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exposure plaid clothing ✿ by baela.acnh on ig
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RAHEJA DRAPED SAREE SET Online Shopping
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Rough concept of 14-year-old Haya, which I’d call a quick sketch if I hadn’t spent almost two hours on it
Alternatively: Photos taken moments before disaster (read as: a few months before her parents died)
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That Vogue interview annoyed me so much that I have to comment it in more detail, so semi rant incoming lol. The translation was made by @sisionscreen (you can find the whole interview in their blog, I also reblogged it earlier). Thank you for enduring the job of translating this mess!
To show the desired modernity, costume designer Gabriela Reumer took a central role. The Swisswoman is known for her work on TV productions like Soko Wismar and movies like “Rabbit without Ears”,“Guardians” and “Traumfabrik” and had to familiarize herself with the 19th century royal fashion first - and wasn’t too fond of some of the things she found. “I immediately had the ambition to choose a different approach to the costumes than the classic-historical one.”
You see the thing about this is that there isn't a single piece of Elisabeth centered media that has historically accurate costumes. The closest one is the 2009 mini series, which respects the silhouttes of the time and recreates some of her most known looks - but it still plays loose with history. There isn't anything groundbraking in modernizing Elisabeth's dresses.
Reumer: Today it is desired in period dramas that everything is modern and different in terms of film making or production. That is a great undertaking and not easy to do. But you have to adapt a bit to the present and adapt the story for the eyes of today because a lot just doesn't work anymore. About 1850, women were like furniture. They were adorned, one could say decorated, so you look at them. The most important thing was that it was a lot. Actually this is unbearable, the women were like dolls. At this time, the crinolines, a kind of hoop skirt, were like a sphere and gave the women this doll likeness. But this didn't fit the story of Sisi for me, this woman, that emancipated herself and freed herself from the oppression and power plays. So I asked myself how could one dress women more dynamically. So I changed the shape of the crinolines towards something that came into fashion in the 1870s: flat in the front and a bit elliptical in the back. I used this shapes for Sisi and Sophie.
I will ignore the whole "women were furnitures" take and just focus on the second part, about crinolines not "fitting" Sisi's story. Because if Sisi is meant to be this free spirited girl that was thrown into a gilded cage, and this is a coming of age story of her emancipating herself, then wouldn't it make perfect sense for her to wear the 1850s crinolines? If your take is that crinolines were oppressive, and that Elisabeth was oppressed at court, then her wearing them to represent that is a no brainer. Then you can signify her freeing herself by having her not wear them anymore by the end of the season (or at whatever point in the show this happens). Forget historical accuracy, giving Elisabeth a 1870s bustle doesn't make sense narratively.
Vogue: So did you also see the originals clothes of Empress Elisabeth?
Reumer: Yes, at Schönbrunn, but I found them awful. Everything was so tacky. I'm usually very minimalistic when it comes to my costumes.
Well Gabriela, Elisabeth didn't dress having in mind getting your approval. Nor should you expect a rich royal woman from the 19th century to have the same taste in fashion as you.
Vogue: Then why did you agree to be the costume designer after all?
I wonder the same thing.
Reumer: At the beginning, I wondered what I was actually doing here. But then I viewed it as a challenge. There are also very nice great from this time. The men's clothing is awesome with its frock-coats from great materials and high tophats. It is crazy what one can do with shapes.
You can tell that Reumer isn't into historical fashion at all because she likes Victorian male fashion aka literally the Most Boring Male Fashion in history.
Vogue: Was there a character you found difficult to dress?
Reumer: In the beginning, this was the case with Emperor Franz. He always showed himself in uniform and we had to figure out how to show him without a uniform. How do you show what kind of person he really is? That wasn't simple. Also to make the uniform fit in a way he can move like an emperor was a challenge. For example, he wears a corsage underneath it to support him.
Ok I actually like this! Men wore corsets too! I hope this makes it into the screen, we have way too many scenes of women being tightlaced and not any of men wearing corsets because they were a practical undergarment that gave support.
Overall this interview deeply annoyed me because the way Reumer talked about it, it seems that the modern look of the costumes (which is a trend in period dramas that recently has become very popular thanks to shows such as Bridgerton) is solely due to her just not liking 1850s fashion. Modernization can work for narrative purposes, Bridgerton is a full-on romance fantasy that has nothing to do with actual history so the glittery dresses work to enphasize that. RTL Sisi is also so loosely based on the actual Elisabeth of Austria's life that the modern fabrics and designs work to separate it from real history. Even the Sissi Trilogy with its Disney-princess-like dresses does this. Many times this is not even the designers fault, usually the director has a vision for the story and the designer has to work around that. But I do expect at least some respect for the source material. To say that you hated what the actual woman wore and instead you took inspiration from random moments in fashion history that you liked is just tasteless, what can I say.
That being said I do hope that the final look of the show's costumes is at least cohesive and do make sense within the narrative of the story. But yeah this was dissapointing.
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An older costume and character design back in the lime green days
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