Execution of Period Costumes and Accessories for Acting Styles Through Filmed Demonstrations
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Diana's Favorite Things
Diana’s Favorite Things By Trail End State Historic Site Curator Dana Prater; from Trail End Notes, March 2000 “Girls in white dresses with blue satin sashes ... “ Although we didn’t find a blue satin sash, we recently discovered something even better. While cataloging items from the Manville Kendrick Estate collection, we had the pleasure of examining some fantastic dresses that belonged to Manville’s wife, Diana Cumming Kendrick. Fortunately for us, Diana saved many of her favorite things, and these dresses span almost sixty years of fashion history. Diana Cumming (far right) and friends, c1913 (Kendrick Collection, TESHS) Few things reveal as much about our personalities and lifestyles as our clothing, and Diana Kendrick’s clothes are no exception. There are two silk taffeta party dresses dating from around 1914-1916 and worn when Diana was a young teenager. The pink one is completely hand sewn and the rounded neckline and puffy sleeves are trimmed with beaded flowers on a net background. Pinked and ruched fabric ribbons loop completely around the very full skirt, which probably rustled delightfully when she danced. The pale green gown consists of an overdress with a shorter skirt and an underdress - almost like a slip. The skirt of the slip has the same pale green fabric and extends out from under the overskirt. Both skirt layers have a scalloped hem. A short bertha (like a stole) is attached at the back of the rounded neckline and wraps around the shoulders, repeating the scalloped motif and fastening at the front. This dress even includes a mini-bustle of stiff buckram to add fullness in the back. -
C U R R I C U L U M G U I
C U R R I C U L U M G U I D E NOV. 20, 2018–MARCH 3, 2019 GRADES 9 – 12 Inside cover: From left to right: Jenny Beavan design for Drew Barrymore in Ever After, 1998; Costume design by Jenny Beavan for Anjelica Huston in Ever After, 1998. See pages 14–15 for image credits. ABOUT THE EXHIBITION SCAD FASH Museum of Fashion + Film presents Cinematic The garments in this exhibition come from the more than Couture, an exhibition focusing on the art of costume 100,000 costumes and accessories created by the British design through the lens of movies and popular culture. costumer Cosprop. Founded in 1965 by award-winning More than 50 costumes created by the world-renowned costume designer John Bright, the company specializes London firm Cosprop deliver an intimate look at garments in costumes for film, television and theater, and employs a and millinery that set the scene, provide personality to staff of 40 experts in designing, tailoring, cutting, fitting, characters and establish authenticity in period pictures. millinery, jewelry-making and repair, dyeing and printing. Cosprop maintains an extensive library of original garments The films represented in the exhibition depict five centuries used as source material, ensuring that all productions are of history, drama, comedy and adventure through period historically accurate. costumes worn by stars such as Meryl Streep, Colin Firth, Drew Barrymore, Keira Knightley, Nicole Kidman and Kate Since 1987, when the Academy Award for Best Costume Winslet. Cinematic Couture showcases costumes from 24 Design was awarded to Bright and fellow costume designer acclaimed motion pictures, including Academy Award winners Jenny Beavan for A Room with a View, the company has and nominees Titanic, Sense and Sensibility, Out of Africa, The supplied costumes for 61 nominated films. -
Destabilizing Shakespeare: Reimagining Character Design in 1 Henry VI
Connecticut College Digital Commons @ Connecticut College Self-Designed Majors Honors Papers Self-Designed Majors 2021 Destabilizing Shakespeare: Reimagining Character Design in 1 Henry VI Carly Sponzo Follow this and additional works at: https://digitalcommons.conncoll.edu/selfdesignedhp Part of the Literature in English, British Isles Commons, and the Theatre and Performance Studies Commons This Honors Paper is brought to you for free and open access by the Self-Designed Majors at Digital Commons @ Connecticut College. It has been accepted for inclusion in Self-Designed Majors Honors Papers by an authorized administrator of Digital Commons @ Connecticut College. For more information, please contact [email protected]. The views expressed in this paper are solely those of the author. Connecticut College Destabilizing Shakespeare: Reimagining Character Design in 1 Henry VI A Thesis Submitted to the Department of Student-Designed Interdisciplinary Majors and Minors in partial fulfillment of the requirements for the Degree in Costume Design by Carly Sponzo May 2021 Acknowledgements I could not have poured my soul into the following pages had it not been for the inspiration and support I was blessed with from an innumerable amount of individuals and organizations, friends and strangers. First and foremost, I would like to extend the depths of my gratitude to my advisor, mentor, costume-expert-wizard and great friend, Sabrina Notarfrancisco. The value of her endless faith and encouragement, even when I was ready to dunk every garment into the trash bin, cannot be understated. I promise to crash next year’s course with lots of cake. To my readers, Lina Wilder and Denis Ferhatovic - I can’t believe anyone would read this much of something I wrote. -
