Hi there! The al-mighty god for POTO costumes! I have been quite interested in Monsieur Andre's costumes(I htink he has four sets of looks in total, the one at the auction, the ione with the coat on at Hannibal, the evening dress, and the sketelon costume) and curious about the inspirations for his costumes or the style in which Andre is dressed. Is there anything reliable reference on fashion history you might suggest reading? Thank you!
Sorry for the very late reply! I have not ignored you, I've simply waited until I had the time to give you a proper reply.
First and foremost, ANDRÉ COSTUME LOVE! That happens like... never?! So yay. His first costume is the one he wears in the Auction scene, which is supposed to be set some 30 years after the main story. He wears a grand cloack with collar, and a black felt hat with pinched front. Often also a scarf, but it's not written in stone. These pieces are worn over his regular suit (to allow a quick change for Hannibal), but a long beard is usually added for the Auction scene and removed for Hannibal. Here's Maria Bjørnson's design next to Fernand Delosch's costume in Essen:
Then, for Hannibal: the same main suit, but now with a more tailored coat with fur collar, and a top hat. Both this costume and the previous are meant for outdoor wear, so in both instances we are to assume he has just arrived from somewhere outside the building. The design suggests frog fastening, but this is not often done in the stage costumes. I don't know why. The depicted managers are Steen Springborg and Morten Staugaard in Copenhagen (detail photo of Sebastian Harris in Copenhagen):
The third costume is technically one André has worn all along, but now it can be seen on its own: The black velvet tailcoat, pinstripe black trousers, golden or white waistcoat, and white shirt and bowtie. His hair and moustache is usually fluffy, and - depending on the actor - monocles or glasses can also be seen. This is formal daywear in the Victorian and Edwardian era.
The overall style has always reminded me of a portrait of the Norwegian artist Gerhard Munthe by Christian Krohg, probably the 1880s. I doubt Maria Bjørnson was familiar with it, yet I think he captures much of the essence. The sketch can be found here, and a painted portrait can be found here.
And just because the details are so beautiful, here's a closeup of Laird Mackintosh's monocle and waistcoat with blingy buttons.
The above costume is worn for the majority of the first and second act, but for the Masquerade scene André is all in! Whereas Firmin "only" dons a dramatic cloak over his regular suit, André changes into a skeleton onepiece, often sculpted and sparkly, and with a black and red cloak, and a pointed black hat.
Details of an European skeleton suit:
André's skeleton suit reminds quite a bit of what can be seen in publications from the late 19th and early 20th century. Fancy dress balls became frequent, and magazines and books followed up with numerous costume tips. This 1896 sketch rather screams André!
As for good costume references to seek out, I would actually start by looking at fashion plates. Simply because they show the ideal look, and variations over what was considered the fashion of the time. Google for fashion plates depicting men's fashion between 1880 and 1910, and I think you will find many nice references. A very random example: Fashion plate from 1894, showing formal-wear like tailcoats and evening coats (from The Met):
I don't know if this answered your question, but I hope so! :)
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Watching Laird Mackintosh as Andre for the first time and ... wow!
Maybe I'm paying him special attention because he's a Phantom as well, but he even imbued Andre with a lot of nuance! I've never seen an Andre that feels so much like an actual person than just a comic relief figure.
My general metric for whether I like an Andre is the "Bring the ballet forward!" He's so subtle with it, which I prefer to the shrieking-practically-doing-prat-falls interpretations I've seen in a lot of shows.
Like this Andre really is just a little guy out here doing his best. He's seems like a genuine fan of Carlotta's, and just in his mannerisms he's very courteous and kind to everyone, like he wants to be the best manager he can be but is totally out of his depth. I love love love this. I wanna wrap him up and put him in my pocket.
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André Gill. Enseigne du Lapin à Gill. Le Lapin Agile à Montmartre 1875-80. Paris
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as someone who wears glasses: glasses are incredibly attractive.
that being said, I'd bet money that Gareth Snook would've looked even more pretty as Monsieur André if he'd had glasses like a lot of the other Andrés I've seen...
I mean, just look at these incredibly handsome fellows!
(David Firth, Sam Hiller, & Bradley Dean)
you cannot convince me that Gareth wouldn't have looked incredibly fetching with a pair of spectacles. he's already a very handsome gentleman. he would have been unstoppable
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Savoir que la minorité, c'est tout le monde
167. G comme Gauche, Gilles Deleuze
(Gilles Deleuze, Pierre-André Boutang, Claire Parnet, L'Abécédaire de Gilles Deleuze, 1988) (Sodaperaga/Ed. Montparnasse)
⌘ YouTube (ATTENTION: RISQUE DE SALOPERIE PUBLICITAIRE)
[☞]
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André Putman
François Olivier Rousseau
Éditions du Regard, Paris 1989, 280 pages, 23,7 x 29 cm, ISBN 2-903370-48-6
euro 150,00
Andrée Putman née Andrée Christine Aynard 1925-2013, architecte d’intérieur & designer française contemporaine, scénographie, Prisunic, Agence Mafia, années 60, années 70, années 80, Créateurs et Industriels en compagnie de Didier Grumbach, Ecart international, Studio Putman, Pershing Hall, CAPC Bordeaux
11/05/23
twitter: fashionbooksmilano
instagram: fashionbooksmilano, designbooksmilano tumblr: fashionbooksmilano, designbooksmilano
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la peur, c'est te croiser au dépanneur et qu'on sache pas quoi faire de nos corps
— chauffer le dehors, marie-andrée gill
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