIVITY 5 ______What kindofstatement doesthisitem make aboutyou? ______Describe how this item relates to you and your identity ______thatyouarewearing rightnow______Select oneitem ofclothingorjewelry Gloves Backpack Jacket Boots List threeprofessions,culturesortimeperiodsforwhichyouw information aboutthetime,place andprofessionofthepeopleinstory. social and geographic economic, and style, taste, circumstances. our The colors andpatterns thatwe ourpersonality. wear reveal of Areflection costumetheaudience canprovide with a are day each make we that choices clothing he ______ould find the following items:ould findthefollowing ______

THE LAST EMPEROR (1987) Costume Designer © 2014 AMPAS | COSTUME DESIGN INSTRUCTIONAL GUIDE | PAGE 14 (2011) THEARTIST MarkBridges (2007) ELIZABETH:THEGOLDENAGE Alexandra Byrne THE KINGNgilaDicksonandRichard Taylor (2003) THELORD OFTHERINGS:RETURN (1998) SHAKESPEAREINLOVE SandyPowell (1997) Deborah L.Scott (1993) THEAGE OFINNOCENCEGabriellaPescucci (1989) HENRY VPhyllisDalton (1987) EMPERORJamesAcheson THELAST and JohnBright (1985) AROOMWITHVIEWJennyBeavan (1979) ALLTHAT Wolsky JAZZAlbert (1977) STAR WARSJohnMollo (1973) THESTINGEdith Head (1964) MY FAIR LADY CecilBeaton (1961) WESTSIDESTORY Sharaff (1959) SOMELIKEITHOT Orry-Kelly (1959) BEN-HURElizabeth Haffenden (1956) THEKINGANDIIrene Sharaff (1954) SABRINAEdith Head suitable foryourstudents: onDVD,Costume Design,areavailable andmaybe won the filmshave The following Academy Award for that areappropriate. films activities,oryoumaywishtofollowing suggest Students mayselectthefilmstheywish forthe to view FilmsSelecting forStudentViewing nominees, visitwww.oscars.org. For acomplete listof Academy Award winners and (2013) 12 YEARSASLAVE Patricia Norris Stephani Lewis (2012) BEASTS OFTHESOUTHERNWILD (2012) LINCOLNJoannaJohnston (2011) HUGOSandyPowell (2010) Zophres TRUEGRITMary (2010) THEKING’S SPEECH JennyBeavan (2009) MayesRubeo andDeborah L.Scott (2006) THEDEVILWEARSPRADAPatricia Field (2006) DREAMGIRLSSharen Davis (2005) WALKTHELINEAriannePhillips (2005) PRIDE&PREJUDICEJacquelineDurran (2004) RAY THE WORLDWendy Stites (2003) MASTER&COMMANDER:THEFAR SIDEOF Judianna Makovsky (2001) ANDTHESORCERER’S HARRYSTONE POTTER (2000) 102 DALMATIANS Anthony Powell Tim Yip (2000) CROUCHINGTIGER,HIDDENDRAGON (1995) APOLLO13 RitaRyack (1992) MALCOLM XRuth Carter (1991) THEADDAMSFAMILY Ruth Myers (1984) PLACES INTHEHEART AnnRoth (1982) Ruth Morley DVD, andmaybesuitableforyourstudents: Academy Award on forCostumeDesign,areavailable beennominated filmshave forthe The following

