An interesting interview by Abbey Bender with costume designer Meagan McLaughlin about the costumes and fashion in Lisa Frankenstein. I'm so excited to see all the outfits in the film!
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Just watched Wes Anderson's Asteroid City (2023) and enjoyed all of the sartorial homages to mid-century Hollywood by costume designer Mileno Canonero, especially with Grace Kelly, Elizabeth Taylor, and Marilyn Monroe.
First up, we have the Edith Head-designed crisp white halter top and pistachio green pencil skirt ensemble cinched at the waist with a white belt that Kelly wore in Rear Window (1954). They even have Scarlett Johansson wearing a bracelet on the same wrist that Kelly wore her chunky charm bracelet. Even more bonus points for having Scarlett with a cocktail in-hand while wearing this outfit.
And then there's the floral dress that Johansson is seen wearing that is adorned with hand-painted pink and green cactus flowers. The floral design, along with the sleeveless bodice, quarter buttons that bifurcate said bodice, and jewel neckline encircled by a strand of tight-fitting pearls, really hammers home the Rear Window outfit Canonero wanted to reference. The main difference between the dresses is that while Johanssen has pink and green cactus flowers to match the desert setting of the film, Kelly's flowers are a golden yellow. These dresses are also both worn during the most action-oriented scenes in their respective films.
There are loads of Old Hollywood actresses Asteroid City could have referenced, so why Kelly? Well, Rear Window is largely a tale about the voyeurism displayed by the charcater portrayed by Jimmy Stewart. In Rear Window, the audience becomes complicit in that voyeurism as well. Asteroid City utilizes the lateral camera movements and dollhouse set designs favored by Wes Anderson to convey a sense of voyeurism, especially when the characters portrayed by Johannson and Jason Schwartzman are gazing into each other's (side) windows.
In these scenes, a couple of other mid-century actresses are referenced. While Johannson's outfits are mostly Grace Kelly-inspired, her hair and makeup are more decidedly Elizabeth Taylor, especially with how the latter looks in Cat on a Hot Tin Roof (1958).
Could this be a reference to the fact that the playwright charcater portrayed by Edward Norton in AC is heavily-patterned after real-life playwright Tennessee Williams who wrote Cat on a Hot Tin Roof? Is the pressured stream-of-consciousness dialogue that Anderson has been favoring lately imitating that of Tennessee Williams characters who are always bursting at the seams to reveal their hidden truths?
And finally, the last 50s actress I saw a reference to was also a bit of a downer. TW for self-harm/suicide.
Johansson portrays an actress in the film and often runs her scenes and lines with Jason Schwartzman's charcater. In one such scene, she is pantomiming overdosing in her bathtub. The most noticeable prop is a comically large bottle of Chanel No. 5 perfume placed on a stool nearby. Why is this relevant? Chanel No. 5 was the purpoted favorite of Marilyn Monroe (though some reports that her actual favorite was Floris Rose Geranium, but the cultural image we have of her today is tied closely to Chanel).
I'm still trying to wrap my head around this scene. It seems that the film at large is a satire of/homage to 1950s Hollywood. Maybe this scene was a parody of the glamorous tragedy of the era that we as a culture still fetishize. Maybe it's a critique on how cruel the voyeurism of audiences and filmmakers can be especially with films like Blonde (2022).
The character herself, an actress who is considered glamorous but also complicated to work with being brought out to a remote desert locale brings to mind Marilyn Monroe filming The Misfits (1961) in the northern Nevada desert.
All-in-all, I enjoyed this latest outing with Wes Anderson and really admired how much thought and precision was put in by the likes of Mileno Canonero. I know that there are probably a ton of other references and homages I didn't mention here, but these are just a few impressions based off of my initial viewing last night.
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Fright Night (1985, dir. Tom Holland) had its costumes designed by Robert Fletcher, most famous for being costume designer on the first four Star Trek films and The Last Starfighter.
However it's a bit hard to know what was bought or bespoke made for Fright Night, I'm surprised there isn't more information on Fright Night's costumes anyway! Roddy McDowall's 'Peter Vincent' mock-period costume definitely was bespoke made. As for his other outfits, such as his floral print smoking jacket, hard to say. Could have been bespoke, could have been rented from period stock or bought.
