from sketch to screen
Fashion
FROM SKETCH TO SCREEN
Some people could not forget Marilyn Monroe’s white dress blowing up above a subway grating in The Seven Year Itch (1955). For others, the flashback was Audrey Hepburn in Givenchy in Breakfast at Tiffany’s (1961). For me, that moment of appreciation for costume design arrived when I saw Nicole Kidman in the daring red dress in Moulin Rouge. The process of costume design is much different from the designing of everyday fashion. It begins with a script and extensive research, design sketching, garment selection, production and fittings with actors. From Hollywood’s changing rooms to the big screen, the artistic contributions of costume designers are a significant factor in film making as they bring characters to life.
And the Academy Award for ‘Best Costume Design’ goes to... The Oscars have come a long way since their start in 1928, when the original 300 attendees had to pay a $5 entrance fee to watch the ceremony in a small banquet hall. For many of us, watching the Oscars at home gives us yet another reason to be googoo-eyed over Angelina Jolie and admire the latest fashion trends on the red carpet. With its 84th birthday celebration earlier this year, the Academy Awards may be the most buzzed-about fashion event in the film industry. As much as we anticipated ‘Best Actress’ going to Meryl Streep, for us artsy folks, this year and every year ’Best Costume Design’ nominees and winners are the focus of attention for their importance in film. The first Oscar for ’Best Costume Design’ was given in 1948 to the creators of the costumes in the movies Joan of Arc for color film and Hamlet for black and white. In later years, the two categories merged into one. Unfortunately influential films known for their costumes, such as Gone with the Wind and The Wizard of Oz, date back to before the award was established. Scarlett O’Hara’s famous green velvet drapery dress in Gone with the Wind (1939), designed by Walter Plunkett, stands as one of the most recognizable costumes in film history, yet it never received an Academy Award. This year’s winner for costume design, Mark Bridges for The Artist, truly captured the silent movie era and did it with
ONE OF THE MOST INFLUENTIAL COSTUME DESIGNERS IN HOLLYWOOD WAS EDITH HEAD, KNOWN AS THE QUEEN OF COSTUME DESIGN. HEAD WAS A WINNER OF MORE ACADEMY AWARD RECOGNITIONS THAN ANY OTHER WOMAN IN HER FIELD only eight weeks of prep time. “With costumes, you’re always trying to tell the story subliminally. Some of the dresses used in the film were authentic 1920’s dresses. I always start with the actual period dress,” says Mark Bridges. The most outstanding costume in the film is the black satin dress Peppy (Bérénice Bejo) wears while giving an interview at a restaurant. Gold lame and black brocade trim a satin dress that makes Peppy pop in the scene. “As the story gets darker, the outfits follow. The costumes in The Artist reflect the changing moods of the characters and follow the story line,” says fashion historian Kevin Jones. One of the most influential costume designers in Hollywood was Edith Head, known as the queen of costume design. A winner of more Academy Award recognitions than any other woman in her field – eight wins and thirty five nominations – she holds the leading position among designers who work in film. Following her is Mona May who styled Romy and Michele’s High School Reunion and The Wedding Singer with Adam Sandler. Her up to date work includes The Zookeeper featuring Rosario Dawson and Kevin James.
Text Sauline Kojababian
Winning costumes from The Artist by Mark Bridge 110 | May/June 2012
Costumes from Hugo by Sandy Powell 2012 May/June | 111
Fashion Project Runway winner Nick Verreos with designer Marie Claire Hannan
Quirky Mona May better known for her work in Clueless
The Showcase at FIDM For the past 20 years, the Fashion Institute of Design and Merchandising (FIDM) has honored the work of costume designers in the film industry through its amazing exhibitions and museum. Home to some of the most amazing pieces in film history, all five nominees for the 2012 Academy Award, including winner The Artist (Mark Bridges), Anonymous (Lisy Christl), Hugo (Sandy Powell), Jane Eyre (Michael O’Connor) and W.E. (Arianne Phillips) were showcased in their annual exhibition, The Art of Motion Picture Costume Design. This year’s exhibit featured 100 costumes from 20 movies. A costume worn by actress Anne Hathaway as the White Queen in Tim Burton’s Alice in Wonderland greeted visitors at the entrance of the museum as a homage to the winner of last year’s 2011 Academy Awards. FIDM is also associated with the Costume Designers Guild, who put on their 14th annual CDF Awards Show in February featuring alumna Angela Avanesyan as a guest designer. Angela has worked for such companies as bebe, True Religion and Neiman Marcus. Her work has also been featured on the television show “America’s Next Top Model.” Teaming up with Lacoste, the award show was hosted by Jane Lynch from Glee and Kate Beckinsale. “The challenge was to create a mini-evening gown inspired by the iconic Lacoste look made out of the signature pique polo shirt fabric. Lacoste and the Guild only chose three to be represented, and I was lucky enough to be one of the three,” says Angela, who is no newbie to the world of costume design. She participated in the Academy of Motion Picture Arts “Oscar Designer Challenge” in 2011, where her gown was worn on the Oscar stage. She also designed a couture gown inspired by the Mad Hatter for the “Alice in Wonderland” DVD/Blue-Ray Release Fashion Show party in Los Angeles. “Costumes are a direct reflection of the actor’s personality and character. They bring alive what the director envisions. Proper costume design is vital to a successful movie,” she says. Currently working on her own line of contemporary evening dresses called AAvane, at such a young age Angela Avanesyan is making her mark in the industry – four inch stilettos and all.
