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Costumes Design and Production for Herbicide TV commercial for BASF by www.skillsdivision.com
Director: Srđan Dragojević
..for less formal encounter we are @ Facebook ...so drop by :)
So good to finally get to meet very striking international set + costume designer David Zinn @misterdavidzinn for his #whiteoutportrait shoot. It was an afternoon of wonderful, easygoing and thought-provoking conversation.
David’s amazing work currently features in two London transfers from New York - Sondheim’s Here We Are at the National Theatre, and David Adjmi’s Stereophonic at the Duke of Yorks’s Theatre, for which David won a Tony Award.
This was achieved with:
4 medium sized beauty dishes with grids - 1 above camera and 1 oblique each side.
1 positioned behind the sitter to bleach out sections of the backdrop
Wireless trigger on camera.
Stitching design... #fashion #fashionart #fabric #sewing #stiching #textiles #design #fashiondesign #embroidery #blue #craft #art #instaart #instafashion #instadesign #costume #costumedesign #designers #fashiondesigner #love #artistic
64 Likes on Instagram
4 Comments on Instagram:
modernshibori: So rad! 💙 More please
missvegabonita: Love your pics ✨📷✨
nonamedesigntextiles: great really likeporing over original
bewear_apparel: Love what you post!
This dress was comissioned by a fellow Lilith owner who wanted to turn her girl into Alice. She asked me to take my inspiration from the recent Tim Burton movie, but to feel free to do my own interpretation.
The dress is made of fine Swiss batiste and is trimmed with heirloom cotton lace, ric-rack and striped taffeta ribbon. I made a matching hair band and a co-ordinating striped petticoat.
Lilith's cute friend is "Rabby" by Hildegard Gunzel.
"Impossible to forget these characters whether they wear the dazzling and luxurious costumes of 'Scheherazade' and 'The Firebird' or ordinary peasants clothing of 'Petrouchka.' " [From the text accompanying the illustration]
original paper sculptures by
Niki de los Reyes - Torres, PATDAT
installation to be featured in
A Thousand Paper Cranes
the Niki de los Reyes-Torres
Paper Art Retrospective
Yuletide 2011
Santa Maria de Betania
after repairs and new encarna
Familia de los Reyes
San Jose de Buenavista
Province of Antique
Georges Barbier (French designer, 1882-1932)
1921 hand-colored pochoir print 24.3 cm (height, plate) x 19.3 cm (width, plate)
Scanned from Barbier, George. Casanova: Décors Et Costumes. Paris: L. Vogel , 1921
See MCAD Library's catalog record for this book.
French fashion designer Paul Poiret (1879-1944) was the King of Fashion in the 1910s… Spurred on by the success of the Ballets Russes production of Schéhérazade, Poiret gave full vent to his orientalist sensibilities, launching a sequence of fantastical confections, including "harem" pantaloons in 1911 and "lampshade" tunics in 1913 (earlier, in 1910, Poiret had introduced hobble skirts, which also can be interpreted as an expression of his orientalism). As well as hosting a lavish fancy-dress party in 1911 called "The Thousand and Second Night," in which the fashions reflected a phantasmagoric mythical East, he also designed costumes for several theatrical productions with orientalist themes, most notably Jacques Richepin's Le Minaret, which premiered in Paris in 1913 and presented the couturier with a platform on which to promote his "lampshade" silhouette.
Even when Poiret reopened his fashion business after World War I, during which he served as a military tailor, orientalism continued to exercise a powerful influence over his creativity. By this time, however, its fashionability had been overshadowed by modernism. Utility, function, and rationality supplanted luxury, ornament, and sensuality. Poiret could not reconcile the ideals and aesthetics of modernism with those of his own artistic vision, a fact that contributed not only to his diminished popularity in the 1920s but also, ultimately, to the closure of his business in 1929. [The Metropolitan Museum of Art’s “Heilbrunn Timeline of Art History” at www.metmuseum.org/toah/hd/poir/hd_poir.htm]
Special number of the Parisian cultural magazine, devoted to the Saison Russe of 1909. The decorative cover features a color image of Nijinsky and Anna Pavlova in "Le Pavillon d'Armide;" featured inside are photographs of Feodor Chaliapin in Rimsky-Korsakov's "Ivan the Terrible;" Michel Fokine, Vera Fokina, Tamara Karsavina, Vera Karalli, Pavlova and Nijinsky, and other singers, actors, and dancers of the Russian companies; and set designs by Roerich and Golovine.
The 1909 season was, essentially, the premiere of Diaghilev's Ballets Russes, although that name was not used until the following year. Most of the dancers were principals of the Imperial Ballet of Saint Petersburg, hired by Diaghilev to perform in Paris during the Imperial Ballet's summer recess. The "Saison Russe" included Rimsky-Korsakov's opera "The Maid of Pskov," performed under the title of "Ivan the Terrible" and starring Chaliapin as the eponymous Tsar. Also featured were the Polovtsian Dances from Borodin's "Prince Igor" and "Le Pavillon d'Armide," choreographed by Michel Fokine to music by Nikolai Tcherepnin.
