Marie Antoinette - Costume and Film

Film and Costume - Marie Antoinette the influence on fashion

The influence of Sofia Coppola's Marie Antoinette is now a fashion cliche in the realms of Audrey Hepburn and the famous French macaroon. Manolo Blahnik designed the shoes and it's no surprise when things are this beautiful that the latest Dior campaign and countless fashion shoots have all been inspired by this iconic cult movie.
This is all down to the incredible Oscar winning designs of Milena Canonero.

The overall look of  the film is set in soft pastels, blues and silk tones (inspired by those Laduree macaroons) evoking the great Cecil Beaton photograph of Charles James ball gowns.
 The cinematography is bright and light with fresh summer skies and gorgeous grainy dusk's giving that intimate youthful aire. There are many eye level shots immersing the audience as a character in the room with Marie-Antoinette. This is then contrasted with huge wide shots of the steps at Versailles for grand scale of the location.

The soundtrack takes genre out of it's stuffy period-drama box and markets as a teen movie whilst the rest of the audience is filled with a nostalgic haze for the beauty of youth that Coppola captures so well.

It's not dramatic in the British period drama way leaving out the usual pout and hyper ventilation in tight corsets. Instead she opts for a cool casual aire.
Coppola positions Antoinette as a down to earth girl,  like any of her age, who doesn't really grow up in her candy box surroundings. The real Marie-Antoinette  was a teenager thrown into being the Dauphine of France at fifteen.

The sets are breathtaking, rooms to make your heart pound with indulgence, the real vast gardens of Versailles, the redecorated rooms at the Palace (which Coppola was given permission to use) filled with the specialist cake departments works of art and detail galore. Trims are trimmed and trimmed again.  Even inside the carriage looks divine papered in blue silks and gold swirls.
Just what you'd expect but in some way it all looks comfortable and real, not so staged.

This is also the feeling you get with the costumes, it doesn't feel like the actors have all dressed up, they wear their gowns and frock coats comfortably like modern clothing today. They are worn in such a relaxed manner. Canonero said In The London Times Magazine: "We squeezed the essence of the period, without reproducing it. Even if you think you know a lot about it," she argues, "you always have to look for a new angle. I simplified the very heavy look of the 18th century. I wanted it to be believable, but more stylised."

The first outfit Antoinette is wearing is pale blue velvet, we talked about the significance of pale blue earlier in the blog and the feminine romance associated with this specific colour.
The dress in Austria is altogether more modest, neat fitted jackets buttoned to the neck, fine ribbon hair bows, and softer hair. On becoming French the costume becomes more flamboyant in couture a low scooped neckline, an austere up-tight look with Tricorn hats and adornments all over.

This constricted look continues at the palace, the wedding dress with a bare neckline and very delicate jewels but powdered stiff hair giving an awkwardness at the occasion.
The 'ridiculous' morning dressing scene demonstrates control by disallowing her to dress herself, something to rebel against. I love all the frilled ladies in waiting surrounding the naked Antoinette and the soft simple smocks she wears to sleep in.
And then we have the famous couture shopping montage (yes the best fashion montage around) picking silk fabrics, the confectious shoes, feathers and ruffles. To compare this scene with the makeover scene in Clueless wouldn't go amiss and such fun indulgence in the characters personal style.
Check out the blue converse high tops lying next to the little shoes in this scene, this shot sums up the whole tone of the film.

The black ball gown is the first outing of Antoinette's chosen more confident defined style with the tulle eye mask (also used in the latest Dior ad) is rock modern with a t shirt cut to the bodice and sheer panels making her stand out against the colourful guests with 'a cool girl' mystery.

The colours in the palace maintain a soft pastel tone for most characters throughout the film with the occasional shot of colour for key roles in a deeper yellow, royal blue or red. Comtesse Du Barry shows off her sexual prowess in her rich reds, blues and purple silks against her cascading black locks as the scarlet woman. Contrasted with the yet to be deflowered Antoinette the costumes reveal the sexual undercurrent to the story.
And then there is the style change after the long awaited consummation and a child is born. Suddenly independence at Trianon with free fitting bohemian white dresses, soft voile's and lawns, reminiscent of Poiret or back to Austen days and romantic country cottage paintings. It makes me imagine the early days of Laura Ashley with all that Edwardian impressionist romance instilled in the designs.

On return to the palace the dress is austere again but with style details like the red velvet belt on the pale blue dress signifying the lustrous affair and longing love, many peoples favourite outfit of the film. There is a Japanese influence in kimonos, dressing gowns and a maturing style and black worn for mourning, the children softened with pale blue trims on black. The colours gradually then go to black and white then white with a black ribbon. And then the last outfits in smokey solemn blue fading to a dull denim grey.

Many people question this film, many say nothing happens and it is a quiet film but visually I don't think they could have done more to indulge the eyes. There are approximately 65 costume changes for Kirsten Dunst in this film. I lost count but you can see them all and read about them here on the costumers guide site. 
Each and every one expresses a part of the story, an emotion or event and this is just the main character. There are the supporting roles, the men, the children, the sets and the sounds that all make this one of the most influential films for fashion and style.

Marie Antoinette 2006, 
Director: Sofia Coppola
Cinematographer: Lance Acord
Art Directors: Anne Seibel and Pierre Duboisberranger
Costume Design: Milena Canonero
Plus a huge list of very talented people in the hair, make-up, art and costume departments.
All photos are taken from the film and are not to be used commercially.