Chris Sarandon surprisingly is pretty stylish as the vampire Jerry Dandridge despite mostly wearing grey; his turtleneck tweed sweater with the curved sewing pattern is my favourite. His grey leather (or vinyl?) overcoat with wide lapels and red scarf is also surprisingly a style look. And I included his collared shirt and crew neck jumper just for completion's sake. No idea if these were bespoke or bought.
Stephen Geoffreys' as Evil Ed also gets to wear some uncommon fits; first a red jacket with raised shoulders (taking inspiration from Michael Jackson's Thriller jacket?) and collar suspenders, and then wearing a grey and black cavalry shirt under his bomber jacket later on.
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NEW • Adam Driver 📷 at the introduction for the US Premiere of Ferrari (2023) at Alice Tully Hall for the 61st New York Film Festival, October 13, 2023 — Penélope Cruz, Sheilene Woodley and Gabriel Leone. Film Festival | NYFF | 61st | Screening | 1K | 13.10.23
Flickpulse: Each week, we handpick the best movies that will help you kick stress to the curb and fill you with inspiration and motivation.
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kate hudson's iconic backless dress from 'how to lose a guy in 10 days'
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Marie Antoinette (2006)
🎀🍰🧁💝
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As much as I love distinctive costumes and fashion in film and tv, especially when it comes to creating a character, The Witcher: Blood Origin makes me mad.
I’m only one episode in, and from the promos to released photos to each new scene that Merwyn was in, it seems that her character wears nearly nothing but dresses, gowns and coats from the designer Iris Van Herpen. Just in one episode, I counted somewhere between 5-8 different dresses.
These dresses retail for approximately €10,000-15,000, but have sold for upwards of r €75,000 at auction. I'm sure that these are rented or are on loan, but still, those fees definitely are not cheap. While I do love Iris Van Herpen as an Haute Couture and Avant Garde designer, and I do think these dresses are visually striking on camera and on Mirren Mack, I do not understand the decision to waste so much of the wardrobe budget on one character.
Again, not that these aren’t gorgeous… but we really could have had similar effects color wise, shape wise, movement wise, volume and drama wise… while still giving up and coming or even well-established costume designers the opportunity to create for this universe, where they would probably be able to create unique and distinctive garments for the same price that they are renting these dresses for…
And I dunno if y’all have seen the armor and some of the other costuming in this show… but they could have definitely better spent that money.
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Dresses I Want To Run Away With My Lover And Live Out My Cottagecore Dreams In...
Belle (as portrayed by Emilie De Ravin) in Once Upon a Time (2011-18).
Amy March (as portrayed by Florence Pugh) in Little Women (2019).
Margie (as portrayed by Jeanne Crain) in State Fair (1945).
Laurey (as portrayed by Shirley Jones) in Oklahoma! (1955).
Alice Kingsley (as portrayed by Mia Wasikowska) in Alice in Wonderland (2010).
Empress Elisabeth (as portrayed by Romy Schneider) in Sissi (1955).
Giselle (as portrayed by Amy Adams) in Enchanted (2008).
Ella (as portrayed by Lily James) in Cinderella (2015).
Betsy McDonough (as portrayed by Dove Cameron) in Schmigadoon! (2021).
Marie Antoinette (as portrayed by Kirsten Dunst) in Marie Antoinette (2006).
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Audrey's Real Father vs. Her Reel Fathers
Audrey Hepburn and her real father, Joseph Hepburn-Ruston (pictured top in 1934 and bottom in 1964) and Audrey and all 6 of her "reel" fathers from throughout her films - pictured starting top left: John Williams in Sabrina (1954), Barry Jones in War and Peace (1956), Maurice Chevalier in Love in the Afternoon (1957), Dean Jagger in The Nun's Story (1959), Stanley Holloway in My Fair Lady (1964), and Hugh Griffith in How to Steal a Million (1966).
Audrey's real father abandoned the family in 1935, when Audrey was 6, to move to London to become more deeply involved in Fascist activity (he woukd eventfully be detained by the British government for his involvement with the party post-WW2). Hepburn would call her father's abandonment of the family as the most traumatic experience of her childhood.
In 1960 at age 30, she would track her father down through assistance from the Red Cross. He was residing in Dublin and was well-aware of his daughter's international fame, but had never made any attempt to reach out. Hepburn found her father to be an emotional invalid and quickly realized that the relationship she had hoped to have with her estranged father would never materialize.
Nonetheless, she supported him financially until his death in 1980.
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