12th Outstanding Art of Television Costume Design Exhibition Fidm
The "Art of Costume Design in Film" exhibition at FIDM Museum at the Way Institute of Pattern & Merchandising in downtown Los Angeles kicked off with a party on March 12. Open to the public free of accuse from Tuesday, March fifteen through Sat, June 4 (closed Sundays and Mondays), the exhibition features seventy costumes on loan representing 22 films, including all 5 nominated for the 2022 University Award for costume design.
This twelvemonth's nominees are Paul Tazewell (W Side Story); Jenny Beavan (Cruella); Luis Sequeira (Nightmare Alley); Jacqueline Westward and Bob Morgan (Dune) and Jacqueline Durran and Massimo Cantini Parrini (Cyrano). Tazewell and West attended the political party, along with Mark Bridges (Licorice Pizza) and Mary Zophres (The Tragedy of Macbeth) whose costumes are as well on view at FIDM. Costumes by Sharen Richard (Male monarch Richard), Clint Ramos (Respect), Ruth Due east. Carter (Coming two America), Janty Yates (Firm of Gucci and The Last Duel), and more are likewise included in the exhibit.
Nick Verreos, co-chair of the Style and Film & Television receiver Costume Design Program at FIDM, toldTHR that a goal of the exhibit is to testify a range of genres, from flow and contemporary to sci-fi, every bit well as the breadth of what a costume tin can exist.
"For Licorice Pizza, Mark Bridges used half vintage from rental shops and the other half were custom fabricated," said Verreos. "The white suit worn by Cooper Hoffman is a found vintage piece in perfect shape that still had the tags, and the label was some obscure store in the Valley that'south not even there any more! In House of Gucci, Janty Yates pulled one GG-logo tunic for Lady Gaga from the athenaeum, just everything else was custom-fabricated or shopped at vintage stores, Etsy, or The Real Existent. Yates said that information technology was actually difficult to observe Tom Ford-era pieces. And Gucci didn't fifty-fifty brand men's suits in the '70s, and then Adam Driver wears a vintage Gucci cravat and chugalug, but all the Gucci men wore custom Zegna or Brioni suits."
Pointing to how the current manner world can be infused into catamenia moving-picture show, Verreos said, "The Tragedy of Macbeth is a black-and-white film, so Mary Zophres used a lot of texture, and one star-patterned cloak worn by Denzel Washington was custom-fabricated with new Valentino fabric, because artistic manager Pierpaolo Piccioli is a adept friend of Frances McDormand."
He also noted that Luis Sequeira studied '30s sketchbooks equally inspiration for Cate Blanchett's looks in Nightmare Alley, where 90 per centum of the costumes were custom fabricated, and Bradley Cooper'due south suits "got sharper, more fitted, more elegant," as he moved from the carnival earth into high society in New York City.
"And so all Volition Smith kept telling Sharen Richard every fourth dimension they did fittings for those custom cerise shorts in Male monarch Richard was 'Shorter! Tighter!'" Verreos said, laughing.
Get-go-Time Oscar nominee Tazewell toldTHR, "I'm just so honored to be in this circle. All the support that comes with a Steven Spielberg moving-picture show is a in one case-in-a-lifetime opportunity. Early on in our meetings, Steven was very clear that, for his version of West Side Story, he wanted to reflect a more realistic view of New York in the mid-1950s — to prove the grit and the rubble of that time. It re-envisioned Shakespeare's Romeo and Juliet in the San Juan Colina neighborhood; with the gentrification, buildings were existence torn down and then that Lincoln Center could be built in that space. That was beautiful to embrace when I was thinking virtually the clothing. I had to acknowledge that they were going to be on concrete streets and sidewalks in front of the breathtaking '50s store fronts that [production designer] Adam Stockhausen recreated."
To achieve this, Tazewell enlisted a squad of talented dyers and painters to "paint down, distress, add dirt and sweat to carefully infuse the designs with every bit much naturalism as possible," he said, adding that the aging had to be precisely repeated over and over on costume multiples.
