Okay, I have a quick confession to make. I’ve never seen the complete version of the movie Stand By Me. I thought I had because I know what the movie is about. I can recall watching it a couple of times and seeing enough of it to have been convinced for all these years that I saw the whole movie. I just assumed I couldn’t remember all of it because it had been forever since I’d seen it.
However, this past weekend the boy and I went to a midnight movie screening of Stand By Me in the Lower East Side. It was then during the film that I realized that the main reason I couldn’t remember all of it is because basically I hadn’t seen the whole movie. Granted, it was only a few scenes that I couldn’t remember. Oh well, that didn’t stop me from being inspired by the costumes and settings.
Fall is finally here and with that comes a new episode of Cinema Aesthetic. I’m really excited about this one because this was one of my favorite movies as a little kid. I watched it over and over again.
I think its safe to say that I’ve gleaned some inspiration from Princess Maubi and this tattered Oz.
It’s baaacccckk! Cinema Aesthetic has been on hiatus for way too long **This is a series on stylealchemy, titled Cinema Aesthetic, which explores the importance of wardrobe and set design within film (mostly) but may include music video and television**
Okay, so a couple of weeks ago, I saw Bonnie and Clyde in the movie theater and it got me thinking about our recession and the idea of a new depression and how that would affect our wardrobe. While sitting in the theater watching Bonnie and Clyde rob bank after bank I couldn’t help but be drawn to Bonnie’s style.
Costume designer Theadora Van Runkle did an amazing job of creating a defining look for both Bonnie and Clyde. Berets, neckchiefs, slim sweaters and mid-length skirts that hit the calf all lend a romantic image of these criminals. Simply put, these are some elegant-looking bank robbers.
**This is our weekly series on stylealchemy, titled Cinema Aesthetic, which explores the importance of wardrobe and set design within film (mostly) but may include music video and television**
To me, Rosemary’s Baby is the one classically defined horror movie without any specific horror on the screen. There is no malfunctioning cell phone coming to get you or an escaped mental patient hiding in your backseat waiting to slit your throat.
You’re not going to jump out of your seat screaming because you’ve been surprised. Everything that makes Rosemary’s Baby deliciously creepy and suspenseful is in the way the film is shot. Director Roman Polanski had the impressive job of translating this story onto the screen.
This look through the peephole is a classic shot.
A newlywed couple, Rosemary and Guy Woodhouse (Mia Farrow and Guy Cassavetes) move into a New York apartment and encounter an interesting group of neighbors including the elderly and eccentric Roman and Minnie Castevets (Sidney Blackmer and the fantastic Ruth Gordon) which takes them on a series of interestingly strange events culminating in the arrival of Rosemary’s little bundle of joy.
This is a film steeped in paranoia and suspense, is it all real? Or is it all part of Rosemary’s imagination?
One of the best things about this movie is the setting. With New York City as a backdrop there is a lot of to play with and gives a certain stamp of approval to the strange characters that live there in sharp contrast to Rosemary’s MidWestern roots. However, the Dakota building stands out as it’s gothic exterior lends to the creepy mystique of the film. This building and the apartments within become another important character in the film.
The costumes in this movie are a perfect reflection of the end of the 1960′s. There’s beautiful babydoll dresses worn by Rosemary in bright patterns and pastel colors and the older women in the film are decked out in pearls and garish make-up. Also, Rosemary’s infamous pixie haircut. This is a moment in time perfectly captured and preserved on film.
**This is our weekly series on stylealchemy, titled Cinema Aesthetic, which explores the importance of wardrobe and set design within film (mostly) but may include music video and television**
This week we’re going to jump into the world of the music video which is essentially a short film set entirely to music.
The Bird and the Bee’s Again and Again video is adorable. There are certain points and shots of the video that are constantly repeated as if on a constant loop, hence playing into the ‘again and again’ theme.
Director, Autumn de Wilde has a certain sensibility that is found throughout her portfolio and she has worked with artists and other creatives including Beck, Rodarte, Miranda July and Rilo Kiley/Jenny Lewis. She was also the photographer on the infamous Zooey Deschanel shoot for issue four of Lula Magazine.
The stylist that you always see associated with Autumn de Wilde is Shirley Kurata who has such a cool sensibility with clothes and aesthetics. The de Wilde and Kurata team work heavily with many indie artists in both the photography and film mediums. Here these two worked their magic on musicians Greg Kurstin and Inara George for “Again and Again.” I’m loving the mod, ’60s styling and the eclectic setting. It’s an entertaining 2:51 minutes well spent.
**This is our weekly series on stylealchemy, titled Cinema Aesthetic, which explores the importance of wardrobe and set design within film (mostly) but may include music video and television**
Well, it had to happen. Let the period costume pieces commence! The Prestige has all the requisites for a visually appealing film. With a plot focused on magicians and that fiercely private world, there should be plenty to absorb. Having spent time in drama class and acting on the stage, there is something energizing about this performing environment. What the audience sees is one-tenth of what is happening behind the scenes.
