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Thank you very much. Thank you for having me nice to see so many people here.
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Good afternoon. Good evening. this bye, I feel like 5 is evening.
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But here we are in the between the afternoon and the evening yeah, i'm going to speak to you today.
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About fashion designers in film. and this is a bit of research that I did a bit of a thing I put together as part of some wider research.
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I was doing that on clothes in film, and how clothes in film work.
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And I started thinking, there's quite a few occasions, when fashion designers have got involved in filmmaking for for whatever reason, normally to clothe a particular actor or for a particular project and I started, to think is this is
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this a good method? Does it? Does a does a fashion designer bring what we want as film colors and as film lovers do. They have the skills? or do we need someone that's actually trained in in in the language of cinema, And how
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to how to costume a character, and how you can do things with the characters costume, to tell you things about their their character, about the plot, to tell you things about the about the movie.
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So I thought it would be nice to look at a few sort of a few examples, and you can kind of make your own minds up.
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I can guess as to as to whether these are effective or not, whether they whether they work and whether this whole idea of fashion design, is kind of crossing the road and coming in to work on films is actually a kind of a productive and
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useful thing when we think of fashion. Design is getting involved in film to dress particular particular actors.
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The very first one we normally think of is Audrey Hepburn, and all the dresses that she wore that were designed by Hubert Giovanni in the fiftys and sixtys.
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So as much some non-conformist that's where we're going to start today as well I thought it'd be nice to look at a bit of background of that because it's something that we kind of take for granted
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you see, Hepburn on film and you think that's that burn wearing a gyvanchi dress?
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But how did that come about? Well, it goes back to the first, the first film that she made where she was dressed by Shevant.
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She is a film called Sabrina, which will take a little look at in a second in the Uk.
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It played as Sabrina Fair that was called it's a Billy Wilder movie, and it's from 1,954.
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Now in the film. Her character is a young lady who's just come back to the Us.
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From Paris, and has has a number of fancy Parisian frocks that she wears, and the idea is that she's a no, not a fish out of water.
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But it's a kind of a walker some near more glamorous character than than in this in the world of America that she's brought back this Parisian style when with her so portrait ben said Well, why don't
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I get some, you know, a real fancy Parisian dress that I can wear.
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I will make it realistic so very well, they said, go for it.
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She went off. First of all she went to Balanceyaga. he said he was too busy, and he sent her to Hubert Giovanni. He said he was too busy.
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He said, but you can buy them. you can just buy something from the shop.
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I haven't got times making something but buy something off the peg, and she said, Okay, and she bought at least a couple of dresses that she wears in the in the movie and it's kind of the beginning of a of a of
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a beautiful collaboration Now, officially, and the movie Sabrina, the costumes are by a custom designer called Edith Head, who, if you know 1 one costume designer, is probably the one, you know, probably I think the most
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prolific Oscar, whenever by costume sign it either thread.
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Officially. she she built on the the Chevans, she clothes, and was inspired by them and built other things. and
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That argument, and that disagreement about whose clothes we're actually looking at on the screen. Is it Is Are they actually on cheese, or are they?
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Or are they edit heads reenter obsessions of those you aren't sheet designs and that's gone back and forth?
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No one seems a 100% sure. Both Shimanshi and Edith Head are now long dead, so we'll never know for sure.
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So we'll just say that both deeply involved in clothing this character.
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What I think is really interesting is There's a really useful quote from the time for that from Audrey hebang, she says, and this is after She'd made a number of a number of pictures wearing shepherd she
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she said, Javashi's clothes are the only ones I feel myself in.
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He is more than a designer. He is a creator of personality, and I think this idea that she feels herself in the clothes is really interesting, because and it asks us the question: Do we go to the cinema to see actors? or Do we go to Cinema?
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To see characters. Do we want her to feel herself or Do we want her to feel like the character she's playing in the film?
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And I think this sort of speaks to the time so when you when stars were big stars were bigger than the characters they they played.
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But I think it's it's crucial that the he's dressing.
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He's not necessarily dressing the characters he's dressing Audrey Hatburn.
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Why don't we have a little look at a bit of Sabrina?
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Then better than me better than me, just talking about it that she makes an entrance here.
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I think, which is worth seeing in a Gyvonchi dress, which I did.
