DOCSLIB.ORG

Doc2007955039937.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Doc2007955039937.Pdf Zinema munduak betidanik liluratu nau. Nerabezaro osoa igaro nuen filmak ikusten eta gogoan dut nola egoten nintzen begiak zuriturik zinema areto ondoko markesinetan estrainaldi berrien fotogramei begira. Igandero San Antoniko azokara joaten nintzen, asteburu oro Bartzelonan antolatzen den bildumarien azoka ospetsura, eta han nire zaletasun begikoenetako bati ekiten nion: film eta artisten ebakin eta argazkiak erosi eta trukatzea. Horrelaxe ezagutu nuen nire senarra, Luís de Val. Zinema munduaren aldera genekartzan isuri biziak elkartu gintuen eta geroztik gure bizitzaren zati garrantzitsu bat bihurtu da. Horregatik hain zuzen erabaki genuen Maite Mínguez Ricart Bilduma sortzea, dagoeneko zinema munduarekin eta bere protagonistekin zerikusia duten 1.800tik gora objektu biltzen dituena. Gure bilduma gizendu beharrez objektu bila ari ginela, Santa Monican (Los Angeles) Marilyn Monroeren taloi bat aurkitu genuen, Marilyn Monroe Productions sinadura ageri zuena. Harritu nintzen ikusiz nola ordura arte sex symbol gisa baizik miresten ez nuen emakumea gauza izan zen produkzio-etxe bat sortzeko bere garaiko eskema guztiak hautsiz. Ordutik aurrera emakume hau ikertzen hasi nintzen eta gaur egun nire begikoenetako bat dut. Une honetan gure bildumak Marilynen 200dik gora objektu ditu: soinekoak eta osagarriak, bai bereak eta bai filmetan erabili zituenak, bere argazki album intimoa, bere agenda pertsonalak, jaso zituen sarietako batzuk eta beste pieza bakun ugari. Plazer dugu objektu horien bidez Marilynen bizitza publiko nola pribatuaren ikuspegi zabala eskaintzea erakusketa honetara hurbiltzen zareten lagun guztioi. Maite Mínguez Ricart Toda mi vida he sentido una gran fascinación por el mundo del séptimo arte. Pasé mi adolescencia viendo todas las películas que podía y recuerdo que me quedaba encantada contemplando los fotogramas de próximos estrenos en las marquesinas de las salas de cine. Los domingos solía ir al Mercado de Sant Antoni, un famoso mercado de coleccionistas que se instala cada fin de semana en Barcelona. Allí desarrollaba uno de mis hobbies favoritos: comprar e intercambiar recortes y fotografías de películas y artistas. Así conocí a Luis de Val, mi marido. La fascinación por todo lo relacionado con el mundo del cine nos unió y se ha convertido en una parte importante de nuestra vida. Por ese motivo decidimos crear la Colección Maite Mínguez Ricart, que cuenta hasta la fecha con más de 1.800 objetos relacionados con el mundo del cine y sus protagonistas. Buscando objetos para nuestra colección, nos encontramos en Santa Mónica (Los Ángeles) un talón de Marilyn Monroe firmado como Marilyn Monroe Productions. Me llamó particularmente la atención que una mujer, a la que siempre había admirado únicamente por su imagen de sex symbol, fuese capaz de crear su propia productora rompiendo con los esquemas de la época. A partir de entonces empecé a indagar en este personaje, que se ha convertido en uno de mis favoritos. En la actualidad la colección cuenta con más de 200 objetos que pertenecieron a la mítica actriz: vestidos y complementos personales y de sus películas, su álbum de fotos íntimo, sus agendas personales, algunos de los premios que recibió y un largo etcétera de piezas únicas. Todo un recorrido por la vida de Marilyn, tanto pública como privada, que hoy tenemos el orgullo de poder mostrar al visitante en esta exposición. Maite Mínguez Ricart FILMETAKO JANTZIAK / VESTUARIO DE PELÍCULAS A Ticket to Tomahawk (Txartel bat Tomahawk-era), 1950. Marilynen lehenbiziko filma izan zen. Soineko eta jakaren papar- hegalean izen bi ageri dira: Marilyn Monroe eta 20th Century Fox, filmaren produkzio-etxea. Debbie Reynolds aktoresaren bildumatik lortua. A Ticket to Tomahawk, 1950. Fue la