© 2014 AMPAS | COSTUME DESIGN INSTRUCTIONAL GUIDE | PAGE 15 fabric. dying,sandpapering andtearing includewashing, the aging andauthentic. lookworn that itwill Various methodsof The differentprocesses used to breakdowna costume so AGING/DISTRESSING TERMS alterationsconstruction, andfittingofthe costumes. designer. They areresponsibleforthepatternmaking, collaborate craftspeopleSkilled whoclosely withthe &TAILOR CUTTER/FITTER continuity book. of acostume inorder, withfittings,and assisting keeping a actors ontheset,cleaning costumes, keeping ofthe pieces all The costumer’s manyresponsibilitiesincludedressingthe COSTUMER ofthecostumes. and construction costume crew, department thepurchasing andsupervising for continuity, creatingacostumethe budget,overseeing Their responsibilitiesincludebreakingdownthescript director ofthecostumeThe managing department. COSTUME SUPERVISOR and images inspiration). of collage (a boards mood create others while workroom. Some designers create their own sketches tool between thedesigneranddirector, actor andcostume costume designer’s .Sketches areacommunication Costume illustrators create costume sketches onthe based COSTUME ILLUSTRATOR costumeaccessories, stock. andsearchingforclothesfrom the cutter/fitter andtailor, shoppingforfabric,clothesand designer’sThe assistant responsibilitiesincludeworking with ASSISTANT DESIGNER for actors andbackgroundextras. principal andsecondary those including film, a in costumes the of all designing to life. the story The CostumeDesignerisresponsiblefor costume designerisresponsibleforbringingthepeoplein with the director closely and the actors,Collaborating the COSTUME DESIGNER ROLES ofTermsRoles &Glossary COSTUME DESIGN

COSTUME BIBLE forthecharacter andthestory.specifically aged beenchosen,alteredgarment inthefilmhas and clothesarestill films withpurchased “designed.” Each forthefilm. designed andconstructed especially Modern whether thegarmentisborrowed, rented, or purchased, isacostume, piece inamovie ofclothingworn Every COSTUME Didshetakesleeves? offher ?). scene?) andhowitisstyled(Didtheactor pushupher the actor beeninafight? has itrainedinaprevious Has Continuity notes includehowdistressedacostume is(Has keeps trackofwhateachactor wearing ineachscene. was detailed written notes andphotographs, acontinuity book may beshotfirst,right afterfrom theend. ascene Using other considerations. A scene inthemiddleoffilm availablelight,actors’efficient useoflocations, timeand shotoutoforderforthemost Scenes inafilmaretypically BOOK CONTINUITY/CONTINUITY the film istied period. to thatparticular designdetail in decade,because every the last as recently as A thattakes movie place in thepast. A period filmcanbeset PERIOD FILM to theoriginal. oflossordamage case doubles inactionsequences –theyarealsokept backupin as by principalactors worn and stunt multiples, arenotonly costumes foreachprincipalactor. These copies, knownas A costume designeroften creates exactcopies ofthe MULTIPLES &DOUBLES with different combinations ofclothes andaccessories. peopleareinventedin whichnew throughexperimentation designer. asacharacter laboratory The fittingroomcanserve The roomwhereanactor triesonclotheswiththecostume ROOM FITTING actors (atmosphere). and periodclothesforbothprincipalactors andbackground resource forthedesignerandcostumers to selectmodern containing thousandsofcostumes. It isanunparalleled A areaatthestudio orcostume storage rentalhouse COSTUME STOCK personalities ofthepeopleinstory. designer, actors, makeup andhairstyliststo artists create the swatches. The bibleissharedwiththedirector, production sketches, hair andmakeup notes, acolor palette andfabric researchincludingphotographs,contemporary costume Inspired bythestory, thebibleisabinderofhistoric and

