Original film costumes have traditionally been started by the designer making a costume sketch, much like fashion designers still do today. But multiple needs had to be met in films - like style, fashion, story, and the personality of the star. The movie costume had to develop characterization as well as advance the movie plot. In the old studio system, the costume sketch itself was passed around as part of the approval process. The producer, director and star would all review them, marking their initials on the drawing as a method of showing approval. The costume designer may have done the drawing themselves - or a sketch artist may have made them. Either way, the sketch needed to convey beauty, vivacity, and the role of the actor. Along the way the combination of star and costume launched many fashion trends.
Beautiful as a sketch may have been, it was a tool. In the old studio system, the Wardrobe Department included pattern-makers (cutter-fitters), seamstresses, beaders, embroiderers, tailors, dyers, and all the other skilled workers needed to produce costumes from scratch. The cutter-fitter would get the sketch next and make a master pattern and cut the fabrics in the appropriate shapes for sewing into the costume as depicted. Each important star had a dress- form made to their measurements. The cutter-fitters had real skill since historical dress as well a glamour gowns were sketched - with more or less dimensional accuracy. Sometimes the final costume was made exactly as drawn, sometimes they were changed. Once completed though, costume sketches were considered dispensable. They were not treated as art. Those still surviving are treasured artifacts of Hollywood's past - relics of their time and place in the world of film and fashion.
Costume designer Travis Banton
Travis Banton was Paramount's costume designer in the 1930s, where he dressed stars such as Carole Lombard, Marlene Dietrich, and Claudette Colbert. Here he confers with a lacemaker on the making of a cape for Marlene Dietrich. Banton was one of the great designers of his day, and along with Adrian, created the iconic look of Hollywood glamour. Banton also mentored Edith Head at the Paramount studios.
Costume design sketch by Andre-Ani
This very Art-Deco costume sketch was done by Andre-Ani for Norma Shearer in 1925. The style is influenced by Erte, who just happened to be working as a costume desgner at the same MGM studio at the time
This costume sketch by Irene (Lentz Gibbons) was done for Lucille Ball in the movie Two Smart People in 1946. Irene was an extremely talented California costume and fashion designer. She had her own label for Bullock's Wilshire. And then was the costume designer for MGM before opening her own fashion business.
Walter Plunkett
Here's a great costume sketch by Walter Plunkett for the period film Raintree County that starred Elizabeth Taylor. Plunkett also designed classic films like The Gay Divorcee, Singing in the Rain, and Gone With the Wind.
A bit about Adrian
The first blog post by the Silver Screen Modiste centered on costume and fashion designer Adrian, and specifically his suit designs. While he was not the first to capture my attention, he soon engulf all of it. But the other great screen costume designers will also get featured, as well as the stars and studios that brought their work to life. Adrian is more than just the first among equals, however. Genius mingled with wit in equal proportions in his work, and his "droll" sense of humour let the air out of the often over-inflated world of high fashion and movie star egos. And if you wonder why the name of Adrian is not as well known today, or fully commercialized, it's because he wanted it that way. He was Adrian, no one else was. Stay tuned and we'll see more of why he was lionized in his day and still influences current fashion. And like the Renaissance, great costume and fashion designers and artists all influenced each other and the times.
0 comments:
Post a Comment