película debut de Marilyn. En la solapa del vestido y de la chaqueta aparece el nombre de Marilyn Monroe y el de la productora del film, la 20th Century Fox. Obtenido a través la colección de la actriz Debbie Reynolds. Love Nest (Maitasun habia), 1951. Soinekoaren jatorrizko papar-hegalak zuriak ziren baina 20th Century Foxek anbar kolorekoak jarri zizkion beste aktoresa batzuek ere erabil zezaten. Christie’s enkante etxearen bidez lortua. Love Nest, 1951. Las solapas del vestido originariamente eran de color blanco pero la 20th Century Fox decidió cambiarlas a un tono ámbar para que el traje lo usasen otras actrices. Obtenido a través de la casa de subastas Christie’s. Don’t Bother To Knock (Ez nekatu ate jotzen – Niebla en el alma), 1952. Film honetan agertu zen Marilyn lehen aldiz protagonista bezala eta bere dramarako abilezia frogatu zuen. Soinekoaren etiketan bere izena ageri da. Iduna eta botoiak aldatu egin ziren geroago. Debbie Reynoldsen bildumatik lortua. Don’t Bother To Knoc (Niebla en el Alma), 1952. Fue su primer papel protagonista y le dio la oportunidad de mostrar su versatilidad como actriz dramática. En la etiqueta del vestido aparece su nombre. El cuello y los botones fueron posteriormente modificados. Obtenido a través de la colección de Debbie Reynolds. Gentlemen Prefer Blondes (Gizonezkoek nahiago dituzte ilegorriak- Los Caballeros las Prefieren Rubias), 1953. William Travillak diseinatua. Soinekoaren papar-hegalean Marilyn Monroe eta 20th Century Fox izenak agertzen dira. Profiles in History enkante etxearen bidez lortua Gentlemen Prefer Blondes (Los Caballeros las prefieren rubias), 1953. Diseñado por William Travilla. En la solapa del vestido aparece el nombre de Marilyn Monroe y el de la 20th Century Fox. Obtenido a través de la casa de subastas Profiles in History. How to Marry a Millionaire (Nola ezkondu gizon aberats batekin - Cómo Casarse con un Millonario), 1953. William Travillak diseinatua. Etiketan Marilyn eta 20th Century Foxen izenak agertzen dira. Christie’s enkante etxearen bidez lortua. How to Marry a Millionaire (Cómo casarse con un millonario), 1953.Diseñado por William Travilla. En la etiqueta aparece el nombre de Marilyn junto al de la 20th Century Fox. Obtenido a través de la casa de subastas Christie’s. There’s No Business Like Show Business (Luces de Candilejas), 1954. Soineko hau hasieran urdin argia zen baina 20th Century Foxek laranja kolorez tindatu zuen filma bukatu ondoren. Debbie Reynolds aktoresaren bildumatik lortua. There’s No Business Like Show Business (Luces de Candilejas), 1954. Originalmente de color azul celeste, la 20th Century Fox tiñó el vestido de naranja una vez terminada la película. Obtenido a través de la colección de la actriz Debbie Reynolds. The Seven Year Itch (Zazpi urteko azkura - La Tentación Vive Arriba), 1955. Marilynen diseinatzaile begikoena zen William Travillak haizagailuaren eszena mitikorako bi soineko berdin prestatu zituen, eta horietako bat da hau. Profiles in History enkante etxearen bidez lortua. The Seven Year Itch (La Tentación Vive Arriba), 1955. Diseñado por William Travilla, es uno de los dos vestidos idénticos que realizó el diseñador de cabecera de Marilyn para la mítica escena del ventilador. Obtenido a través de la casa de subastas Profiles in History. The Seven Year Itch (Zazpi urteko azkura - La Tentación Vive Arriba), 1955. Charles Le-Mairek diseinatutako praka soinekoa. Soinekoaren etiketan Marilynen izena ageri da. Debbie Reynolds aktoresaren bildumatik lortua. The Seven Year Itch (La Tentación Vive Arriba), 1955. Traje pantalón diseñado por Charles Le- Maire. En la etiqueta del vestido aparece su nombre. Obtenido a través de la colección de la actriz Debbie Reynolds. The Prince and the Showgirl (Printzea eta Showneska - El Príncipe y la Corista), 1957. Beatrice Dawsonek diseinatua. Marilyni