In this film, the plot is driven like the specific parts of a magic trick. The “pledge” is where the magician sets up the trick by showing the audience something ordinary. Then begins the performance or “the turn” where the ordinary becomes extraordinary. Finally, the “prestige” is revealed where the effect of the illusion is made known. Robet Angier (Hugh Jackmna) and Alfred Borden (Christian Bale) are rivaling magicians striving to be the best and out-perform the other.
Costume designer, Joan Bergin created so many delectable outfits staying true to the era with tailored menswear, waistcoats and top hats! Which I have a never-ending love for.
**This is our weekly series on stylealchemy, titled Cinema Aesthetic, which explores the importance of wardrobe and set design within film (mostly) but may include music video and television**
A mediocre movie can distract you for awhile but an excellent film has the ability to mesmerize and transport you to another place for about 120 minutes. Growing up on fairy tales, they had the requisite formula of enduring some sort of turmoil before the hero/heroine could get to the happily ever after. Those tales were Grimm indeed!
Sometimes fantasy worlds are so over-the-top and your investment is so real, that you almost begin to believe that Narnia is just through the back of that wardrobe or that Neverland could be reached by flying from the “second star to the right and straight on till morning”.
Which is exactly what is so great about Pan’s Labyrinth (El Laberinto del fauno). You get completely swept away in this lush wonderul dark tale masquerading under the guise of a child’s fantasy.
Ofelia (played by the very talented Ivana Baquero) has the daunting task of dealing with a new living situation and the uncertainty that surrounds her. Set against the post-war repression of Franco’s Spain one can draw many parallels between the bleak, muted real world and the richly-hued gothic fantasy world.
Costume designer, Lala Huerte put together some fantastic ensembles for the cast including the very sharp-tailored look for mega-villain Captain Videl (the impressive Sergi López) who is just dastardly. (I have always wanted to use that word)
What really makes this movie besides the plot, the acting and outstanding make-up effects is the scenery and the wonderful set design. Eugenio Caballero helped to take director Guillermo del Toro’s vision and turn it into a sumptious reality.
Here are some behind-the-scenes footage into the making of the set.
**This is a new series on stylealchemy, titled Cinema Aesthetic, which explores the importance of wardrobe and set design within film (mostly) but may include music video and television**
I’ll be the first to admit that I am a sucker for sweeping, historical dramas with elaborate costumes with corsetry and bustles galore but great costume design doesn’t always have to involve another century. Ghost World is one of my favorite movies and I adore its amazing eye candy in terms of setting. The dialogue is perfect for these complex characters who are truly quirky and the props and clothing contributes to their off-beat vibe.
For me, Enid (Thora Birch) is the perfect vehicle for that outsider who just doesn’t know what she wants and doesn’t quite fit in with everyone else. Her clothes are a collection of odds and ends from the thrift store, she wears vintage frames, little girl barrettes in her hair as she searches garage sales for music to listen to on her record player. You immediately understand that she isn’t pretentious, this is who she is. Costume Designer, Mary Zophres does the impressive job of helping to create this illusion of those who are on the fringe with the main characters and the normalcy of everyone else.
Struggling to find a way to relate to everyone else when others don’t get you, you start to collect a menagerie of like-minded individuals. Enter all the other folks like Seymour (the wonderful Steve Buscemi) as the eccentric older loser with the enviable vinyl collection of 78″ records and a cool apartment. Seymour has a sad, nerdy quality which is emphasized by his clothes or lack there of style. Best friend, Rebecca who is slowly becoming more interested in moving away from this scene and other characters help to round out this movie which has both its funny and depressing moments.
**This is the first in a new series on stylealchemy, titled Cinema Aesthetic, which explores the importance of wardrobe and set design within film (mostly) but may include music video and television**
There was a time, when I was a stylist’s assistant that I really considered getting into costume design for movies. Great acting is important but equally so are the sets, props and wardrobe. There have been many movies that I have sat watching in awe because the costumes felt so authentic, that I just wanted to reach out and touch them. Colleen Atwood is one of the best in my opinion and has designed for some of my favorite fashion movies, including Edward Scissorhands, Sleepy Hollow, Chicago, Lemony Snicket’s A Series of Unfortunate Events and most recently Sweeney Todd (though I have not seen it yet).
What I love about the bits and pieces I’ve seen of Sweeney Todd is how wonderfully luscious Mrs. Lovett’s (Helena Bonham Carter) wardrobe is considering how dark the theme of the movie is.
I’m a sucker for a parasol!
Here is a wonderful behind-the-scenes look at Colleen Atwood’s ideas and the evolution of the design in the movie. What I would give to be allowed in that wardrobe area!!