Get a Taste of Theatre Design with Our Newest Series: the Old Globe Coloring Book! Every Thursday, We'll Post a New Page Featu
Get a taste of theatre design with our newest series: The Old Globe Coloring Book! Every Thursday, we’ll post a new page featuring an original design for costumes, sets, or props from past Globe shows. Along the way, you’ll be treated to design insight from artisans who brought these ideas to life. Color them in however you want (creativity welcome!), and post on your social media and tag @theoldglobe and #globecoloringbook. The following Tuesday, we’ll post some of our favorites, along with the designer’s original rendering and a photo of the final design onstage. It’s time for your vision to take the spotlight! Hamlet: Laertes, a young lord Dashing in a velvet cloak and cap, a richly textured houndstooth doublet (jacket) and breeches (calf length trousers). Cap is decorated with ostrich plumes, often placed on the left side of the cap leaving the right sword arm free to fight. A sword was an essential part of a gentlemen’s dress in the 17th century. Hamlet: In this 2007 production of Hamlet, the costumes were made from silk and wool fabrics in the shades of pale grey. In contrast, the main character, Hamlet, wore both a black and a scarlet suede doublet and breeches. The ladies were dressed in long sumptous gowns with corsets and padded petticoats. Sword fighting and scheming was afoot under the stars on the magical outdoor Lowell Davies Festival Stage. Familiar: Anne, eccentric aunt from Zimbabwe Costumed in grand style in a long colorful floral cotton skirt, blouse with large sleeve ruffles, and matching headdress. -
15Th C Italian Clothing
15th C clothing for men and women THL Peryn Rose Whytehorse Barony of the South Downs Meridies February 2015 CAMICIA/CAMISA (M/F). The chemise, made usually of linen, but occasionally of cotton or silk. 1494 In the earlier part of the century, the camicia is a functional washable layer of clothing worn between the skin and the outer woollen or silk garments. However, as the Quattrocento progresses, the chemise, revealed through slits and slashes down the sleeves and the bodice, and around the neckline, becomes more decorated with embroidered bands around the collar and cuffs. There must have been regional variations also; e.g. men's shirts 'a modo di Firenze' (Strozzi, op. Finish inside cit., p. 100). edges of sleeves on both sides 1452-66 1488 Definitions from Dress in Renaissance Italy, 1400-1500, by Jacqueline Herald, printed by Humanities Press: NJ, 1981. 1496 1478 Inventories Monna Bamba 1424 - 7 camicie usate 1476-78 Wedding present to Francesco de Medici 1433 – 17 chamicie Household of Puccio Pucci – 18 camicie da donna 1452-66 1452 1460s 1476-84 1460-64 1460-64 GAMURRA/CAMMURA/CAMORA (F). The Tuscan term for the simple dress worn directly over the woman's chemise (camicia). 1476-84 In the north of Italy, it is known by the terms zupa, zipa or socha. The gamurra is worn by women of all classes. It is both functional and informal, being worn on its own at home, and covered by some form of overgarment such as the cioppa, mantello, pellanda or vestimento out-of-doors or on a more formal occasion. -
Fashionable Mourners: Bronze Statuettes from the Rijksmuseum
Fashionable Mourners: Bronze Statuettes from the Rijksmuseum by Amanda Mikolic, Curatorial Assistant Cleveland’s celebrated early fifteenth-century alabaster tomb Figure 1. Mourners mourners are part of a major exhibition at the renowned from the Tomb of Philip the Bold, Rijksmuseum in Amsterdam this fall (fig. 1). In exchange, the Duke of Burgundy (r. Cleveland Museum of Art has the rare opportunity to exhibit 1363–1404), 1404–10. Claus de Werve four bronze mourners—traveling to North America for the (Netherlandish, first time—from the tomb of Isabella of Bourbon (1436–1465) 1380–1439). Vizille ala- (fig. 2). The original carvings are attributed to Jan Borman the baster; avg. h. 41.4 cm. The Cleveland Museum Younger and the casting attributed to Renier van Thienen. of Art, Bequest of Leonard C. Hanna Jr., 1940.128, 1958.66–67. Figure 2. Mourners from the Tomb of Isabella of Bourbon, c. 1475–76. Attributed to Jan Borman the Younger (Netherlandish, active 1479–1520); casting at- tributed to Renier van Thienen (Flemish, ac- tive 1460–1541). Brass copper alloy; avg. h. 56 cm. On loan from the City of Amsterdam, BK-AM-33-B, I, D, F. 2 3 Figure 3. Portrait of for overseeing the construction of Isabella’s tomb in addition to Isabella of Bourbon, c. casting the bronze mourners from wooden models attributed 1500. After Rogier van der Weyden (Flemish, to carver Jan Borman, who often worked with Van Thienen and c. 1399–1464). Musée was known in Brussels as a master of figural sculpture. des Beaux-Arts, Dijon, France. -