asko gustatzen omen zitzaion, film osoan ia ez du besterik janzten eta. Profiles in History enkante etxearen bidez lortua. The Prince and the Showgirl (El Príncipe y la Corista), 1957. Diseñado por Beatrice Dawson. Se dice que a Marilyn le encantaba porque aparece con él durante casi toda la película. Obtenido a través de la casa de subastas Profiles in History. Something’s Got to Give, 1962. Film honetako eszena bat bukatu ondoren Marilyn errodaje-tokitik jantzi hau soinean zuela atera zen, izan ere, ekitaldi batera joatekoa zen eta ez zuen astirik izan arropaz aldatzeko. Handik gutxira hautsi egin zuen Fox etxearekin sinatua zuen kontratua eta ez zuen izan soinekoa itzultzeko aukerarik. 1955etik 1062ra bitartean Marilynen laguntzaile pertsonala izandako May Reisen bidez lortua. Something’s Got to Give, 1962. Tras finalizar una de las escenas del film, Marilyn se fue del set de rodaje con el traje puesto porque tenía un acto importante y no le daba tiempo a cambiarse. Al poco tiempo, rompió su contrato con la Fox y ya no tuvo ocasión de devolverlo. Obtenido a través de la que fue asistente personal de Marilyn entre 1955 y 1962, May Reis. JANTZITEGI PERTSONALA / VESTUARIO PERSONAL 50’s. Urrezko soinekoa. William Travillak diseinatua. Diseinatzaile horrek filmako eszena batzuetarako prestatu zituen bi soineko berdinetariko bat da hau. Geroxeago, 20th Century Foxek aldarazi zuen Jane Mansfield bezalako beste antzezle batzuek erabil zezaten. Joyce Aimée, Broadwayko kantari eta aktoresa ezagun eta Aimée Entertainment talentu agentziaren sortzailearen bidez lortua. 50’s. Vestido dorado. Diseñado por William Travilla. Es uno de los dos vestidos idénticos que hizo el diseñador para algunas escenas de la película. Posteriormente, la 20th Century Fox lo retocó para que lo luciesen otras actrices como Jane Mansfield. Obtenido a través de Joyce Aimée, famosa cantante y actriz de Broadway y fundadora de la agencia de talentos Aimée Entertainment. 1954. Negligé
Load more

Recommended publications
  • DRESSING MARILYN How a Hollywood Icon Was Styled by William Travilla Andrew Hansford (With Karen Homer)
    GOODMAN INFORMATION SHEET DRESSING MARILYN How a Hollywood icon was styled by William Travilla Andrew Hansford (with Karen Homer) “Billy Dear, please dress me forever. I love you, Marilyn” (Marilyn Monroe to Travilla) TRIMMED PAGE SIZE UNIQUE SELLING POINTS 280 x 216 mm (11 x 8 ½ inches) portrait • William Travilla created Marilyn Monroe’s best-known and most stunning dresses, including the white dress in The Seven Year Itch, the EXTENT 192 pages pink dress from Gentlemen Prefer Blondes and the gold lamé dress IMPOSITION 4/4 designed for Gentlemen Prefer Blondes but deemed too scandalous. • Features previously unseen material, including original sketches, patterns ILLUSTRATIONS and costume test shots, plus extracts from lost interviews with Travilla, to Approx. 200 colour and b&w photographs reveal the fashion secrets of a Hollywood goddess. and artworks • In 2012 London’s Victoria and Albert Museum will host an exhibition of TEXT famous dresses in Hollywood, including many of Travilla’s dresses for Approx. 50, 000 words Marilyn. There are plans for the exhibition to travel afterwards. A 2008 exhibition of Travilla’s costumes was attended by over 200,000 people in BINDING just 16 weeks in the US and the UK. Hardback book with jacket • New and forthcoming films featuring Marilyn include: My Week With PROVISIONAL DELIVERY DATE Marilyn starring Eddie Redmayne, Michelle Williams, Emma Watson and Available for translation now Judi Dench, released in November 2011; a film of Joyce Carol Oates’ bestseller Blonde with Naomi Watts is set for 2012, and 2013 sees the release of The Life and Opinions of Maf the Dog and of His Friend Marilyn Monroe, rumoured to feature George Clooney and Angelia Jolie.
