Fashion on Film


Chanel was one of the first designers to get involved in film. Above left her work on Tonight or Never, 1930 and right L'année dernière à Marienbad, 1961. Below her last film work was Boccaccio 72, 1962.


Fashion has been the focus of popular films such as Qui êtes vous, Polly Maggoo?, Blow Up, Clueless, Zoolander, Bruno and Coco Before Chanel.


Mahogany (1975) which starred Diana Ross who also served as costume designer.


Films about models tend to paint a dark picture. Below Puzzle of a Downfall Child (1970)and Lipstick (1976).


Gia (1998) focused on the downfall of model Gia Carangi who rose to fame in the late 70's and dies of AIDS.

Above Frames from the Edge (1989) documented photographer Helmut Newton. Below Robert Altman's Prêt-à-Porter (1994) was a satiric look at the fashion industry.

Until recently, films about fashion designers were rare. Wim Wenders' A Notebook on Cities and Clothes (1989) was one of the first projects to take a close look at fashion design. Yoshi Yamamoto opened up his studios and life to the cameras.


More recently the exclusive circle of fashion has revealed its madness to the general public in many popular films.

Films that add drama to fashion design The Versace Murder from 1998 and the upcoming Gucci and Isabella Blow biopics.


One of the most notable moments of fashion on film is Gaultier's work for The Cook, The Thief, His Wife and Her Lover (1989). The clothing changes color based on the scene's mood.



Above Pat Field calls herself a costume stylist as she sources couture and exclusive fashion design for films like Sex & the City (2008) and The Devil Wears Prada (2006). Read a profile of Field here.

The Devil Wears Prada cost $35 million total. The $100,000 budget for the film's costumes was supplemented by help from friends from throughout the industry. Ultimately, Field believes, at least $1 million worth of clothing was used in the film, making it one of the most expensively costumed movies in cinema history. Above Ivory Angora Coat from Yigal Azrouel, her hat and gloves are Chanel. The purse she carries, a Calvin Klein Gold Python Hobo bag. Below a website chronicles each and every look from the films and links to online sites where you can buy the looks.


Movies for Fashion Inspiration



Check out these great articles on fashion and film, 10 movies and then 10 more!


Below are some of the films mentioned that were also covered in the course and blog: Clueless, Breakfast at Tiffany's, Grease, Almost Famous, Rear Window, Marie Antoinette, Annie Hall, The Royal Tenenbaums, Heathers and The Talented Mr. Ripley.


Fashion Design on Film (David Bazner)
















Geoffrey Macnab, “Why Fashion On Screen Lacks Style,” The Independent

In the past, films specifically about fashion have been underwhelming. They have been visually appealing, but lack the characterization that makes watching a film worthwhile. According to Geoffrey Macnab, “Matt Tyrnauer's documentary Valentino: The Last Emperor has one quality that most fashion movies lack, namely emotional depth.” Many times, with fashion films, superficiality and exclusivity is so present that the movie becomes more of a parody. This can be seen in The Devil Wears Prada in which Merril Streep plays the role of a fictional Anna Wintour.

Even films about fashion that have received acclaim such as The September Issue lack true insight into the world of fashion. Grace Coddington takes center stage with her wit and humor, while Wintour, the Editor in Chief, “is a sphinx-like presence who betrays little sense of what is driving her.” Macnab concludes by explaining that the fashion industry has an abundance of talent and that that talent can translate into the film industry (as shown by Tom Ford in A Single Man). The issue at hand is that fashion cannot be taken at face value when used as a source of inspiration, but should be explored and challenged.


Stella Bruzzi “Cinema and Haute Couture: Sabrina to Pretty Woman, Trop Belle Pour Toi!, Pret-a-Porter” from Undressing Cinema: 3-34.

Bruzzi discusses the conflict between costume design and couture. In her discussion she explains the role of a costume designer -- which is to create looks that work cohesively with the character as well as the overall narrative of the film. A couterier, on the other hand, is more likely to create pieces that are more spectacular-- looks that take on a life of their own apart from the character who is wearing them. This can be seen with regard to the givenchy ball gown worn by audrey hepburn in sabrina. The audience becomes captivated by the beauty of the dress itself.

Bruzzi suggests that there is an independent alternative when it comes to costume design. The costumes need not be a distraction nor silent, they can be admired as their own entity.


“Valentino, the Movie” by Cathy Horyn

Cathy Horyn interviewd Matt Tyrnauer, the director of Valentino: The Last Emperor for The New York Times Magazine. When asked questions about the film, it becomes apparent that not only is the Valentino couture dynasty a central focus, but also the relationship Valentino has with his partner, Giancarlo Giametti. The couple bicker and hug, it humanizes Valentino- his public image is only one part of him. Tyrnauer touches on the fact that the world of couture has changed with Valentino having stepped down – he was the last of his kind in the way he ran his business. The film seems to capture him in two different lights – viewers will get to see the image of Valentino they are familiar with (the glamour) but also, audiences will be surprised to see a more humble Valentino. A man with a sense of nostalgia, a man who is well aware of how far he has come and what he has created for himself.