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I apparently has been altered to make her look less bony.
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She was very Hepburns, apparently very concerned with how bony she looks, and how how thin she looked.
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And so one of the things that Gibon she did is he cut the clothes around that to to flatter flatter figure.
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So. let me share my screen I don't know what that was, and we'll have a look at this little picture.
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This is slightly quiet. this dvd i'm afraid but you'll you'll get the idea
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What is it, David? Oh, would you like to go and get something gate?
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No, thank you, darling. A drink
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I'm terribly sorry no no it's it's my fault.
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I didn't see you will it wash out Elizabeth. Yes, it isn't bad.
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Well, you'd better go and do it right now, huh?
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Come on, Miss
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Oh, Sabrina!
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You look wonderful. Thank you on a bit late I worry were you afraid i'd forgotten the address.
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It was was my mind. Here we dance right here
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We're leaving there dancing for a minute I mean she's, you know. she's obviously a scene steeler, and she and she yeah, the camera loves her.
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She's one of those people that that that the camera just absolutely loves.
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And that seems works I think it's you know it's important to point out, because she is supposed to be she is supposed to be turning everyone's heads.
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She's supposed to look completely different she's supposed to have that Parisian, a Parisian style that she's that she's brought with her. and she's supposed to radically different to everyone else on screen when we look
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at it now. Looks like Audrey Hatbone, looking like Audrey Hepburn, because we, over the over the following years, get so used to that.
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Look that it that it becomes like watching that watching Hepburn on screen rather than rather than her playing that that particular character, I guess, is there? I guess, as the is the the crucial point we can we've probably got time to
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look at another very quick click from this, because I think this is an interesting
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If we jump to about hair. we look at this scene here that she plays with the with Humphrey Bogart.
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Yes, well have a look at this and we'll talk better afterwards.
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Come to order of the boat, I would like to say at the outset, Chairman is so busy meeting adjourned.
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Have a frozen dachary. I saw an office like this in an old copy of Fortune Magazine.
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At my dentist. I, David, got an office like this, something like this, only larger, larger.
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Oh, yes, instead of a desk, he has a pudding green, please, Sabrina, before my fingers get frostbitten
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Is this the ledge? What ledge? You know the ledge?
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That woman when you almost the ledge Yes, Yes, that's the ledge.
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All right, Humphrey Bogart suddenly looks old doesn't it by comparison.
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It suddenly suddenly send him out. Looks like a young person's game
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I showed you that clip, because I think it might be nice to look at.
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Could this image here an Edith Head drawing? Let me going in and out of the share? Let me share.
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This. This is a small image, but you'll get the idea this is a native head drawing from the time.
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Saying what to have been clearly the dress they had the whole output that she's wearing in that in that scene so part of the story of whether it was as you have on she dress or or something that the Edith had worked up based
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on giovanni's design but it's it's clearly come from you know from from from the man himself.
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Whether she's interpreted or not in fact i've got a whole bunch of other images which I think will be crucial to have a look at.
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Now so we've we've looked at we know where it began.
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Now really we know we know where whether whether they're how their working relationship started.
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If I add a bunch of images here, and share screen you'll get the idea.
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So they went on There he went on to clothe her in 6 more movies through from from 54 to 66.
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So so we've got We've got images from funny face not a particularly good one.
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I hit that's funny face. you can see exactly the same kind of style, exactly the same style as she was she was wearing in the in at the garden party.
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It's you know almost exactly the same look that's love in the afternoon.
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Not a not particularly good. I can find a still from that. That's just that. that's just a frame capture from that.
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The iconic, of course, is brexit stephanie's a little bit of an outlier an outlier in the in the in the in the in the the Heburn Giovanni
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cannon charade getting a little bit more sixties.
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But still kind of very much cut to to fit Audrey herself.
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Paris, when it sizes 64 very similar.
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Look to charade and finishing with how to deal a 1 million Peter at all.
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That's 66. That was the last the last movie that cubbert costumed her in much that love all those films much sell.
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I've order to happen. she is in every single one of those stills. and really, in every single one of those movies she is Audrey.
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Happen we're looking at the the collaboration is a collaboration between actor and costumer rather than someone costuming particular characters.
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I think. There's also. he also designed I mean she must have absolutely loved him, because he also designed her dress that she wore when she collected her Oscar.