    [Show full text]
  • 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.
    [Show full text]
  • Cinematic Fashionability and Images Politics
    Journalism and Mass Communication, Mar.-Apr. 2021, Vol. 11, No. 2, 73-80 doi: 10.17265/2160-6579/2021.02.002 D DAVID PUBLISHING Cinematic Fashionability and Images Politics Chan Ka Lok Sobel Hong Kong Baptist University, Hong Kong SAR, China The marriage of cinema and fashion? When, where and how their interaction and origin is begun? There should be no glamor and red carpet when The Lumière brothers short films like Workers leaving the Lumière factory, The Gardener, Baby’s Breakfast on the birth of cinema in 1895. However, we notice that artificially costumes are tailor-made for A Trip to the Moon in Georges Méliès and D. W. Griffith’s Intolerance. Suddenly, it adds the aesthetical and modernist elements into the blood of cinema beside the raw-realism of how the daily life of the common people is represented on the silver screen. Some kinds of bourgeois ideology and middle class value is enhanced. It is so unbelievable that some ordinary actress like Mary Pickford transforming into a movie star after beautifully dressing up. Not only the audience feel the power of movie magic but also the fashion magic. This paper explores the different perspective of movie and fashion in terms of fashion and film costumes, movie stars icon, fashion trends influenced by movies, and how fashion designers changes the look of cinema as well, etc. Keywords: ideology, movie images, stardom, fashionability Introduction Cinema is somehow like a showcase of fashion. General audiences are fans of movie stars not just because of their personal charisma, but because of the fashion they wear.
    [Show full text]
  • Download Press Release As PDF File
    PROPERTY FROM THE LIFE AND CAREER OF MARILYN MONROE PRESS RELEASE For Immediate Release: JULIEN'S AUCTIONS ANNOUNCES PROPERTY FROM THE LIFE AND CAREER OF MARILYN MONROE TO HEADLINE LEGENDARY WOMEN OF HOLLYWOOD TWO-DAY AUCTION EVENT Hollywood Legend's Most Iconic Costumes from Gentlemen Prefer Blondes, There's No Business Like Show Business, River of No Return and Personal Items to Be Sold at No Reserve UK Exhibition of Highlights to Be Held at The May Fair in London September 24 - October 21 PAGE 1 Julien’s Auctions | 8630 Hayden Place, Culver City, California 90232 | Phone: 310-836-1818 | Fax: 310-836-1818 © 2003-2019 Julien’s Auctions PROPERTY FROM THE LIFE AND CAREER OF MARILYN MONROE PRESS RELEASE NOVEMBER 1, 2019 IN BEVERLY HILLS Los Angeles, California – (August 14 , 2019) – Julien's Auctions, the world-record breaking auction house, announced PROPERTY FROM THE LIFE AND CAREER OF MARILYN MONROE featuring some of the star's film costumes and clothing worn in her most iconic roles and dazzling, star-making moments will happen on Day One of Julien's Auctions' LEGENDARY WOMEN OF HOLLYWOOD auction extravaganza on Friday, November 1 and Saturday, November 2, 2019 at The Standard Oil Building in Beverly Hills and live online at www. juliensauctions. com . The top highlights of the auction event will be three costumes worn in the Hollywood screen legend's biggest films – Gentlemen Prefer Blondes, There's No Business Like Show Business and River of No Return – as well as her signature style black cocktail dress likely worn to the 1958 press conference for her blockbuster film, Some Like It Hot .