Transparent Pannier Colleen Moretz West Virginia University, [email protected]
International Textile and Apparel Association 2017: Anchored by our Past, Navigating our Future (ITAA) Annual Conference Proceedings Jan 1st, 12:00 AM Transparent Pannier Colleen Moretz West Virginia University, [email protected] Follow this and additional works at: https://lib.dr.iastate.edu/itaa_proceedings Moretz, Colleen, "Transparent Pannier" (2017). International Textile and Apparel Association (ITAA) Annual Conference Proceedings. 28. https://lib.dr.iastate.edu/itaa_proceedings/2017/design/28 This Event is brought to you for free and open access by the Conferences and Symposia at Iowa State University Digital Repository. It has been accepted for inclusion in International Textile and Apparel Association (ITAA) Annual Conference Proceedings by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. St. Petersburg, Florida 2017 Proceedings Transparent Pannier Colleen Moretz, West Virginia University, USA Keywords: Historic reference, Couture techniques, Patternmaking Contextual Review and Concept: This design is a juxtaposition of the interpretive study of eighteenth century historical fashion and contemporary ideal body image. The fashions of the eighteenth century transformed the female body into the de rigueur silhouette of the era. (Fillmer, 2010) In contrast, the body itself became a powerful medium of expression in the twenty-first century fashion. (Fukai, 2012) During the 1700’s, the female body was manipulated with the use of elaborate devices, layers of understructures, and foundations to hide and alter the woman’s true physique, where now the body itself has become the fashion. Today, it is possible to transform the appearance of the body through diet, exercise, cosmetic treatment, and plastic surgery. -
Hat, Cap, Hood, Mitre
CHAPTER 1 Headgear: Hat, Cap, Hood, Mitre Introduction down over his shoulders;4 and in Troilus and Criseyde Pandarus urges his niece, a sedate young widow, to Throughout the later Middle Ages (the twelfth to early cast off her face-framing barbe, put down her book and sixteenth centuries), if we are to believe the evidence of dance.5 art, some kind of headgear was worn by both sexes in- In art of the middle medieval period (from about doors and out: at dinner, in church, even in bed. This is the eighth to the eleventh centuries), headgear is less understandable if we consider the lack of efficient heat- well attested. Men are usually depicted bareheaded. ing in medieval buildings, but headgear was much more Women’s heads and necks are wrapped in voluminous than a practical item of dress. It was an immediate mark- coverings, usually depicted as white, so possibly linen is er of role and status. In art, it is possible to distinguish being represented in most cases. There is no clue to the immediately the head of a man from that of woman, as shape of the piece of cloth that makes up this headdress, for example in a fourteenth-century glass panel with a sa- how it is fastened, or whether there is some kind of cap tirical depiction of a winged serpent which has the head beneath it to which it is secured. Occasionally a fillet is of a bishop, in a mitre, and a female head, in barbe* and worn over, and more rarely under, this veil or wimple. -
Prolegomena to Pastels & Pastellists
Prolegomena to Pastels & pastellists NEIL JEFFARES Prolegomena to Pastels & pastellists Published online from 2016 Citation: http://www.pastellists.com/misc/prolegomena.pdf, updated 10 August 2021 www.pastellists.com – © Neil Jeffares – all rights reserved 1 updated 10 August 2021 Prolegomena to Pastels & pastellists www.pastellists.com – © Neil Jeffares – all rights reserved 2 updated 10 August 2021 Prolegomena to Pastels & pastellists CONTENTS I. FOREWORD 5 II. THE WORD 7 III. TREATISES 11 IV. THE OBJECT 14 V. CONSERVATION AND TRANSPORT TODAY 51 VI. PASTELLISTS AT WORK 71 VII. THE INSTITUTIONS 80 VIII. EARLY EXHIBITIONS, PATRONAGE AND COLLECTIONS 94 IX. THE SOCIAL FUNCTION OF PASTEL PORTRAITS 101 X. NON-PORTRAIT SUBJECTS 109 XI. PRICES AND PAYMENT 110 XII. COLLECTING AND CRITICAL FORTUNE POST 1800 114 XIII. PRICES POST 1800 125 XIV. HISTORICO-GEOGRAPHICAL SURVEY 128 www.pastellists.com – © Neil Jeffares – all rights reserved 3 updated 10 August 2021 Prolegomena to Pastels & pastellists I. FOREWORD ASTEL IS IN ESSENCE powdered colour rubbed into paper without a liquid vehicle – a process succinctly described in 1760 by the French amateur engraver Claude-Henri Watelet (himself the subject of a portrait by La Tour): P Les crayons mis en poudre imitent les couleurs, Que dans un teint parfait offre l’éclat des fleurs. Sans pinceau le doigt seul place et fond chaque teinte; Le duvet du papier en conserve l’empreinte; Un crystal la défend; ainsi, de la beauté Le Pastel a l’éclat et la fragilité.1 It is at once line and colour – a sort of synthesis of the traditional opposition that had been debated vigorously by theoreticians such as Roger de Piles in the previous century. -