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That's a small picture. but there you go and the dress that she got married in as well.
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So. He was a massive, a massive part of that.
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He was costuming her on and off screen I think that's a really crucial crucial part of it, because it shows that what he was doing is providing clothes for her rather than providing clothes.
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It sounds what it means, say it, but rather paranoes for the characters in the film.
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I'm not saying he didn't necessarily read every script. but I think he's working with the the raw material of Audrey happen rather than rather than rather than doing something specifically to the to what
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motor requires so let's leave audio for a bit. that's one example of of a relationship in the way the way these things work.
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I want to compare this to the relationship between Catherine Denver and Eve San Lorraine, which comes around a little few years a few years later on.
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So story with these 2 is Okayatherine Denov was due to meet the Queen in 1,966.
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She was married to David Bailey at the time and David Bailey said, What are you going to wear to meet the Queen?
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He said, Why don't you Why don't you ask Eve salaron to make you something to wear to meet the Queen, which is not a conversation that many married couples need to have But it came up between them so and that
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was her first introduction. Introduction These bits over the word to to Eve Santa Ron, and and what he did.
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So I've got an image of what she wore the queen's not in this image, but some other famous faces are that this is what Eve santa Ron designed for her to meet to make the Queen there
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Julie, Christie, and Sarah address as well, of course all looking great.
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But Catherine Denner of really going I think quite a quite a standout. I've got a bold look there for for for meeting the Queens.
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That was the first thing he designed for and the first thing in example, was for it wasn't for a film like I say it was, for it was for real life.
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It was for ram it's amazing the queen in 66. So then became the start of a kind of professional friendship and a collaboration between the 2, and then the in 67.
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She makes belle dejor with Louis Bunnell and
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She herself suggested Eve Santa Ron to Bunnell, to to call the character she plays in the film Severine.
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Now what he did if santa rosy went away and created an entire sort of wardrobe for her, so that so that in every in every scene she's wearing, she's wearing something designed by him but what I
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think he does that jean-monchi doesn't Doesn't really do?
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Is, I think he. He knows exactly what the character in the film needs and what and what he needs to what he needs to portray, and how he needs to, how he needs to clothe the character to tell us something as as film governors.
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who are Yeah, as literate film goes. But we we look at, we look at what characters wearing.
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We infer things from it. We read certain things. we read things about color, about carts, about opulence or not, about fabrics, about texture, and we read things, and we start to.
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We learn things about character. If a costume designer is clever well, we'll learn something about why they're wearing that particular thing, and then there can be symbolic things as well about buttoned upness or things not fitting property or
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things not quite worn properly. That might tell you something else about that about the character as well.
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And I think he really he really works that really well in in in in Belgium.
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So why don't we start i've got I can show you a couple of clips in this which I think will be quite useful.
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Second. This is the very opening scene of bell to shore.
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It starts with Belgium. The film is about young woman, a young Parisian woman.
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With a husband in in Paris who is bored and decides that her life might be more interesting if if she became a prostitute in the afternoons and sort of does it for thrills, and then gets mixed up in a whole
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world of gangsters and difficulty and it all goes a little bit wrong.
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So it's. got this element of the double life in it, Of course, that gives you all sorts of opportunities to play with costume, and to play with.
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How costume can you know which which severine are we seeing, and maybe suggest moral things about what might be going on, but can also tell us something about who Severine is right from right from the off.
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So we're going to start with this very opening scene the film starts the very long shot through the park in Paris, with nothing modern on display at all. at the very beginning.
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You could think you're looking at a at a period drama, and they're in a horse strong carriage, but we'll start.
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We'll jump in just before we just before we we we we cut to them to them in the in the carriage, having a conversation, and have a look at what? obviously they have a look at what what severines wearing and what the
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film what the film tells you immediately about severine and who she is in the dialogue, and how that's reflected in what she's wearing, because I think it's I think there's there's interesting stuff
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going on, so did I open the click as I did let's go from
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The Dictator disasters Is it them sexual that all that moisture click 12 more, Please me quick.
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It's more seems like to saber effect could afford the other spies.
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Limbaugh put such to pay really that fashion can't you see? about 20 most on earth copper 10.