    [Show full text]
  • The Dark Side of Hollywood
    TCM Presents: The Dark Side of Hollywood Side of The Dark Presents: TCM I New York I November 20, 2018 New York Bonhams 580 Madison Avenue New York, NY 10022 24838 Presents +1 212 644 9001 bonhams.com The Dark Side of Hollywood AUCTIONEERS SINCE 1793 New York | November 20, 2018 TCM Presents... The Dark Side of Hollywood Tuesday November 20, 2018 at 1pm New York BONHAMS Please note that bids must be ILLUSTRATIONS REGISTRATION 580 Madison Avenue submitted no later than 4pm on Front cover: lot 191 IMPORTANT NOTICE New York, New York 10022 the day prior to the auction. New Inside front cover: lot 191 Please note that all customers, bonhams.com bidders must also provide proof Table of Contents: lot 179 irrespective of any previous activity of identity and address when Session page 1: lot 102 with Bonhams, are required to PREVIEW submitting bids. Session page 2: lot 131 complete the Bidder Registration Los Angeles Session page 3: lot 168 Form in advance of the sale. The Friday November 2, Please contact client services with Session page 4: lot 192 form can be found at the back of 10am to 5pm any bidding inquiries. Session page 5: lot 267 every catalogue and on our Saturday November 3, Session page 6: lot 263 website at www.bonhams.com and 12pm to 5pm Please see pages 152 to 155 Session page 7: lot 398 should be returned by email or Sunday November 4, for bidder information including Session page 8: lot 416 post to the specialist department 12pm to 5pm Conditions of Sale, after-sale Session page 9: lot 466 or to the bids department at collection and shipment.
    [Show full text]
  • An Honors Thesis (HONRS 499) by Allison Garrels Thesis Adviser Amy Leahy Ball State University Muncie, Indiana April 2007 Expect
    Garrels 1 The Los Angeles Fashion District: An Industry of Extremes An Honors Thesis (HONRS 499) by Allison Garrels Thesis Adviser Amy Leahy Ball State University Muncie, Indiana April 2007 Expected Date of Graduation May 5, 2007 C',' l\ 1 i ---'rL"-'.' . LT) Garrels 2 ~:,){\(., '/' Abstract ~(i~,~'1 The Los Angeles fashion industry has been a driving force in the way America dresses for nearly a century. L.A. has contributed to the nation's fashion movements not only through its lifestyle trendsetting, but also through being one of the United State's top apparel manufacturing centers. While on the surface California boasts affluence and glamour, its less obvious, but equally important, manufacturing industry runs rampant with immigrant workers exploitation. Can a dual-natured industry gain the respect and recognition it takes to be considered an international fashion capital? In order to reach some conclusions, I provide a look at the past and present state of the L.A. fashion district and then discuss what the industry must do in order to reach the status of international fashion capital. Garrels 3 Acknowledgements I would like to thank Dr. Amy Leahy for all of her guidance in advising me through this project. She was exceedingly helpful in the writing and brainstorming process, as well as in checking my paper for technical and formatting errors. Further, I want to thank Dr. Leahy for her inspiration and guidance throughout my Ball State University undergraduate years. I would also like to thank the exciting and ever-changing city of Los Angeles, California for inspiring this research endeavor as well as my future career in the fashion industry.
    [Show full text]
  • Chapter 1 1850-1890: the Dawn of Modern Clothing
    Chapter 1 1850-1890: The Dawn of Modern Clothing This Teacher’s Guide, compiled with the assistance of Stephanie Kramer, is designed to provide you with a summary of the key points in the development of fashion during the period/decade covered in this chapter. It also provides a concise survey of the significant designers of the time, essay and discussion questions, and further reading and research suggestions. Objective The main objective of this chapter is to study the development of fashion during the second half of the 19th century, particularly the establishment of those aspects of the fashion system that are still in place today. Fashion in this period reflected the latest developments in engineering, chemistry, and communication and witnessed development of the role of the “fashion designer.” Key Teaching Points The following teaching points have been arranged thematically and highlight the important topics that need to be covered in order to meet the main objective of the chapter. Social and Economic Background • Britain o reign of Queen Victoria (1837-1901); stress on propriety and etiquette o rapid industrialization o expanding overseas empire • United States o impact of Civil War (1861-1865) on global trade o emergence as industrial power • France o reestablishment of court during Second Empire (begins 1852, ends with Franco-Prussian war 1870) o transformation of Paris into fashionable modern city • Japan o opens borders (1853-1854) o goods enter the Western market and impact Western tastes The Arts • Orientalism and Academic