Here are some Halloween ideas from the early part of the 20th century, when costumes had a charm they don't have now.
I also created a Vintage Halloween gallery with pics from other members. Enjoy the season!!!
Georges Barbier (French designer, 1882-1932)
1921 hand-colored pochoir print 24.3 cm (height, plate) x 19.3 cm (width, plate)
Scanned from Barbier, George. Casanova: Décors Et Costumes. Paris: L. Vogel , 1921
See MCAD Library's catalog record for this book.
Georges Barbier (French designer, 1882-1932)
1921 hand-colored pochoir print 24.3 cm (height, plate) x 19.3 cm (width, plate)
Scanned from Barbier, George. Casanova: Décors Et Costumes. Paris: L. Vogel , 1921
See MCAD Library's catalog record for this book.
Tamara Karsavina began her professional career with Russia's Imperial Ballet in 1902, at age 17, and rose quickly through the ranks to become a leading ballerina. She began traveling to Paris in 1910 to dance with the Ballets Russes. Her most famous roles were in the ballets of Michel Fokine, her most famous being the title role in the "Firebird." Tamara Karsavina helped establish England's Royal Ballet and was a founding member of the Royal Academy of Dance.
Petrushka [French: Petrouchka] premiered June 13, 1911 at the Theatre du Chatelet in Paris with costume and scenery design by Alexandre Benois, music by Igor Stravinsky and choreography by Michel Fokine. The ballet is set in Admiralty Square in St. Petersburg, just before Lent in 1830, during the annual Butter Week Festival.
“An old and dastardly showman, the Charlatan, demonstrates his lifelike puppets—sad and ugly Petrouchka, a rag doll; the beautiful but vapid Ballerina and the Moor, a brutish exhibitionist—to an eager crowd of boulevardiers, colourful peasantry and other performers. Between their performances the puppets are imprisoned in rooms in the Charlatan’s booth. Both Petrouchka and the Moor are in love with the Ballerina. Petrouchka’s advances towards her provoke the Moor to attack and kill him with a scimitar. This tragic scenario unfolds in front of the shocked and horrified spectators. The Charlatan hastens to disprove the events by demonstrating that Petrouchka is only a doll filled with sawdust. However, after the crowd leaves the square the ghost of the marionette appears above the booth, menacing the horrified Charlatan.
“Petrouchka reflects a brilliant fusion of the creativity of Stravinsky, Benois and Nijinsky. Developed from Stravinsky’s 1910 piano work, Petrouchka’s cry, the ballet reflected the interest of the miriskusniki in street theatre, mime, puppet shows (balagani), and the traditions of commedia dell’arte. The use of puppets, particularly in the implicit racism of the depiction of the black Moor and the vapidity of the Ballerina, allowed Stravinsky and Fokine to exploit racial stereotypes within the changing cultural and ethnic landscape of nineteenth-century Russia. In the role of the lifeless Petrouchka, animated and annihilated by love, Nijinsky gave his most memorable and accomplished performance, not least because his grotesque characterisation of the controlled and brutalised puppet was deliberately at odds with his usual feline grace on stage.” [Synopsis by the National Gallery of Australia]
This comic ballet as it was conceived by Stravinsky, Fokine and Benois may be viewed on Youtube. Here are the links:
Part 1: www.youtube.com/watch?v=JbWDG3LU4bc
Part 2: www.youtube.com/watch?v=bmf5T57sFHw
Ludwik Strimpl (Czech illustrator, 1880-1937)
1913 photomechanical lithograph with hand-applied color (pochoir) 25 cm (height) x 38.5 cm (width)
Plate I from Gazette du Bon Ton, Volume 2, No. 1, Christmas 1913 - January 1914
See MCAD Library's catalog record for this book.
Georges Barbier (French designer, 1882-1932)
1921 hand-colored pochoir print 24.3 cm (height, plate) x 19.3 cm (width, plate)
Scanned from Barbier, George. Casanova: Décors Et Costumes. Paris: L. Vogel , 1921
See MCAD Library's catalog record for this book.
Georges Barbier (French designer, 1882-1932)
1921 hand-colored pochoir print 24.3 cm (height, plate) x 19.3 cm (width, plate)
Scanned from Barbier, George. Casanova: Décors Et Costumes. Paris: L. Vogel , 1921
See MCAD Library's catalog record for this book.