Clothing Terms from Around the World
Clothing terms from around the world A Afghan a blanket or shawl of coloured wool knitted or crocheted in strips or squares. Aglet or aiglet is the little plastic or metal cladding on the end of shoelaces that keeps the twine from unravelling. The word comes from the Latin word acus which means needle. In times past, aglets were usually made of metal though some were glass or stone. aiguillette aglet; specifically, a shoulder cord worn by designated military aides. A-line skirt a skirt with panels fitted at the waist and flaring out into a triangular shape. This skirt suits most body types. amice amice a liturgical vestment made of an oblong piece of cloth usually of white linen and worn about the neck and shoulders and partly under the alb. (By the way, if you do not know what an "alb" is, you can find it in this glossary...) alb a full-length white linen ecclesiastical vestment with long sleeves that is gathered at the waist with a cincture aloha shirt Hawaiian shirt angrakha a long robe with an asymmetrical opening in the chest area reaching down to the knees worn by males in India anklet a short sock reaching slightly above the ankle anorak parka anorak apron apron a garment of cloth, plastic, or leather tied around the waist and used to protect clothing or adorn a costume arctic a rubber overshoe reaching to the ankle or above armband a band usually worn around the upper part of a sleeve for identification or in mourning armlet a band, as of cloth or metal, worn around the upper arm armour defensive covering for the body, generally made of metal, used in combat. -
Paris Fashions
Los Angeles Sunday Herald ' . \u0084••--• Jl mm mas C . PARIS FASHIONS Filmy Black Gowns, in End- less Variety, Popular This Season & <* A.T. ASHMORE. are seasons when black | and white are immensely fash- ionable, and aga Q, other seasons ' I liJlj,; l J^k *__\ BB 'BiS"^ mmmW $ l 1 W SS fcl-* \u25a0 'll WS" \u25a0 when the all bl ok and the all * THEREwhite gowns ate not nearly so smart as the colored ones. This, season, while gowns of the pastel shades j well the vivid colors are style, \u25a0'JETj Sflßj?^# _^^^^BK9 as as in \i \ r- Bv^BiWv fe »: / / fBH -r* "J&bbß *^W. H_y there are many more white and black iv- -v^^*'fl __________H^___Hrll! sf -$* / flfl -*11§*B_____bB being made than has been the case for the last few winters. And the thin black gowns are especially smart, so varied in design and texture as to make it easily : ____________________________B_ll_>*\u25a0 fix!_____> /y^' _.^_____^^^^^^BBP^^___^___B_^_____fl possible ' for the woman who prefers \ i^SS^BS mSw W2l ' s* # _\u25a0 f/ *!**!*'•» sa always to wear black to be able to have an endless variety. Voile de soie is a most popular ma- terial in the order of chiffon and mousse- line de soie, which it closely resembles la its light transparency, but, as its name in- dicates. It is silky and more lustrous. It is lki_P9« IBPfl^BH^V^__/X^ll«0/^/^_^^^ H» F^fr-"?'* flflfli H3Aftjftfa: Jmß a most exquisite fabric, and whether plain or embroidered works out well In any of the present models in afternoon or evening gowns, although it is a ma- terial that seems far better suited to summer than to winter wear. -
A 1470S Turret Headdress from France Ilaria Rosati This Is Primarily
A 1470s Turret Headdress from France Ilaria Rosati This is primarily a style for noblewomen, especially at the French royal court, but wealthy women in cities and towns would have worn similar. The origins of this style lie to the East: from the Ottomans, the Persians, the Mamluks, and perhaps Chinese, but my focus is on the headdress worn by noblewomen in France in the 1470s.1 Broadly speaking there are 4 main parts to this headdress, though not all are present in every single instance: 1) A fillet, which held the hair in place and helped anchor the turret. This fillet appears in artwork but I do not know of any clear textual evidence for this specific item, possibly the terms bout, touret, or chapelet may have been applied to this item.2 2) The turret itself, also called a haut bonnet, or a chaperon à cornette. I think it is more likely that the term hennin was used for the earlier horned headdress which went out of style by the 1450s.3 3) The frontlet, a rectangular band worn on top of a headdress, framing the face or wrapping around to the back of the head. Young girls could wear the frontlet on its own directly over their hair. In many images, particularly illuminations, the difference between a frontlet and the fillet mentioned above is ambiguous. 4) A veil, quevrechief à baniere, worn over the turret and trailing down behind. Materials The complete materials list is lost to history and will always be a matter of some conjecture.