    [Show full text]
  • The Current Table of Contents
    ARTICLE TYPE ARTICLE NUMBER ARTICLE WORDS IMAGES ASSIGNED CONTRIBUTOR VOLUME 1 Ed-in-Chief Articles Ed-in-Chief Articles 1.1.1 Editor-in-Chief’s Preface 1000 1 Deborah Nadoolman Landis Ed-in-Chief Articles 1.1.2 Visual Timelines by Genre 2000 40 Deborah Nadoolman Landis 1.1.3 Introduction to the History of Costume in Television Ed-in-Chief Articles and the Movies 7000 5 Deborah Nadoolman Landis 1.1.4 The Process of Costume Design, from Script to Ed-in-Chief Articles Screen in Film and Television 3000 5 Deborah Nadoolman Landis 1.1.5 Flow charts: on-set, off-set, process of costume Ed-in-Chief Articles design, costume department 250 4 Deborah Nadoolman Landis Themes and Issues Articles - Film & Television Themes and Issues Articles - Film & Television 1.2.1 History of Costume, Film Themes and Issues Articles - Film & Television 1.2.2 The Rise of the Specialist Costume Designer 2000 5 Michelle Tolini Finamore Themes and Issues Articles - Film & Television 1.2.3 Studio Production 2000 2 Natasha Rubin Themes and Issues Articles - Film & Television 1.2.4 Director/Designer Collaborations 1500 1 Drake Stutesman Themes and Issues Articles - Film & Television 1.2.5 Costume Department Directors 2000 2 Edward Maeder Themes and Issues Articles - Film & Television 1.2.6 Classical Hollywood 2000 2 Elizabeth Castaldo Lunden Themes and Issues Articles - Film & Television 1.2.7 Postwar Hollywood 2000 2 Edward Urquilla Themes and Issues Articles - Film & Television 1.2.8 Film Noir 2000 2 Kimberly Truhler Themes and Issues Articles - Film & Television 1.2.9
    [Show full text]
  • Hollywood Costume Sponsored by Harry Winston 20 October 2012 – 27 January 2013
    Hollywood Costume Sponsored by Harry Winston 20 October 2012 – 27 January 2013 “On every film, the clothes are half the battle in creating the character. I have a great deal of opinion about how my people are presented. We show a great deal by what we put on our bodies.” Meryl Streep “I don’t dress movie stars. I dress actors who are playing characters.” Ann Roth, Academy Award-winning costume designer Hollywood Costume , the V&A’s major autumn exhibition, gathers together over 130 of the most iconic costumes designed for unforgettable cinema characters over a century of film- making. For the first time, Hollywood Costume unites classics from the Golden Age including Dorothy’s blue and white gingham pinafore dress designed by Adrian for The Wizard of Oz (1939), Scarlett O’Hara’s green ‘curtain’ dress designed by Walter Plunkett for Gone with the Wind (1939) and the ‘little black dress’ designed by Hubert De Givenchy for Holly Golightly in Breakfast at Tiffany’s (1961), with the latest Hollywood releases including Consolata Boyle’s costumes for Meryl Streep in The Iron Lady (2011) and Jacqueline Durran’s costumes for Anna Karenina (2012). Hollywood Costume explores the central role of costume design – from the glamorous to the very subtle – as an essential tool of cinema storytelling. It illuminates the costume designer’s creative process from script to screen and reveals the collaborative dialogue that leads to the invention of authentic people within the story. The exhibition also examines the changing social and technological context in which costume designers have worked over the last century.
    [Show full text]
  • What Is the Best Way to Begin Learning About Fashion, Trends, and Fashion Designers?
    ★ What is the best way to begin learning about fashion, trends, and fashion designers? Edit I know a bit, but not much. What are some ways to educate myself when it comes to fashion? Edit Comment • Share (1) • Options Follow Question Promote Question Related Questions • Fashion and Style : Apart from attending formal classes, what are some of the ways for someone interested in fashion designing to learn it as ... (continue) • Fashion and Style : How did the fashion trend of wearing white shoes/sneakers begin? • What's the best way of learning about the business behind the fashion industry? • Fashion and Style : What are the best ways for a new fashion designer to attract customers? • What are good ways to learn more about the fashion industry? More Related Questions Share Question Twitter Facebook LinkedIn Question Stats • Latest activity 11 Mar • This question has 1 monitor with 351833 topic followers. 4627 people have viewed this question. • 39 people are following this question. • 11 Answers Ask to Answer Yolanda Paez Charneco Add Bio • Make Anonymous Add your answer, or answer later. Kathryn Finney, "Oprah of the Internet" . One of the ... (more) 4 votes by Francisco Ceruti, Marie Stein, Unsah Malik, and Natasha Kazachenko Actually celebrities are usually the sign that a trend is nearing it's end and by the time most trends hit magazine like Vogue, they're on the way out. The best way to discover and follow fashion trends is to do one of three things: 1. Order a Subscription to Women's Wear Daily. This is the industry trade paper and has a lot of details on what's happen in fashion from both a trend and business level.