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The Savior at the last. Could you bit Miss Shelter
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I take, so that's a very short scene in which I think we learn a lot about the character of Severine, and we learn immediately that she's capable of being warm, but also being very cold.
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We learn there's. Probably some sort of marital discord happening there, and it may be to do with her coldness, and what we see is her in a well, she's wearing red for a start which is has been used in countless times in
00:19:20.000 --> 00:19:26.000
cinema as a symbol of both passion and of danger so it's kind of used ironically in that there's passion.
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There's passion that isn't being put to good use at the moment, but it is in there that in itself is dangerous. So the use of red is a cinematic code that I expect in costume that I think is really is really
00:19:38.000 --> 00:19:47.000
important, and eve as he's latched onto that immediately. but this idea of this quite sort of military cut of coat that's all buttoned up.
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Except there's. one or 2 kind of loose buttons, which, of course, none of this happens by by accident.
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I it's kind of symbolic it's symbolic of her closed off Nessa, buttoned upness. But there is a way in There's a there's a psychological way into to her buttoned upness as
00:20:04.000 --> 00:20:10.000
well, and that's all I think in the in the clothes are sort of the sort of quite hard austerity of it.
00:20:10.000 --> 00:20:16.000
But this this this sort of bright and also the bright red in the context of the outdoor, the sort of muted outdoor colors as well.
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I think it's really important. she's like a sort of a beacon.
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We know she's going to be the focus of the film and we know there's going to be passion and danger.
00:20:23.000 --> 00:20:30.000
It's going to be focused around her and like I say we have what's had this element of repression and buttoned up nests, which is kind of key to key to her. character.
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So I think he's doing he's already doing a really good job He's already kind of figuring out What do we?
00:20:35.000 --> 00:20:40.000
What do I need to do? What do we need to to say about this character? What do I need to?
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How ready to present this character on film and that's only you know we're not even 3 min into the into the movie yet.
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I'm. not at a slightly longer clip of this later on. This is the the sort of tipping point for severing.
00:20:53.000 --> 00:21:00.000
This is when she starts to think another way of life might be possible, and we're going to start with this little scene here.
00:21:00.000 --> 00:21:07.000
At a at the tennis club. Look at 2 scenes sort of adjacent to each other here.
00:21:07.000 --> 00:21:31.000
And and look you'll notice it anyway, but look out for the kind of the juxtaposition of what she wears in in each
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Didn't do, Spain barriers on the hotel boulevard, where you're a man of what we're doing. See?
00:21:50.000 --> 00:21:59.000
No, Sam, I that was the layer
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Let me still use all yet stuff the pharmaceutical, the dubious!
00:22:09.000 --> 00:22:16.000
He comes set at myself, honey, was that musical we, Porilosha.
00:22:16.000 --> 00:22:23.000
To Bethmo. Lymos measurated the funki. Savon, Lafoylas, Puddarajo.
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Something crazy at Google. Rodby severe should put back upon it I'm concerned, who survey so look you may see the moon. the Roduisa's pasture to parallel firmly from humanonymous also to
00:22:35.000 --> 00:22:53.000
them the misoccupied with Via kanet. who is your daughter? first in BukU.S.A.? a buffet? I particularly if i'm complete myself, he said, to a year she, an ice the city is all the sooners on the guarded excellence
00:22:53.000 --> 00:22:59.000
of it focus. Give a park, miss. Now yeah cute compulsion.
00:22:59.000 --> 00:23:07.000
It's exactly She wants any shot solve it to nothing that you animal, Jimmy Abukuk pierre fashion.
00:23:07.000 --> 00:23:17.000
I was talking this repellent
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She met him Andis all the city Jonasumi
00:24:34.000 --> 00:24:44.000
So let's leave her there. I don't think i'd need to explain the the costuming choices made there in those 2 scenes, but I like the way they sit in the film up against each other, we have the the the
00:24:44.000 --> 00:24:50.000
innocent almost at a virginal looking submarine at the tennis club that looks like butter would mount their mouth.