Kvart Magazine
Editorial UNHUMAN by Ana Rajcevic
photo : Milena Rakocevic
original paper sculptures by
Niki de los Reyes - Torres, PATDAT
installation to be featured in
A Thousand Paper Cranes
the Niki de los Reyes-Torres
Paper Art Retrospective
Yuletide 2011
Georges Barbier (French designer, 1882-1932)
1921 hand-colored pochoir print 24.3 cm (height, plate) x 19.3 cm (width, plate)
Scanned from Barbier, George. Casanova: Décors Et Costumes. Paris: L. Vogel , 1921
See MCAD Library's catalog record for this book.
Georges Barbier (French designer, 1882-1932)
1921 hand-colored pochoir print 24.3 cm (height, plate) x 19.3 cm (width, plate)
Scanned from Barbier, George. Casanova: Décors Et Costumes. Paris: L. Vogel , 1921
See MCAD Library's catalog record for this book.
Georges Barbier (French designer, 1882-1932)
1921 hand-colored pochoir print 24.3 cm (height, plate) x 19.3 cm (width, plate)
Scanned from Barbier, George. Casanova: Décors Et Costumes. Paris: L. Vogel , 1921
See MCAD Library's catalog record for this book.
Georges Barbier (French designer, 1882-1932)
1921 hand-colored pochoir print 24.3 cm (height, plate) x 19.3 cm (width, plate)
Scanned from Barbier, George. Casanova: Décors Et Costumes. Paris: L. Vogel , 1921
See MCAD Library's catalog record for this book.
“Pablo Picasso's first collaboration with the Ballets Russes was Parade. In a letter sent to a friend, Jean Cocteau the librettist said "Picasso amazes me every day, to live near him is a lesson in nobility and hard work". Picasso's studio in Rome had a little crate that held the model of "Parade" with its trees and houses, and on a table were the painted characters: the Chinaman, Managers, American girl, and horse. Cocteau described his friend's unusual artistic process: "A badly drawn figure of Picasso is the result of endless well-drawn figures he erases, corrects, covers over, and which serves him as a foundation. In opposition to all schools he seems to end his work with a sketch." The audiences were amazed by the first ballet to have cubist costumes, sets, and choreography.
“After World War I, Picasso made a number of important relationships with figures associated with Serge Diaghilev's Ballets Russes. In the summer of 1918, Picasso married Olga Khokhlova, a ballerina with the troupe, for whom Picasso was designing the ballet, Parade, in Rome; and they spent their honeymoon in the villa near Biarritz of the glamorous Chilean art patron Eugenia Errázuriz. During the same period that Picasso collaborated with Diaghilev’s troup, he and Igor Stravinsky collaborated on Pulcinella in 1920.” [Wikipedia]
The ballet “Parade” was a bit of surrealism written by Jean Cocteau for Diaghilev’s Ballets Russes. It premiered on May 18, 1917 at the Theatre du Chatelet in Paris, with costumes and sets designed by Pablo Picasso, choreography by Leonide Massine and music by Erik Satie. The ballet was the first collaboration between Picasso and Satie and the first time either of them had worked on a ballet. Many costumes were made of cardboard, limiting the performers’ movements. Jean Cocteau went out of his way to create a scandal comparable to Igor Stravinsky’s “Rite of Spring” which had shaken the Paris elite a few years earlier. He added foghorns, typewriters and other noisemakers in the score, and he brought common street entertainments to the stage. Audiences hated it while critics loved it.
“The premiere of the ballet resulted in a number of scandals, including a classical music riot. According to the painter Gabriel Fournier, one of the most memorable scandals was an altercation between Cocteau, Satie, and music critic Jean Poueigh, who gave Parade an unfavorable review. Satie had written a postcard to the critic which read, "Monsieur et cher ami - vous êtes un cul, un cul sans musique! Signé Erik Satie" ("Sir and dear friend - you are an arse, an arse without music! Signed, Erik Satie."). The critic sued Satie, and at the trial Cocteau was arrested and beaten by police for repeatedly yelling "arse" in the courtroom. Satie was given a sentence of eight days in jail.” [Music in the 20th Century by William Austin. New York: W.W. Norton, 1966]
If you want a better look at the fantastic costumes and the ballet itself, check out the following:
Here are couple of other 1920s designs for interesting costumes that are pretty without being a "sexy fairy" or "sexy witch."
I also downloaded this from tumblr, but turns out it is from flickr contributor dragonflydesignstudio
More vintage costume designs here
Plate of "Enigma" costume design by Gladys Spencer Curling in Robes of Thespis: Costume Designs by Modern Artists. Edited for Rupert Mason by George Sheringham and R. Boyd Morrison. London: Ernest Benn Limited, 1928. GT 1741 .M3
I ordered some foam to make a couple of wigs. Unfortunately I ordered too much, so now I have over a dozen.
Costumes Design and Production for Herbicide TV commercial for BASF by www.skillsdivision.com
Director: Srđan Dragojević
..for less formal encounter we are @ Facebook ...so drop by :)