    [Show full text]
  • Moda Thais Rocha Maciel Marilyn Monroe
    UNIVERSIDADE FEDERAL DO CEARÁ INSTITUTO DE CULTURA E ARTE CURSO DE DESIGN - MODA THAIS ROCHA MACIEL MARILYN MONROE: CONTRIBUIÇÕES PARA O PADRÃO DE BELEZA E PARA A VESTIMENTA DA MULHER NORTE-AMERICANA DA DÉCADA DE 1950 FORTALEZA 2017 THAIS ROCHA MACIEL MARILYN MONROE: CONTRIBUIÇÕES PARA O PADRÃO DE BELEZA E PARA A VESTIMENTA DA MULHER NORTE-AMERICANA DA DÉCADA DE 1950 Trabalho apresentado ao curso de Design-Moda da Universidade Federal do Ceará, como requisito parcial à obtenção da graduação. Orientador: Professora Cyntia Tavares Marques. FORTALEZA 2017 Dados Internacionais de Catalogação na Publicação Universidade Federal do Ceará Biblioteca Universitária Gerada automaticamente pelo módulo Catalog, mediante os dados fornecidos pelo(a) autor(a) M139m Maciel, Thais Rocha. Marilyn Monroe : contribuições para o padrão de beleza e para a vestimenta da mulher norte-americana da década de 1950 / Thais Rocha Maciel. – 2017. 15 f. : il. color. Trabalho de Conclusão de Curso (graduação) – Universidade Federal do Ceará, Instituto de cultura e Arte, Curso de Design de Moda, Fortaleza, 2017. Orientação: Profa. Ma. Cyntia Tavares Marques de Queiroz. 1. Figurino. 2. Padrão de beleza feminino. 3. Anos de 1950. I. Título. CDD 391 THAIS ROCHA MACIEL LIVING COLORFULLY: UMA PRODUÇÃO DE MODA INSPIRADA NO ESTILO DE VIDA DA MARCA KATE SPADE NEW YORK Trabalho de Conclusão de Curso submetido como requisito parcial para aprovação no curso de graduação Design-Moda do Instituto de Cultura e Arte (ICA) da Universidade Federal do Ceará, como requisito para obtenção de grau de Bacharel na área. Aprovada em: ___/___/______. BANCA EXAMINADORA ________________________________________ Profa. Dra. Cyntia Tavares Marques Universidade Federal do Ceará (UFC) _________________________________________ Profa.
    [Show full text]
  • An Incomplete Inventory of Fashion Exhibitions Since 1971
    5 An Incomplete Inventory of Fashion Exhibitions Since 1971 Jeffrey Horsley 169 and exhibitions of accessories are evident from Fans in Us-based designers in european houses (marc Jacobs Fashion (platt Hall Gallery of english costume, manchester, at louis vuitton from 1997, rick owens at revillon from 1975) to Shoe Obsession (the museum at the fashion 2002, Humberto leon and carol lim at Kenzo from 2011 Institute of technology, new york, 2013). and Alexander Wang at balenciaga from 2012), the focus recently, alternative thematic approaches have emerged, of fashion exhibitions maintains a decidedly eurocentric corresponding to the ‘thought show’ exhibition-type which perspective, which is countered only by exhibitions valerie steele, Director and chief curator of the museum focussing on contemporary Japanese designers, which at the fashion Institute of technology and editor-in-chief are recorded at 19, worldwide, since 1985. Introduction of Fashion Theory, defines as ‘addressing some of the cultural owing to the incomplete nature of the exhibition sample, and social issues evoked by fashion’ (‘steele 1997’: p. 109). findings based on data analysis, while alluding to interesting representative of this category are exhibitions such as trends, must be regarded as indicative rather than to the Inventory Beyond Desire (modemuseum, Antwerp, 2005) which conclusive. the inventory is significant, none the less, in explored the exchange between black and european visual revealing the extensive scope and geographic spread of cultures in fashion,
    [Show full text]