00:24:50.000 --> 00:25:00.000
I'm actually has this decision that maybe she's gonna go and see what's what's going on at all through to somewhere, and is back in the sort of military style buttoned up so it's almost in
00:25:00.000 --> 00:25:12.000
disguise almost like a really bad spy and you know into the black and buttoned up and the black hat and the and I was gonna say in glasses, but she's not wearing glasses, but she feels like she should be wearing
00:25:12.000 --> 00:25:21.000
glasses. it's a and it's very much presenting this idea, like the 2, the 2 submarines that the double life and so much of that obviously is going on in the costume. it's a bit blunt But
00:25:21.000 --> 00:25:26.000
it. Really, I think it it really works, and the film is full of little things like that.
00:25:26.000 --> 00:25:38.000
Ideas of you know these these contrasting things that are severing and black as ever in and white this idea of the buttoned upness. it's all there and it's and so it's all coming from
00:25:38.000 --> 00:25:44.000
from from eve santa cruz he did have 4 leaps an Iran in in designing some costumes for film.
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He'd decide some costumes for the 1,963.
00:25:48.000 --> 00:25:58.000
The pink pant at the first paint panther movie Claudia Cardinali's character is wearing Eve Sandra one, and that bade never I don't think dressed the character for the duration.
00:25:58.000 --> 00:26:03.000
Of a of a of of a movie. And he went on.
00:26:03.000 --> 00:26:07.000
After this day, one and the next year, they make it they made a film together, called Lashamard, in which he dresses her again.
00:26:07.000 --> 00:26:16.000
But it's not it's, not as interesting and then she wore his clothes in 4 or 5 other movies kind of going through the seventys and into the eightys, but normally just one item I don't think he dresses her
00:26:16.000 --> 00:26:21.000
for a whole film again. So It's a less enduring relationship.
00:26:21.000 --> 00:26:33.000
Then the Hepburn giovanni relationship but it's, I think it's more so successful in the in the kind of in the the the smaller window in which in which it exists.
00:26:33.000 --> 00:26:43.000
Got some interesting pictures to go alongside this they're they're together slightly later.
00:26:43.000 --> 00:26:46.000
Eve, Santa Ron, and and
00:26:46.000 --> 00:26:57.000
Catherine did have i'm just realize i've accidentally dressed this eve salad on today. it must have been decided to channel him in the velvet jacket quite hard to find pitched them together from this
00:26:57.000 --> 00:27:14.000
era actually. But there's one and a couple of pictures from the Eve Santa Ron Museum, which I think are worth looking at of the of the designs which are put to rather nice actually the interesting thing about the designs
00:27:14.000 --> 00:27:22.000
and we're just you know we'll just look through, and these are just a few of their sketches of a few of the different things she wears in the movie.
00:27:22.000 --> 00:27:25.000
They look slightly younger, I think, on on the page the money dresses for real.
00:27:25.000 --> 00:27:29.000
The interesting thing is, of course, what happened was the next year.
00:27:29.000 --> 00:27:34.000
All these clothes were in workshops in paris because he was a designer.
00:27:34.000 --> 00:27:42.000
They're they're also sold stuff. you could get you know you could go and buy some efsan around in Paris, and and and indeed people did.
00:27:42.000 --> 00:27:46.000
And so the next year everybody was wearing trench coats.
00:27:46.000 --> 00:27:48.000
Everyone was kind of dressing, like like Catherine Denver had A.
00:27:48.000 --> 00:28:00.000
Had a had a massive kind of knock on effect under the contemporary fashion, and to his own to his own safety as well to his own success; and he didn't make shoes at the time.
00:28:00.000 --> 00:28:05.000
So the shoes are by Roger Roger Vivier.
00:28:05.000 --> 00:28:07.000
There in the in the East Animal Museum as well.
00:28:07.000 --> 00:28:12.000
And those are apparently I didn't know but these are on enduring women's.
00:28:12.000 --> 00:28:19.000
Shoe classic and much copied, and and they were designed specifically for this, for this movie.
00:28:19.000 --> 00:28:33.000
So it's a it's a really successful little little moment a collaboration between the between between the 2, and maybe if it doesn't last as long as the like, I say as the as the Mr. Gibonchi and
00:28:33.000 --> 00:28:36.000
and Hepburn collaboration I do I do feel like It's more it's more cinematic.
00:28:36.000 --> 00:28:46.000
There's more going on where you can that you can kind of read, and you can infer things you can understand things, and from what the character is wearing on on the screen.
