Yves Saint Laurent biopic has just been released in Spanish Billboard. A film biographical, fairly loose in my opinion, where the costume is one of the leading and most care. The task of the costume in a film about fashion designer is not easy, and Madeline Fontaine has got one more than acceptable job.
“Yves Saint Laurent” has had the blessing of Pierre Bergé, so recreate the costumes has been much easier. The design of costumes for the film is divided into two parts: the recreated costumes and the original.
Berge gave them access, through the Foundation Yves Saint Laurent, original models of the time. In the film are its famous tuxedos, tuxedo jackets and Mondrian dresses, all them museum pieces. Madeline Fontaine has, in any other interview, that the handling of these items was quite delicate. They had to wear white gloves and be very scrupulous when playing the clothing.
Being original parts they could not do any modification or variation, so they had to look for models that clothes fit perfectly. Apart from the use of YSL originals, they also used clothes created by the designer in his time into Dior.
Another part of the costumes had to be recreated since they had no access to them or were missing these specific pieces. Some models had to make from scratch and others bought at antique markets and were adapted to the needs of the film or the body of the performer. One of the main values of the film, is that you can enjoy from the most mythic collections the designer, although the film doesn’t quite convey the grandeur of YSL pieces.
We don’t have to forget that there is one film where the protagonists are men. So your costume is one of the important. The costume designer is excellently over the years and the evolution of the designer through the wardrobe. Also Yves Saint Laurent dressed in impeccable and shy manner, always seemed to hide behind their huge glasses.
Yves Saint Laurent in Jezebel
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- Duel by Yves Saint Laurent in the film: the 5 differences not to confound you room
- Yves Saint Laurent, a legendary legacy that will never be forgotten
- Yves Saint Laurent, pop art, a masculine woman and the eternal controversy
- The horizontal Yves Saint Laurent or YSL shorted by http://www.abbreviationfinder.org/acronyms/ysl.html
- Saint Laurent collection autumn-winter 2014 / 2015
Fashion in Film: MarÍA Antoinette
We know that fashion is not only located in walkways and shops, but in different artistic manifestations such as the cinema and the theatre… and of course, we cannot deny that more than one it has captivated us once the costumes for films and plays, all have our favourites!
And either as spectators for the purpose of entertainment or from a professional point of view, this is a very important area in fashion, either because the costume is a fundamental part of the way in which the messages of the works or films are transmitted, or because the costume design is an area in which many fashion designers can develop. It is even important to mention that some films may emerge tendencies which subsequently marks be taken to launch new items or collections.
That’s why in this new column will analyze the costumes for films and most important works of the last decades and at the same time we will know the geniuses behind these incredible creations.
Let us start then with María Antoinette, Starring Kirsten Dunst.
This film is a visual delight, so was Oscar-winning in 2006 to best costume design thanks to the impressive work of Milena Canonero, of the hand of Sofia Coppola, who developed a new interpretation of the teen Queen.
From the beginning, Coppola said a scenario worthy of a world of candy and desserts! giving rise to a range of pastel tones that defies the grim aspect of the past as well as to the cliche ‘sepia’ which appears in many films and that usually transports the Viewer to ancient times; instead broke through a locker room overflowing freshness, youth and at the same time modern.
For Coppola, the wardrobe was always the central part of the design in general film and therefore knew that he would need not only an absolute historical understanding of the styles of the 18th century but the creativity and the overflowing talent of a designer who could interpret their wishes and assimilate the symbolism that was behind every texture, every color and every accessory María-Antoinette… and nobody better than Milena.
Remember that historically María-Antoinette arrived in France in a moment of extreme extravagance in fashion and therefore were allowed to own huge apparel of exquisite materials of the most famous fashion houses in Paris, so it continues being remembered as one of the most stylish women, which signaled more trend in the history of Europe. This last was what wanted to bring to the present the great team of Coppola and Canonero, as throughout the film we see that characteristic elements of the 18th century such as corsets, hoops and headdresses adapted to our days through more stylized and functional cuts, as well as with the chosen color palette, are showing in this way the evolution of María-Antoinette from a very young girl to a sophisticated woman.
In the words of the designer: “took the essence of how it was in the 18th century and we gave them style.” “We wanted to show more warmth and humanity, so that clothes had to have at the same time richness and simplicity – a contemporary view”. And for this hard work, Canonero mixed authentic costumes with own original designs, making them in the finest silks, organza, tulle and taffetas of Italy and England.
As for footwear, we can see how mix past and present as hundreds of pairs designed by Manolo Blahnik who created modern versions of 18th-century shoes were. In fact to reinforce this mix of times, giving it a modern and daring film, Coppola incorporated a pair of Converse in a scene, thus reaffirming the typical characteristic of María Antoinette adolescent personality.
In addition to the main character, there were 3 characters who stood out significantly: Luis XVI, the Countess of Noailles, played by Judy Davis, and Madame Du Barry, played by Asia Argento.
As for the Countess of Noailles, we can say that her wardrobe was very elegant and appealing as she will chose shades of yellow, lemon and lime representing the acidic qualities of his character. Madame Du Barry was on the other hand, the designer as an exotic bird so it filled her jewelry, turbans and feathers.
Madame Du Barry
Countess of Noailles.
In the case of Luis XVI, Canonero decided to move again the cliches and typical images that we see in the paintings of the time, so it gave her wardrobe a fresh simplicity without falling in excess of embroidery. It maintained the use of the most fine and exclusive but decorated with embroidery lighter materials.
As mentioned it at the beginning, films are also part of the sources of inspiration to create a trend and in the case of María-Antoinette were the costumes, makeup, accessories and complements that led some designers to create collections with a clear Rococo inspiration that each brand integrated differently from its design concept.
As an example it is the cover of September 2006 of Vogue USA, a month before the film’s premiere. In the editorial, entitled Teenager Queen, appears Kirsten Dunst with creations by Alexander McQueen, John Galliano for Dior and Balenciaga.
Another clear sign of this, some collections fall 2006 of Dior, Valentino, Vivienne Westwood, and Oscar de la Renta, as well as the limited edition of shoes inspired by this film that Louboutin launched in 2007.
2006 collections inspired by the film.
Dior – Fall 2007
While this film is mainly recognized and awarded for costumes and photography, it is worth mentioning also their soundtrack, consisting of songs by bands such as The Strokes, New Order, The Cure and Bow Wow Wow; as well as Baroque music composed by Jean Philippe Rameau, Antonio Vivaldi and Français Couperin; once more allow us to appreciate the excellent combination between 2 completely opposite times.
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