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Ending soon: FIDM's Motion Picture Costume Exhibit

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  • Cat Devereaux
    If you haven t gotten a chance yet... free exhibit in downtown LA closes this month. More pictures from the exhibit: (scroll towards the bottom for the pure
    Message 1 of 1 , Apr 6, 2013
      If you haven't gotten a chance yet... free exhibit in downtown LA closes
      this month.

      More pictures from the exhibit: (scroll towards the bottom for the pure
      costume shots)

      PR announcement for FIMD:

      > The *21st Annual Art of Motion Picture Costume Design* exhibition has
      > broken all previous attendance records. Fans and visitors from around the
      > world have packed the FIDM Museum & Galleries to see the outstanding
      > costumes on display. This highly anticipated annual exhibition has
      become a
      > must-see Los Angeles event.
      > The Oscars have been handed out, the red carpet awards season is
      over, but
      > the original costumes on display are as attention-worthy as ever. This
      > month the newsletter takes a look at some of the stunning costumes
      that may
      > not have been nominated, but are noteworthy for their innovation,
      > craftsmanship, and their ability to tell a story.
      > *ParaNorman*
      , with costumes by Deborah Cook, is the biggest production
      > ever to be made in stop-motion animation. It took 60 puppet-makers to
      > create 178 individual puppets for *ParaNorman*'s 61 characters. Over 120
      > different tiny costumes were designed and made by hand for the 6 to 12
      > puppets.
      > As befits the lead character in an adventurous story, Norman has what
      > calls "an iconic costume...he's always wearing his favorite jeans and
      > and is never without his goodies-filled, badge covered backpack. Then
      > are his key fobs and his zipper tags. We made everything. His
      backpack is a
      > regular piece of green fabric for which we did our own stitching, to keep
      > it in scale with his clothing; the zipper tags were sculpted here,
      cast in
      > silver, hand-painted, and then sewed on."
      > To get an idea of the craftsmanship, the bottom edge of Norman's T-shirt
      > has 102 stitches---all handmade and measured in length and
      spacing---with 48
      > stitches around his neckline. Amazingly, the costume department used size
      > 15 extra long beading needles, the dimension of 1 hair.
      > Jany Temime designed the costumes for *Skyfall*, and her black evening
      > gown, worn by Sévérine (Bérénice Marlohe), is one of the exhibition's
      > showstoppers. It is the polar opposite of Bond's low-key, timeless suits,
      > and took six months and 60,000 hand-applied crystals to create. The gown
      > features a sheer body, a corseted bodice and floor-length satin skirt
      > sheer side panels---all covered in glittering Swarovski crystals. The
      > look, from her dramatically dark lipstick to her claw-like nails, is
      > purposefully attention grabbing.
      > Of course with any Bond girl, a certain amount of sex appeal is to be
      > expected---and for Temime, that meant making Sévérine appear as
      "naked" as
      > possible.
      > "The first time you see the dress is from the back," said Temime. "So you
      > see this beautiful tattoo-effect across the sheer fabric---which we
      dyed to
      > match her skin tone, to suggest that she was naked. This is my Bond girl
      > and she had to look fantastic. It was a work of love."
      > In *A Royal Affair*, costume designer Manon Rasmussen used floral prints
      > and crisp, tailored fabrics in contrast with feathered, embroidered,
      > ostentatious hats and diamond hair jewelry to convey beauty and wealth on
      > the screen. The costume drama, set in Denmark in the court of 18th
      > King Christian VII, was nominated for an Academy Award for Best Foreign
      > Language Film of the Year.
      > The costumes exemplify the agonizingly uncomfortable, opulent, and
      > time-consuming fashions of the time. Both men and women made a virtue out
      > of emphasizing whatever body part the day's style focused on, and used
      > practically everything: from corsets and hip pads to wigs and face
      > The lower social classes, in a profound example of trickle-down, adapted
      > the court fashions.
      > *Sparkle*, with costumes by Ruth Carter, captures the iconic styles and
      > glamour of the 1960s. Fashion references abound---from Twiggy to
      > from Paco Rabanne to Rudi Gernreich, and from the costumes of the
      > to the Temptations. But the red sparkle dress that Jordin Sparks wears in
      > the final concert scenes is by a contemporary Italian designer, Marco
      > D'Angelo.
      > "Jordin has curves so when we got the dress I was concerned because
      we did
      > not have time to bead the dress like that, nor did we have the
      > was a $10,000 dress..." Carter told *Essence.com*. "We put it on her and
      > there was a problem with the neckline. It was more open than you see
      it in
      > the picture. So...I contacted the designer and I asked him to send me
      > beads. We went to a local beader and...we actually beaded the
      neckline over
      > an inch into her neck so that it will cover her chest a little bit more
      > than it did originally."
      > Not too many people saw the film *John Carter*, but the costumes, by
      > Mayes Rubeo, are worth a trip to the FIDM Museum. For Rubeo, costumes are
      > more than just the clothing the actors wear. "Accessories are a big
      > It's part of the designs that I do when I'm doing a new world and
      > civilizations, because they create a new look in my mind...We had a
      > staff and studio in all the workshops we had for *John Carter*. There was
      > a workshop for leather, for make-up, for jewelry, and we had about 20
      > people working on accessories. Very talented people from all over the
      > world, from Mexico, from England, from Italy, you name it, everywhere,
      > created the costumes and accessories."
      > Rubeo also designed the costumes for the Tharks, the computer-generated
      > green aliens that make up half the population of Barsoom. While no
      > to designing for CG characters, Rubeo confessed the technology has
      moved so
      > quickly that the process for digitizing and detailing her computer-worn
      > costumes has shifted as well.
      > "Both costumes and special effects had to get together and work it out.
      > This was very exciting for me because it's cutting-edge technology. I
      > this is where the movie magic comes," she said. "They digitized my
      > costumes, they put them on people to wear. It was great!"
      > But no matter how fast technology changes, Rubeo noted with a laugh that
      > that one thing will remain the same. "What comforts me is that they still
      > need the real costumes for the movie, so there are still jobs for costume
      > designers!"
      > Don't miss the opportunity to see the nearly 100 original costumes that
      > are on display at the *21st Annual Art of Motion Picture Costume Design*.
      > The exhibition is free and open to the public through April 27th.

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