© 2014 AMPAS | COSTUME DESIGN INSTRUCTIONAL GUIDE | PAGE 16 Burke &Holly Cole.2005, Silman-James Press, 2005. Costume DesignforFilm: The &The Art byKristin Craft Richard LaMotte. Michael Weise Productions, 2010. Costumes forFilm andTelevision (2ndedition)by Costume Design101: The ofCreating BusinessandArt BOOKS and LizCovey The Costume Technician’s Handbook, Rosemary Ingham booksellers.aspx http://books.heinemann.com/ingham-covey/ TD&T - Designand Technology http://www.usitt.org The CostumeSocietyof America www.costumesocietyamerica.com UCLA Research Guide onCostumeDesign http://guides.library.ucla.edu/costume FIDM Library http://fidm.edu/en/about/FIDM+Library/ Costume DesignersGuild Website www.costumedesignersguild.com Academy ofMotion Picture andSciences.Arts www.oscars.org WEBSITES Suggested Resources COSTUME DESIGN more. budgets, foractors, designing fittings, deadlines, andmuch organization ofthecostumedepartment, unionmembership, costuming. The creativeroleofthecostumedesigner, the An illustrated andpractical guidetogettingstartedinfilm for filmandtelevision. A step-by-steppractical guidetobecomingacostumedesigner Design, 2012. byDeborahNadoolman Landis.Harper Hollywood ofCostume Sketchbook: A Century MarketingOlympic Corp,1987. Edward Maeder, Alicia SatchLavalley,Annas, EloisJenssen. CostumeDesigninFilm by Hollywood andHistory: Editor. Abrams, 2012 Hollywood CostumebyDeborahNadoolman Landis, Landis. Focal Press, 2012. CostumeDesignbyDeborahNadoolmanFilmcraft: 2007. Deborah Nadoolman Landis.HarperCollins Publishers, ofHollywood CostumeDesignby Dressed: ACentury the artofcinematicstorytelling. andcostumeillustrators’ contributionsto costume designers’ bookcelebratesthis groundbreaking onehundredyears ofthe Filled drawings, withhundreds ofbeautifulcostumedesign films reflectthe eras inwhichtheywerecreated. subjects andthewaysofthese inwhichthestyleanddesign on Hollywood’s fascination withhistorical andBiblical the CountyMuseum of Art. This volumefocuses A lavishlyillustrated catalogue fromapopularexhibitionat and costumedesign’s intersectionwithfineartand fashion. by actorsJohnny Depp, andRobert DeNiro, costuming incomedy, alook atcostumeandtransformation a widevarietyofprovocative essaysof onthehistory Hollywood Costumeexhibition. This volumecontains The comprehensiveillustrated catalogue ofthelandmark the Carribean,Sherlock Holmes) andmore. Sharen Davis Django),Penny (Dreamgirls, Rose (Pirates of Judianna Makovsky Games, (Hunger Harry Potter), workingonthemajorfilmstodayincluding,designers withdistinguishedcostume Sixteen personalinterviews ofthemillennium. through theturn foreachdecade of costumingandthenotedcostumedesigners hundreds ofphotographs andashortchapter onthehistory One hundredyears ofmoviesinonevolumethat includes

© 2014 AMPAS | COSTUME DESIGN INSTRUCTIONAL GUIDE | PAGE 17 lighting, props,andcostumes employed intheatre. can useandevaluate withmoreconfidence themakeup, avarietyofcultures.Now from character types students they includemonologuesanddialoguesshowingarange of and timing.In theatricalscenes, writingplaysandshort they showeffectivevocalandfacialexpressions,gestures, they describetheirtheatricalexperiences. As theyperform, Students usesuchterms vocalprojectionandsubtext as as 6THEATREGRADE INTRODUCTION composition, elementsandprinciples. andothervisualart howtocolor, studentslearn apply masks, perspective, and radio.In designingcostumes, props,makeup, or affectedmovies, bylivetheatre, television, differently about character. They alsodescribehowanaudience is and howcostumes andmakeup communicate information byexploringhowvoicetheir actingskills affects meaning theyimprove as their theatrevocabulary Students increase 4THEATREGRADE INTRODUCTION costumes, andsets masks 3.2 Identify theatricalconventions,props, such as theatre. itrelatesthroughout theworld, notingdiversityas to andpresentcultures video, andelectronicmediainpast oftheatre,film/ theroleanddevelopment Students analyze CONTEXT 3.0 HISTORICAL STRAND ANDCULTURAL COMPONENT experience. 2.4 Create costume pieces, props,orsetsforatheatrical to performinthem. theatre, film/videos,andelectronicmediaproductions designing andscriptwritingto create formal andinformal processesinacting,directing, andskills Students apply 2.0 CREATIVE STRAND COMPONENT EXPRESSION THEATRE http://www.cde.ca.gov/Ci/cr/cf/documents/vpaframewrk.pdf ARTS STANDARDS CA VISUAL&PERFORMING make-up designsthataresuitableto aproductionconcept. 5. set,costume,lighting,soundor Develop properties, OBJECTIVES ANDPERFORMANCESTANDARDS pre-production concepts. F. understandandshow proficiencyin Learn, Studentswill: AND PERFORMANCESTANDARDS MEDIA ARTS CONTENTSTANDARDS, BENCHMARKS uploads/2014/06/Media-Arts-Standards-6-4-14.pdf http://www.mediaartseducation.org/wp-content/ NATIONAL MEDIAARTS STANDARDS

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