Angela Avanesyan with her creation for the Alice in Wonderland DVD release
“MS. GARLAND HAD BECOME FAMOUSLY DIFFICULT TO WORK WITH AND MR. AGHAYAN WAS ADMIRED IN THE PROFESSION FOR GIVING THE VISIBLY DISINTEGRATING STAR A CONVINCINGLY WELL PUT-TOGETHER LOOK.” – NEW YORK TIMES 112 | May/June 2012
Costumes from Anonymous by Lisy Christl.
Nominated designer Arianne Phillips with fashion historian Kevin Jones
The man who dressed the stars During a long and lucrative career that spanned many years on Broadway, in TV and film, Ray Aghayan was one of Hollywood’s most sought-after costume designers, having dressed stars like Lucille Ball, Diana Ross and Barbara Streisand. He passed away last year at the age of 83, leaving behind a colorful legacy in the world of costume design. Originally from Iran, Ray Aghayan came to Los Angeles with hopes of becoming an actor before settling in as the main designer for the “Judy Garland Show” in 1963. Born into a wealthy Armenian family, Ray was sent to Los Angeles for school instead of Paris, where most Iranian families sent their kids. He was nominated for an Oscar three times for the movies Gaily, Gaily (1969), Lady Sings the Blues (1972) and Funny Lady (1975) starring Barbara Streisand, although he never won the golden statue. He was also nominated nine times for an Emmy and won that prize twice. In addition, Aghayan was responsible for designing the costumes for the opening and closing ceremonies of the 1984 Summer Olympics. In a 1998 interview with the Archive of American Television, Mr. Aghayan describes his art as a way to “give the actor character” and “help the actor grow into that human being.”
Known as an extravagant man, Aghayan first started to dabble in design when he was a teenager designing for the wife of the Shah of Iran, Queen Fawzia. His long-time business partner, fashion designer Bob Mackie who is better known for dressing Cher in her unforgettable 80s ensembles, continues to design and carry out his partner’s legacy. Decorated spandex loincloths and enormous mohawk headpieces are not included.
Costume design getting technical There seems to be nothing that technology hasn’t affected in the last twenty years. According to historian Kevin Jones, “Technology is the future of costume design. Everything is more complicated these days but in a good way. The lighting, the set decorating, pre- and post-production all have a role in making costumes work on the big screen. There is so much new technology, particularly in the virtual realm where costumes are being created digitally. We still need designers to have a vision, be able to sketch as well as gather materials, but now they have to adapt to new ways of doing things. For example, in past years, the fabric tweed would look drab and muddy on film. Now with developing technology, tweed works just fine.”
For many science fiction movies, such as Tron: Legacy (2010), engineers; metal and lighting specialists and many other unrelated skilled professionals were employed to make the movie come together with a realistic look. With 3-D and crystal clear imaging, there is very little room for error. All of this creates more jobs for specialized individuals. “With the progression of HD and 3-D, I think designers can play around more with texture and color since the quality of the picture is so much more vivid...viewers appreciate greater detail,” says Angela Avanesyan. It takes hundreds of people paying attention to thousands of small details to create a Hollywood film. And as long as movies are being made, designers have the freedom to create. “Technology is not taking away jobs from people. If anything, it is creating more work. More creativity is needed and specialized sectors are called upon. Jobs in costume design do not strictly involve sewing and picking out dresses anymore. The future is opening doors to individuals who have niche skills,” shares Kevin Jones. As costume-making advances, the classics will never die. After all, who can forget Dorothy’s ruby red slippers? 2012 May/June | 113
FROM SKETCH TO SCREEN
Some people could not forget Marilyn Monroe’s white dress blowing up above a subway grating in The Seven Year Itch (1955). For others, the flashback was Audrey Hepburn in Givenchy in Breakfast at Tiffany’s (1961). For me, that moment of appreciation for costume design arrived when I saw Nicole Kidman in the daring red dress in Moulin Rouge. The process of costume design is much different from the designing of everyday fashion. It begins with a script and extensive research, design sketching, garment selection, production and fittings with actors. From Hollywood’s changing rooms to the big screen, the artistic contributions of costume designers are a significant factor in film making as they bring characters to life.