Information technology took about nine months to create the costumes, including ane,000 pairs of custom shoes. At FIDM, a worn-in pair of actress Ariana DeBose'south heels are on brandish and Tazewell quipped, "You can see that she spent days and days on hot asphalt, spinning her life away, really!"
To distinguish between rival gangs, Tazewell broke looks into color camps. The Jets gang wore cool blues and greens, with gray, black and indigo denim on their rubble playground. "And I wanted the Sharks to reflect where they had migrated from — the Hispanic islands, Puerto Rico and Republic of cuba — with floral patterns for the tropical climate and warmer colors, so gold, oranges, reds and browns," he said. "But Rita Moreno's floral housecoat is a mix of blueish, yellow and pink, because Valentina lives somewhere in between the Latinx community, since she's married a white man and is a condom space for the Jets and Tony."
As for the dancing scenes, "Stephen and I wanted dresses to move in very specific ways for the unlike numbers," said Tazewell. On display is Ariana DeBose's standout yellow dress with cold-shoulder sleeves and a red pleated silk organza underskirt trimmed in satin ribbons. "There were a lot of common cold-shoulder tops out at that time, two years ago, so I was thinking about what might stylistically appeal to a modern audience," he said. "You meet her flipping her brim around, because information technology's so lite and the petticoat was created to respond to her torso, assuasive her to have full control and show off her leg line. Information technology was a beautiful effect."
Spielberg requested early on that Rachel Zegler's dress be white at the gym trip the light fantastic toe. "I loved that thought, considering information technology taps into her background tie to the Cosmic church, seeing this as a confirmation dress that Anita as a dressmaker has refashioned or made new," said Tazewell. "Nosotros ended upward custom-embroidering the cotton wool, because we couldn't detect a lightweight-enough cotton wool to be reflective of her delicacy and the innocence."
Ansel Elgort's wardrobe was express, given that Tony was fresh out of prison house — for the gym dance he wears an ill-plumbing fixtures jacket that was potentially owned by Valentina's late hubby.
Fourth-time nominee West, who initially turned down Denis Villeneuve's offer to work onDune, because she had never washed sci-fi, told THR that the manager responded, "That's why I want y'all. I don't want it to wait similar a typical sci-fi movie; I desire information technology grounded in history.'"
"I'm a huge fan of British art historian John Berger," continued West, "and he says that to know what the future's going to look like, you have to await at the by. So I went a thousand years in the past to detect x,000 years in the future. I came up with this idea of a 'mod-ieval' style and based the Spacing Guild [costumes] on the Avignon Papacy — I took pictures of the paintings of all the medieval popes and gave it a modernistic take — because they persecuted the Templars, and I always thought the House Atreides was betrayed past the Emperor and his people."
Looks worn past Rebecca Ferguson in the film's first one-half were inspired by fashion designer Cristóbal Balenciaga, who was influenced by artwork by Goya and Vélazquez. For the turmeric-toned gown that Lady Jessica wears when she lands on Arrakis, W was influenced by clothing of the Heart East and looked to paintings of women in North Africa. "This apparel has 100 yards of fabric in the train, and the beading was all hand chain-linked past a specialty costume maker from England, Bryony Tyrrell," says W. "We call it the most expensive costume always made, considering she worked on it for most eight months at her hourly rate!"
Morgan suggested partnering with sculptor Jose Fernandez of Ironhead Studio in Van Nuys, behind some of Hollywood's most memorable superhero costumes, to work on the 250 stillsuits worn in real desert sandstorms while filming in Jordan. One is on display.
"[Dune author] Frank Herbert so advisedly describes it as a survival suit in the desert," she said. "Bob [Morgan] took Jose'south image to Budapest and fix upward a manufactory at Origo [Studios] in our big aeroplane hangar and we fabricated them all at that place. The idea is that the stillsuit collects waste water [perspiration and urine] and recycles information technology like a distillery to make beverage h2o. These pockets are all places where the liquids are kept and there's a pumping activity that starts at your heels and pumps all the fluids support to your mouth. I go along saying we're going to need these in L.A. soon!"
Source: https://www.hollywoodreporter.com/lifestyle/style/dune-west-side-story-designers-fidm-movie-costume-exhibit-1235111138/
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