The Big Lebowski, by Giada Fried

The Big Lebowski is a 1998 American comedy film directed by the Coen brothers. The storyline contains elements of film noire but humor is the overall main driving theme. The shaggy, baggy, un-employed surfer-dude meets bowler looks were created by Mary Zophres, an acclaimed costume designer that has worked on almost all the Coen films (she has won a BAFTA award for O brother, where art thou?).

Jeff Bridges stars as Jeff Lebowski or as he refers to himself "The Dude" - an unemployed L.A. slacker and avid bowler who drinks gallons of White Russians all day long and gets involved in a case of mistaken identity. Throughout the film his look is laid back and embodies the typical casual leisure look. In the first scene we see him walking through a supermarket in his robe and boxers, completely indifferent about his life. Later on we see him in a hoody and striped, baggy pants and then with an oversized wool, old-school sweater. Lebowski's color palette is toned down to earthy, muted colors -perhaps to indicate his social status or maybe to evoke a past era, for the entire film has a bit of a 1970's feel. Another important costume aspect is the importance of bowling, which leads to very specific costume choices. Mary Zophres did a great job at creating the "Lebowski look" - a look that is contemporary yet vintage and that embodies the slacker, california feeling. Together with the film, this specific look has become a cult classic for many around the world.











Tzar (2009) by Tsepkova Varvara


Film Tzar(2009) directed by Pavel Lungin
Costume designers: Ekaterina Diminskaia and Natalia Dzubenko.
Ekaterina Diminskaia and Natalia Dzubenko received Russian cinema awards in 2009 for the best work on costume for film Tzar(2009).
The film tells the story of the first Russian Tzar Ivan the Terrible. In 16th-century Russia in the grip of chaos, Ivan the Terrible strongly believes he is vested with a holy mission.
Tzar(2009) is a costume drama. Costume designers worked on traditional costumes of
the Tzar as well as recreated costumes of peasants.
The costume of the Tzar and nobility were hand made and hand embroidered.
Costume designers say that they went to India to get the fabrics for the costumes.
Rich fabrics such as velvet and silk were used to design the costumes.
A rich color palette is accurate for the costumes of nobility: deep red and deep green, blue.
Hats played a great role in the traditional costume of that era and in the film, there was more than 40 hats created for Tzar(2009). Kokoshnick traditional hats were used for girls. All head pieces were hand embroidered.


Mulholland Drive (2001) by Tsepkova Varvara



Lynch in the interview says that there is no particular narrative in Mulholland Drive (2001) and he likes the idea that everyone can intuitively find there own meaning to the film.
Mulholland drive(2001) is a statement about Hollywood being a "dream land" versus Hollywood being a very dark place. It is a postmodern film that provides multi layered narrative.
David Lynch coming from painting background treats his films as a painting where things are done exactly as they have to be. Each element in the movie plays a great role. Colors are carefully selected as well as objects are placed with meaning.
The costume design plays significant role in the narrative of the film and Ana Stofsky as well as Durinda Wood did a great job on costume design of the characters of Mulholland Drive (2001). Through understanding of the costume audience can get closer to the meaning of the movie.



The Prestige (2006): Kanishka Jain



The period mystery thriller The Prestige 2006 was set in the 19th Century, the film was well directed by Christopher Nolan and got numerous appreciations. Celebrated Costume Designer Joan Bergin designed the typical Victorian era costumes. The primary Protagonist Robert Angier played by Hugh Jackman is a stage magic and is a person with ample wealth and is dressed as the ‘Upper Class’ in the respective time. Bergin designed all the costumes in sync with the character and all of them were custom made.


The film was shot in the early 2000’s and the costumes were supposed to be kept very true to its time. So we see the use of tight fitting, calf length frock coats and a waistcoat or vest, cravats or neckties and breeches. The shirts were made of linen or cotton with low collars and were worn with wide cravats. Formal evening dress remained a dark tailcoat and trousers with a dark waistcoat as scene in the scenes where he is presenting on the stage. The protagonist gets on to be designated the title of Lord and thus his dress up later changes according to his status, though the colors grow more towards a sober tone than his earlier dramatic self. Consequently the character achieved the effect of the time line and as a viewer I was well satisfied in imagining the 19th century sensation.

I am Love (David Bazner)





In the Italian film I am Love (Io Sono l’amore), Tilda Swinton plays Emma Recchi, a wife in a powerful Italian textile manufacturing family. The family can be considered a Milanese dynasty, with wealth that dates back multiple generations. Raf Simmons of Jil Sander designed the costumes and pieces from Fendi were also used.