And the Academy Award for ‘Best Costume Design’ goes to... The Oscars have come a long way since their start in 1928, when the original 300 attendees had to pay a $5 entrance fee to watch the ceremony in a small banquet hall. For many of us, watching the Oscars at home gives us yet another reason to be googoo-eyed over Angelina Jolie and admire the latest fashion trends on the red carpet. With its 84th birthday celebration earlier this year, the Academy Awards may be the most buzzed-about fashion event in the film industry. As much as we anticipated ‘Best Actress’ going to Meryl Streep, for us artsy folks, this year and every year ’Best Costume Design’ nominees and winners are the focus of attention for their importance in film. The first Oscar for ’Best Costume Design’ was given in 1948 to the creators of the costumes in the movies Joan of Arc for color film and Hamlet for black and white. In later years, the two categories merged into one. Unfortunately influential films known for their costumes, such as Gone with the Wind and The Wizard of Oz, date back to before the award was established. Scarlett O’Hara’s famous green velvet drapery dress in Gone with the Wind (1939), designed by Walter Plunkett, stands as one of the most recognizable costumes in film history, yet it never received an Academy Award. This year’s winner for costume design, Mark Bridges for The Artist, truly captured the silent movie era and did it with
ONE OF THE MOST INFLUENTIAL COSTUME DESIGNERS IN HOLLYWOOD WAS EDITH HEAD, KNOWN AS THE QUEEN OF COSTUME DESIGN. HEAD WAS A WINNER OF MORE ACADEMY AWARD RECOGNITIONS THAN ANY OTHER WOMAN IN HER FIELD only eight weeks of prep time. “With costumes, you’re always trying to tell the story subliminally. Some of the dresses used in the film were authentic 1920’s dresses. I always start with the actual period dress,” says Mark Bridges. The most outstanding costume in the film is the black satin dress Peppy (Bérénice Bejo) wears while giving an interview at a restaurant. Gold lame and black brocade trim a satin dress that makes Peppy pop in the scene. “As the story gets darker, the outfits follow. The costumes in The Artist reflect the changing moods of the characters and follow the story line,” says fashion historian Kevin Jones. One of the most influential costume designers in Hollywood was Edith Head, known as the queen of costume design. A winner of more Academy Award recognitions than any other woman in her field – eight wins and thirty five nominations – she holds the leading position among designers who work in film. Following her is Mona May who styled Romy and Michele’s High School Reunion and The Wedding Singer with Adam Sandler. Her up to date work includes The Zookeeper featuring Rosario Dawson and Kevin James.
Text Sauline Kojababian
Winning costumes from The Artist by Mark Bridge 110 | May/June 2012
Costumes from Hugo by Sandy Powell 2012 May/June | 111
Fashion Project Runway winner Nick Verreos with designer Marie Claire Hannan
Quirky Mona May better known for her work in Clueless
The Showcase at FIDM For the past 20 years, the Fashion Institute of Design and Merchandising (FIDM) has honored the work of costume designers in the film industry through its amazing exhibitions and museum. Home to some of the most amazing pieces in film history, all five nominees for the 2012 Academy Award, including winner The Artist (Mark Bridges), Anonymous (Lisy Christl), Hugo (Sandy Powell), Jane Eyre (Michael O’Connor) and W.E. (Arianne Phillips) were showcased in their annual exhibition, The Art of Motion Picture Costume Design. This year’s exhibit featured 100 costumes from 20 movies. A costume worn by actress Anne Hathaway as the White Queen in Tim Burton’s Alice in Wonderland greeted visitors at the entrance of the museum as a homage to the winner of last year’s 2011 Academy Awards. FIDM is also associated with the Costume Designers Guild, who put on their 14th annual CDF Awards Show in February featuring alumna Angela Avanesyan as a guest designer. Angela has worked for such companies as bebe, True Religion and Neiman Marcus. Her work has also been featured on the television show “America’s Next Top Model.” Teaming up with Lacoste, the award show was hosted by Jane Lynch from Glee and Kate Beckinsale. “The challenge was to create a mini-evening gown inspired by the iconic Lacoste look made out of the signature pique polo shirt fabric. Lacoste and the Guild only chose three to be represented, and I was lucky enough to be one of the three,” says Angela, who is no newbie to the world of costume design. She participated in the Academy of Motion Picture Arts “Oscar Designer Challenge” in 2011, where her gown was worn on the Oscar stage. She also designed a couture gown inspired by the Mad Hatter for the “Alice in Wonderland” DVD/Blue-Ray Release Fashion Show party in Los Angeles. “Costumes are a direct reflection of the actor’s personality and character. They bring alive what the director envisions. Proper costume design is vital to a successful movie,” she says. Currently working on her own line of contemporary evening dresses called AAvane, at such a young age Angela Avanesyan is making her mark in the industry – four inch stilettos and all.