Inspirations - The Searchers

Costume Design and Inspiration in the Film : The Searchers

The classic westerns of John Wayne have never really been my thing and The Searchers is a film I  previously would have avoided, and certainly never expected to find so much design inspiration. I won't give away the plot, but here's a glimpse of the beautiful things to watch out for in the film.

Technicolor is most important word in the title graphics as the film opens. There is an overall colour tone that dominates of warm reds and oranges. Just watch the purity of the red as it gleams from the screen on those fabulous long johns! The colour is oil paint rich in saturated brights with deep black dramatic contrasts. Technicolor films are always a treat for the eyes and this visual confection is like dark chocolate pudding. 

After colour we have the detail. Each frame holds a symbolic language of it's own in the brilliantly designed sets such as the rustic cabins that place you at the table amongst the copper pots, willow china and hand painted wooden furniture. I never expected so much detail in a western and it was an indulgence that could be studied equally in every location of the story.

The costume plays a vital role in providing the detail and the rich colour and textures add subtle context to the story. The use of American Indian textiles and art throughout the settlers wardrobe portray the complexity of this post Civil War, Cowboys and Indians tale. Even out in the sparse desert, a land of sweeping landscapes, horses and men, the language of the fashion and how it is used adds so much to the story.

The film begins with women preparing a meal in the cabin where the designer has kept the costume not only beautiful but practical to each character. Printed dresses are protected under white pinafores, crossing at the backs, tying at the waists, and with ruffles and embroideries that could be dresses in their own right. This initially adds softness, an insight into daily life in contrast to the rustic cabin. The layering adds extra volume in the skirts making the tightly fitted bodices appear even smaller at the corseted waists.

Ginghams and plaids play a large role in both the men and women's costumes, with little pieces of cloth and dolls dresses being produced as evidence in the search for the missing girl. Jeffery Hunter wears his gingham shirt in such a modern way it could be standard indie band fashion today. 

The all-American pair of jeans appear, although I'm not sure if they are in fact Levi's, but with the John Wayne and John Ford cowboy equation, these must be the most American denim on film. Ribbon bows add a finish throughout and became one of my favourite accessories, from the ends of pig-tales to gentlemen's bow ties in various thicknesses. I suspect a collection inspired by these are due. 

Hats are again a main-stay in all variations. Ward Bond's character takes great pride in his moleskin top hat and as they travel to New Mexico, flat ranch hats change to straw Sombreros. Scar's flamboyant feather head dress is grandly placed on his head whilst astride a magnificent horse, and one of my favourite scenes featuring Jefferey Hunter trading bowler hats with added feathers is a colourful feast laid out on screen. 

Hand decorated gun holders with fringing and the beautiful wool wrapped plaits of Natalie Wood, warmed by the red hues in undergarments and jackets tell of the attention given to the costume design in this beautiful looking film; and to think the costume designer, Charles Arrico was un-credited! This could be due the main characters being men, who in Hollywood at this time would have provided their own costumes. Did John Wayne, Jeffery Hunter and Ward Bond really create those incredible details themselves?

It would take a lot to achieve this level of communication and beauty in another film. The visuals are the key to expressing the challenges and developing relationship between the American cultures. Even the rocking chairs have an important role. 

Film Title: The Searchers 

Year: 1956

Director: John Ford

Cinematographer: Winton C.Hoch

Costumer Designer: Charles Arrico

Art Directors: James Basevi and Farnk Hotaling

Main Cast: John Wayne, Jeffrey Hunter, Vera Miles, Natalie Wood, Ward Bond

Day to watch: Sunday afternoon

Format: as high quality and as big as you can get, don't miss out on that detail.

More info on IMDB Here

Mid week Movie - My Week With Marilyn

My week with Marilyn directed by Simon Curtis 2011 and written by Colin Clark and Adrian Hodges.
We watched this last night for the first time. I want to watch it again, and again.
Michelle Williams (Marilyn) and Eddie Redmayne (Colin) were fabulous, she got the character of Marilyn perfectly without it being an impression, making the role her own. I could have watched those two for the whole length of the film, maybe bringing in the Arthur Miller character (played by Dougray Scott) for a scene as he looked amazing too.
The one thing that didn't seem to sit well on first viewing was that it felt a little forced with such Great British cliches in the story (which I'm sure really happened!). Visits to Eton and Windsor castle, Judy Dench and the cast that made it appear there are only five British actors in the world. They are brilliant actors but the old familiar faces were quite distracting for this story, some unknown names could have been better.
Its difficult when the story involves film stars that are inbedded in our memory, and have become almost untouchable. We're all going to be critical if they don't meet our set fantasies of the Hollywood stars.

My favourite scene - when Marilyn first steps off the plane and the press conference. I just love Marilyn and Arthur Miller together. The next scene is the skinny dipping, she just seems to capture that sexy, exciting side that everyone imagines Marilyn Monroe must have had.
My favourite costumes ........... By Jill Taylor
Colin's suits, the wide cut trousers and longer fitted jackets with the shirts.
Arthur Millers shirts and chinos, effortlessly so handsome with the glasses
Of course Marilyn's Prince and the showgirl hourglass white dress, I'm sure there's some padding in those hips which make her curves just look incredible. (must research)
Marilyns chined waist wiggle dress with the empire line cut tightly under the bust with darts to make it pop at a fabulous angle.
Marilyns super simple camel pencil skirt and cream shirt with the collar folded back. It's all about the cut being so perfect to show of the figure and the waist at its best.

Inspirations it's left me with - to go blonde, wear red lipstick, hourglass cuts in plain fabrics and silhouette, silhouette, silhouette.