The film takes place in 2001 and in order to achieve Recchi’s look, Simmons’ had to keep the costumes elegant and refined. In one scene, Swinton’s character runs errands wearing a streamlined grey knee length coat, cream blouse, grey pearls, and nude sunglasses. Her understated yet perfectly tailored clothes combined with her posture and Birkin bag indicate her social status. Moreover, Emma Recchi does not come from a wealthy family, but rather married into one. Therefore, she must try even harder to exemplify the look of a Milanese aristocrat. This is reflected in her clothing as it is always perfect to the point of being unreal (indicating an outsider).

Donnie Darko (2001) - Kanishka Jain



The Original Theatrical Release Poster

Costume Designer: APRIL FERRY
April Cecilia Gaskin was born in North Carolina, USA on 31st October 1932. She has had a prosperous career since her start with a number of films in her kitty. Across her years she has been accredited and awarded many awards; she won BAFTA Cymru Award for Best Costume Design for The Edge of Love (2008), Emmy for Outstanding Costume Design for television series for Rome (2005) and was also Nominated for Best Costume Design at the Academy Awards.

Currently she is working on an a Film titled Buddha; the project has created great expectations and could get wide spread appreciation for her. She has worked on numerous films and many were masterpieces; few to count are:
2009 Clones
2008 The Edge of Love
2003 Terminator 3
2001 Emprise
2001 Donnie Darko
2000 Boys and Girls
1998 Claudine's Return
1993 Beethoven's 2nd
1989 Immediate Family
1986 Poltergeist II
1984 Mike's Murder
1981 The Sophisticated Gents (TV movie)

CONTEXT
The film was set in the year 1988 in Middlesex, Virginia; so it was a period film compared to when it was written, that is in 2000. The film was shot in only 28 days in 2001 and was filmed entirely around Los Angeles. A brief point to be mentioned about the costumes is that the look that Donnie appears across the film was very true to its time; there were not much variance to Donnie compared to the actual dressing of people then. The schizophrenic character that Donnie plays is well connected with the shabby attire he is always dressed in and the use of dull colors enforces the significant aspect of his mental state.
















Synopsis & Trailer

Donnie accepts his death, understanding what his continued life would mean. Most of the film takes place in a tangent universe, where Donnie is guided by Frank and others, and shown what will happen if he survives the jet engine.

Does Donnie choose to die? To me, this is hard to answer. At one point, Donnie asks his physics teacher about free will versus following the 'path of god.' We can actually see this 'path of god' for some people when their movements are predicted by some computer graphics. On a larger scale, Donnie has been marked for death as his path, and it is debatable as to how much choice he really ever had. I think to say he accepts it after losing Gretchen and killing Frank is the most accurate perspective.

Another theme of the film is dying alone. Grandma Death says that every living creature dies alone. In a way, Gretchen, Frank, and Donnie all do die alone. Donnie thinks about this doom in questioning the existence of god. He is often a lonely guy; the idea seems unfair. I think this theme is really about having to accept our own deaths. We need to see that the destruction of ourselves is just another form of creation -- something Donnie himself points out (in his own way) in analyzing Graham Greene's story in school.


Character Overview


The protagonist in the film is as the title, Donnie Darko; he plays a schizophrenic and is played by Jake Gyllenhall and the movie revolves around him and his delusions’ created by his situation. Obviously another primary character is his delusion ‘Frank the Bunny,’ which is played by James Duval. Donnie’s love interest, Gretchen Ross is played by Jena Malone and was a major sympathetic influence for him. Another important character was Dr. Kenneth Monnitoff who was his psycharerist and played an important role to develop the lead’s characteristics. Finally the mystery woman was Roberto Sparrow who played a role of joining ends and managing suspense.

COLOR PALLETE

There isn’t any particular color palette except for Donnie’s costume. We see Donnie dressed in pale colors and specially variance of blue; that is contrary to his mental state. The colors reflect to the audience a complete opposite emotion that is of calmness whereas Donnie is always in a volatile emotional state. The primary sets of colors are coherent to the secondary set of colors; we see that Donnie’s costumes are exactly the same color as the set in most of the movie. Initially we noticed that the room was of a teenage boy but after the destruction the room grasps a more mature look.

Donnie





















GRECTHEN (Donnie'sLove)








































The Characterization Study

The protagonist of the film is elucidated through the chronology of the movie; at instances where he encounters ‘Frank the Rabbit’ are situation that have the turning points, so these scenes carry heavy significance in the storyline and the costumes have played an important liaison between the audiences and the emotion to be scene. The use of the color blue is eminent in almost every shot whereas yellow is seen in the scenes where something goes abnormal than the emotion to be articulated. The bizarre use of liquidized visuals to convey the situation of Donnie’s elusion has also been a notable aspect.

The initial encounter of Donnie with frank is seen here; the use of the diffusion affect with the blue background lighting and Donnie wearing blue as seen routinely, creates the cold dreamy and Donnie’s evil affect of shot. This is where the viewer experiences the first instance of the actuality