00:28:46.000 --> 00:28:50.000
So that's a really good successful one we've had we've been in America.
00:28:50.000 --> 00:29:00.000
We've been in France. let's have a look at what's going on in Uk at roughly the same time, because, we had fashions as well.
00:29:00.000 --> 00:29:08.000
Someone in the chat just said Very Mary. quant very interesting that you might say that it's a merry quant that we're about to about to turn right now.
00:29:08.000 --> 00:29:24.000
So well done you've read me like a book so Mary quant young designer of Clouds, that people can actually buy and that in the early sixties, and successful all the way through the sixties.
00:29:24.000 --> 00:29:32.000
She had also been involved in the early sixtys in costuming some individual characters in films.
00:29:32.000 --> 00:29:35.000
Some filmmakers have gone to and said, Can you can you dress?
00:29:35.000 --> 00:29:39.000
Can you dress this one particular character, or can we dress this character in inquant?
00:29:39.000 --> 00:29:48.000
So, of course, some images here. I won't share that one because we're going to look at the one bump. let's look at these. so we've got pictures here.
00:29:48.000 --> 00:29:53.000
Of
00:29:53.000 --> 00:30:05.000
Picture of a Nancy Quan in a song called The Wild Affair, the one of the first 1,963. a movie called The Haunting from the same year, Yeah.
00:30:05.000 --> 00:30:12.000
Same year. 63 very early sixties. look very similar in in in both films, you know.
00:30:12.000 --> 00:30:15.000
Sort of quite, very, very sort of early mod sort of late.
00:30:15.000 --> 00:30:21.000
Beatenk kind of look black tailored very smart.
00:30:21.000 --> 00:30:27.000
And then this image here is a publicity shop for the film, Elfie.
00:30:27.000 --> 00:30:30.000
1,966 in case you didn't notice by looking at it.
00:30:30.000 --> 00:30:33.000
Marc came up, looking very smug as as Alpha.
00:30:33.000 --> 00:30:40.000
The interesting thing about this this publicity show is I saw this publicity shop, and there's Jane Asher on the on the left.
00:30:40.000 --> 00:30:45.000
And wearing a very obvious bit of Mary Guant. That Mary Quant Baton is is is really familiar.
00:30:45.000 --> 00:30:51.000
I thought, Okay, So So jennifer scouted where's quantum? This film?
00:30:51.000 --> 00:30:59.000
How interesting the interesting thing is. She never wears that in the film, although this is a this photo goal. Is that obviously the sort of in character? I think.
00:30:59.000 --> 00:31:02.000
But Jane actually never wears that in the film.
00:31:02.000 --> 00:31:04.000
So she wore it just for the just for the photo.
00:31:04.000 --> 00:31:10.000
Call that in the Mary Gomp was so cool that you that you might wear our clothes just for the publicity shots.
00:31:10.000 --> 00:31:19.000
If not in the actual movie. but I still thought that was worth sharing, because it kind of shows a quant is kind of moving with the moving with the times.
00:31:19.000 --> 00:31:27.000
The really nice bit of mercant we can have A look at is from film Georgie Gal, which is 1966.
00:31:27.000 --> 00:31:32.000
Now, I really like the film Georgia Girl. It seems to be on Tv quite a lot. at the moment.
00:31:32.000 --> 00:31:42.000
One of the one of the free channels seems to be showing it quite often. so you'll probably stumble on it if you watch a lot of daytime Tv movies like I do it's 66 it's almost a
00:31:42.000 --> 00:31:49.000
swing London film, but it's a bit too, early and it's almost a kitchen sink drama, because it and it's sort of black and white and gritty but it's a bit too late.
00:31:49.000 --> 00:31:56.000
It kind of falls it's. a falls into the camp between those 2, those 2 sort of movie genres which is which I think is quite interesting in it of itself.
00:31:56.000 --> 00:32:07.000
So it's about Georgie who is George you would like to be a kind of girl about town. but she's not confident she's not particularly physically beautiful.
00:32:07.000 --> 00:32:13.000
She's a bit clumsy things don't really go her way.
00:32:13.000 --> 00:32:20.000
She's got a flat mate. her flatmate Meredith is is a played by the young charlotte.
