Ending soon: FIDM's Motion Picture Costume Exhibit
- If you haven't gotten a chance yet... free exhibit in downtown LA closes
More pictures from the exhibit: (scroll towards the bottom for the pure
PR announcement for FIMD:
> The *21st Annual Art of Motion Picture Costume Design* exhibition hasbecome a
> 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
> must-see Los Angeles event.over, but
> The Oscars have been handed out, the red carpet awards season is
> the original costumes on display are as attention-worthy as ever. Thisthat may
> month the newsletter takes a look at some of the stunning costumes
> not have been nominated, but are noteworthy for their innovation,, with costumes by Deborah Cook, is the biggest production
> craftsmanship, and their ability to tell a story.
> ever to be made in stop-motion animation. It took 60 puppet-makers toCook
> 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
> As befits the lead character in an adventurous story, Norman has what
> calls "an iconic costume...he's always wearing his favorite jeans andhoodie,
> and is never without his goodies-filled, badge covered backpack. Thenthere
> are his key fobs and his zipper tags. We made everything. Hisbackpack is a
> regular piece of green fabric for which we did our own stitching, to keepcast in
> it in scale with his clothing; the zipper tags were sculpted here,
> silver, hand-painted, and then sewed on."spacing---with 48
> 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
> stitches around his neckline. Amazingly, the costume department used sizewith
> 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. Thewhole
> look, from her dramatically dark lipstick to her claw-like nails, is"naked" as
> 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
> possible.dyed to
> "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
> match her skin tone, to suggest that she was naked. This is my Bond girlcentury
> 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 Foreignpowder.
> 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, adaptedBalenciaga,
> 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 theSupremes
> to the Temptations. But the red sparkle dress that Jordin Sparks wears inwe did
> the final concert scenes is by a contemporary Italian designer, Marco
> "Jordin has curves so when we got the dress I was concerned because
> not have time to bead the dress like that, nor did we have themoney---that
> was a $10,000 dress..." Carter told *Essence.com*. "We put it on her andit in
> there was a problem with the neckline. It was more open than you see
> the picture. So...I contacted the designer and I asked him to send mesome
> beads. We went to a local beader and...we actually beaded theneckline over
> an inch into her neck so that it will cover her chest a little bit morething.
> 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 andjewelry
> 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 wasstranger
> 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 hasmoved so
> quickly that the process for digitizing and detailing her computer-wornfeel
> 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[Non-text portions of this message have been removed]
> 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
> 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.