The “Art of Costume Design in Film” exhibit at the Fashion Institute of Design & Merchandising’s FIDM Museum in downtown Los Angeles kicked off with a party on March 12. Open to the public free of charge from Tuesday, March 15 through Saturday, June 4 (closed Sundays and Mondays), the exhibit features 70 loaner costumes representing 22 films, including the five nominees for the 2022 Oscar for Costume Design.
This year’s nominees are Paul Tazewell (West Side Story); Jenny Beavan (Cruel); Luis Sequeira (alley of nightmares); Jacqueline West and Bob Morgan (Dunes) and Jacqueline Durran and Massimo Cantini Parrini (Cyrano). Tazewell and West attended the party, along with Mark Bridges (Licorice Pizza) and Mary Zophres (Macbeth’s Tragedy) whose costumes are also exhibited at FIDM. Costumes by Sharen Richard (King Richard), Clint Ramos (The respect), Ruth E. Carter (Coming 2 America), Janty Yates (Gucci House and The last duel), and others are also included in the exhibit.
Nick Verreos, co-chair of the Costume Design for Fashion and Film & Television program at FIDM, said THR that the aim of the exhibition is to show a range of genres, from period and contemporary to science fiction, as well as the breadth of what a costume can be.
“For Licorice Pizza, Mark Bridges used half the vintage from the rental shops and the other half was custom made,” Verreos said. “The white suit worn by Cooper Hoffman is a vintage piece found in mint condition that still had the tags, and the tag was an obscure store in the valley that isn’t even there anymore! In Gucci House, Janty Yates pulled a GG logo tunic for Lady Gaga from the archives, but everything else was custom-made or bought from vintage stores, Etsy or The Real Real. Yates said it was really hard to find parts from the Tom Ford era. And Gucci didn’t even make men’s suits in the ’70s, so Adam Driver wears a vintage Gucci tie and belt, but all the Gucci men wore custom Zegna or Brioni suits.
Highlighting how today’s fashion world can be infused into a period film, Verreos said: “The Tragedy of Macbeth is a black and white film, so Mary Zophres used a lot of texture and a patterned cape. star worn by Denzel Washington was custom made with new Valentino fabric, as creative director Pierpaolo Piccioli is a good friend of Frances McDormand.
He also noted that Luis Sequeira studied 1930s sketchbooks as inspiration for Cate Blanchett’s looks in alley of nightmareswhere 90% of the costumes were custom-made, and Bradley Cooper’s costumes “became sharper, more fitted, more elegant” as he transitioned from the carnival world into New York high society.
“And then all that Will Smith kept saying to Sharen Richard every time they were trying on those custom red shorts in King Richard was ‘Shorter! Tighter! ‘” Verreos said with a laugh.
First-time Oscar nominee Tazewell said THR“I am so honored to be in this circle. All the support that comes with a Steven Spielberg film is a unique opportunity. From the start of 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 show the sand and rubble of that era. He redesigned Shakespeare Romeo and Juliet in the San Juan Hill neighborhood; with gentrification, buildings were torn down so Lincoln Center could be built in that space. It was beautiful to embrace when I thought of clothes. I had to recognize that they were going to be on concrete streets and sidewalks past the jaw-dropping 50s storefronts that [production designer] Adam Stockhausen recreated.
To achieve this, Tazewell employed a talented team of dyers and painters to “paint, distress, add dirt and sweat to carefully infuse the designs with as much naturalism as possible”, he said. , adding that the aging had to be repeated precisely. and more on costume multiples.
It took about nine months to create the costumes, including 1,000 pairs of custom shoes. At FIDM, a pair of worn-out heels by actress Ariana DeBose are on display and Tazewell joked, “You can see she’s spent days and days on hot asphalt, making her life go round, really!”
To distinguish between rival gangs, Tazewell took a look at 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 Cuba – with floral patterns for the tropical climate and warmer colors, so golds, oranges, reds and chestnuts,” he said. “But Rita Moreno’s floral robe is a mix of blue, yellow and pink, because Valentina lives somewhere between the Latinx community, having married a white man and being a safe space for the Jets and Tony.”
As for the dance scenes, “Stephen and I wanted the dresses to move in very specific ways for the different numbers,” Tazewell said. On display is Ariana DeBose’s striking yellow dress with off-the-shoulder sleeves and a red pleated silk organza petticoat trimmed with satin ribbons. “There were a lot of off-the-shoulder tops back then, two years ago, so I was thinking about what might appeal to a modern audience stylistically,” he said. “You see her flipping her skirt, because it’s so light and the petticoat was created to respond to her body, allowing her to have total control and show off her leg line. It was a nice effect.”
Spielberg demanded early on that Rachel Zegler’s dress be white at the gymnasium dance. “I loved this idea because it taps into her historical connection to the Catholic Church, seeing it as a confirmation dress that Anita, as a seamstress, remodeled or revamped,” Tazewell said. “We ended up custom-embroidering the cotton because we couldn’t find a cotton that was light enough to reflect its delicacy and innocence.”
Ansel Elgort’s wardrobe was limited, given that Tony had just been released from prison – for gym dancing he wears an ill-fitting jacket that potentially belonged to Valentina’s late husband.
The fourth-time West candidate, who initially turned down Denis Villeneuve’s offer to work on Dunesbecause she had never done science fiction, said THR the director replied, “That’s why I want you. I don’t want it to look like a typical sci-fi movie; I want it to be steeped in history.
“I’m a huge fan of British art historian John Berger,” West continued, “and he says that to know what the future will look like, you have to look to the past. So I went a thousand years in the past to find 10,000 years in the future. I had this idea of a “mod-ieval” style and founded the Spacing Guild [costumes] on the Avignon Papacy – I took pictures of the paintings of all the medieval popes and gave them a modern version – because they persecuted the Templars, and I always thought House Atreides had been betrayed by the Emperor and his people.
The looks worn by Rebecca Ferguson in the first half of the film were inspired by fashion designer Cristóbal Balenciaga, who was influenced by the works of Goya and Velazquez. For the turmeric-toned dress Lady Jessica wears when she lands on Arrakis, West was influenced by Middle Eastern clothing and looked to paintings of North African women. “This dress has 100 yards of fabric in the train, and the beads were all hand-tied by specialist costume designer from England, Bryony Tyrrell,” West explains. “We call it the most expensive costume ever made because she worked on it for about eight months at her hourly rate!”
Morgan suggested teaming up with sculptor Jose Fernandez of Ironhead Studio in Van Nuys, behind some of Hollywood’s most memorable superhero costumes, to work on the 250 suits worn in real desert sandstorms during filming in Jordan. One is exposed.
“[Dune author] Frank Herbert describes it so neatly as a desert survival suit,” she said. “Bob [Morgan] took José’s prototype to Budapest and set up a factory in Origo [Studios] in our big aircraft hangar and we made them all there. The idea is that the stillsuit collects waste water [perspiration and urine] and recycles it like a distillery to make drinking water. These pockets are all places where liquids are kept and there is a pumping action that starts at your heels and pumps all the fluids towards your mouth. I keep saying we’re going to need it in LA soon! »