Angela Avanesyan with her creation for the Alice in Wonderland DVD release
“MS. GARLAND HAD BECOME FAMOUSLY DIFFICULT TO WORK WITH AND MR. AGHAYAN WAS ADMIRED IN THE PROFESSION FOR GIVING THE VISIBLY DISINTEGRATING STAR A CONVINCINGLY WELL PUT-TOGETHER LOOK.” – NEW YORK TIMES 112 | May/June 2012
Costumes from Anonymous by Lisy Christl.
Nominated designer Arianne Phillips with fashion historian Kevin Jones
The man who dressed the stars During a long and lucrative career that spanned many years on Broadway, in TV and film, Ray Aghayan was one of Hollywood’s most sought-after costume designers, having dressed stars like Lucille Ball, Diana Ross and Barbara Streisand. He passed away last year at the age of 83, leaving behind a colorful legacy in the world of costume design. Originally from Iran, Ray Aghayan came to Los Angeles with hopes of becoming an actor before settling in as the main designer for the “Judy Garland Show” in 1963. Born into a wealthy Armenian family, Ray was sent to Los Angeles for school instead of Paris, where most Iranian families sent their kids. He was nominated for an Oscar three times for the movies Gaily, Gaily (1969), Lady Sings the Blues (1972) and Funny Lady (1975) starring Barbara Streisand, although he never won the golden statue. He was also nominated nine times for an Emmy and won that prize twice. In addition, Aghayan was responsible for designing the costumes for the opening and closing ceremonies of the 1984 Summer Olympics. In a 1998 interview with the Archive of American Television, Mr. Aghayan describes his art as a way to “give the actor character” and “help the actor grow into that human being.”
Known as an extravagant man, Aghayan first started to dabble in design when he was a teenager designing for the wife of the Shah of Iran, Queen Fawzia. His long-time business partner, fashion designer Bob Mackie who is better known for dressing Cher in her unforgettable 80s ensembles, continues to design and carry out his partner’s legacy. Decorated spandex loincloths and enormous mohawk headpieces are not included.
Costume design getting technical There seems to be nothing that technology hasn’t affected in the last twenty years. According to historian Kevin Jones, “Technology is the future of costume design. Everything is more complicated these days but in a good way. The lighting, the set decorating, pre- and post-production all have a role in making costumes work on the big screen. There is so much new technology, particularly in the virtual realm where costumes are being created digitally. We still need designers to have a vision, be able to sketch as well as gather materials, but now they have to adapt to new ways of doing things. For example, in past years, the fabric tweed would look drab and muddy on film. Now with developing technology, tweed works just fine.”
For many science fiction movies, such as Tron: Legacy (2010), engineers; metal and lighting specialists and many other unrelated skilled professionals were employed to make the movie come together with a realistic look. With 3-D and crystal clear imaging, there is very little room for error. All of this creates more jobs for specialized individuals. “With the progression of HD and 3-D, I think designers can play around more with texture and color since the quality of the picture is so much more vivid...viewers appreciate greater detail,” says Angela Avanesyan. It takes hundreds of people paying attention to thousands of small details to create a Hollywood film. And as long as movies are being made, designers have the freedom to create. “Technology is not taking away jobs from people. If anything, it is creating more work. More creativity is needed and specialized sectors are called upon. Jobs in costume design do not strictly involve sewing and picking out dresses anymore. The future is opening doors to individuals who have niche skills,” shares Kevin Jones. As costume-making advances, the classics will never die. After all, who can forget Dorothy’s ruby red slippers? 2012 May/June | 113