00:32:20.000 --> 00:32:31.000
Rambling is beautiful, stylish, tiny, compared to compared to Georgia, and so fits into all the all the sort of mid sixtys factions, much were sort of effortlessly stylish.
00:32:31.000 --> 00:32:36.000
But she's an absolute nightmare and she's a really nasty piece of work, and she never gets her come up.
00:32:36.000 --> 00:32:42.000
It's in the film which really upsets me but Meredith is like the flat mate from hell.
00:32:42.000 --> 00:32:54.000
We side with with Georgie all the way and what's interesting is quant dresses meredith, so it's she's dressing essentially that the bady but she's dressing her to kind of look
00:32:54.000 --> 00:33:04.000
modish. so 66 modish, so that she looks very much sort of of the time. let's have a look at this still clip here, which I think is a really good illustration of how you can use costume to mark
00:33:04.000 --> 00:33:22.000
2 characters about on screen that Meredith is obviously covered in in Mary Quant This scene, and and Georgie very much isn't
00:33:22.000 --> 00:33:30.000
I don't know dust now this
00:33:30.000 --> 00:33:39.000
Okay. yeah. praying Mantis elephant, bloody, marvelous.
00:33:39.000 --> 00:33:46.000
Well, thank you, miss. some hockey parking. Yes, however, just at the moment our book seem to be full of annual imitators.
00:33:46.000 --> 00:33:51.000
But would you be prepared to strip, my dear? Got one or 2 operations?
00:33:51.000 --> 00:33:58.000
Got so much the better. The customers, like them within reason, of course, have to ask money on a number will be in touch. I'll bet you Willie.
00:33:58.000 --> 00:34:09.000
Dirty old slob
00:34:09.000 --> 00:34:13.000
Are you going out? Why, aren't you going with Joshua anyone.
00:34:13.000 --> 00:34:23.000
No, let's go and eat then, but at the first order of dust and all that nonsense i'm leaving you
00:34:23.000 --> 00:34:29.000
Forkins, Residents
00:34:29.000 --> 00:34:40.000
Hello! Oh, hi! I might be
00:34:40.000 --> 00:34:51.000
Okay, I'm not doing anything where then you'll have to Pick me up, Have the tube in about 5 min.
00:34:51.000 --> 00:35:07.000
See you
00:35:07.000 --> 00:35:15.000
Where are you going now? Party nicks for god's sake, Georgie? You don't expect me to have a meal with you. if I can go to a party.
00:35:15.000 --> 00:35:19.000
Do you I didn't mean it like that if you've been the one invited.
00:35:19.000 --> 00:35:22.000
I'd naturally I never am let's go into that again.
00:35:22.000 --> 00:35:27.000
Georgie.
00:35:27.000 --> 00:35:34.000
Okay, if you're gonna be suicidal i'll stay no go, sure sure have a lovely time.
00:35:34.000 --> 00:35:48.000
I think about you and I don't buy cocoa
00:35:48.000 --> 00:35:52.000
To leave Georgia there, washing up socks in the sink.
00:35:52.000 --> 00:35:56.000
But i'm really interesting clothes on film moment that I think because obviously Meredith looks great.
00:35:56.000 --> 00:35:59.000
But she's very contemporary she's very 66.
00:35:59.000 --> 00:36:05.000
The clothes will fit her perfectly, and the choice this juxtaposition to have Georgie dressed in what are essentially man's clothes.
00:36:05.000 --> 00:36:09.000
Sort of decentralizes her makes a film much less much less clamorous.
00:36:09.000 --> 00:36:15.000
But it's It's it's important that what that what merit it's wearing is actually Mary Quant Americans come in and and dress her.
00:36:15.000 --> 00:36:21.000
And there's a nice little coder to this scene actually, if I can find it for you.
00:36:21.000 --> 00:36:34.000
It's just here later on. later on Meredith is let me just get it bang on
00:36:34.000 --> 00:36:36.000
Meredith is pregnant, and has morning sickness.
00:36:36.000 --> 00:36:57.000
Have a look at this scene here. See what you See what you notice
00:36:57.000 --> 00:37:07.000
Not, was again
00:37:07.000 --> 00:37:18.000
Well, no use. you ask me to lend you the money this time because I won't. I don't care if it's old hat, and it's just a middle class taboo and the law needs changing and the population of
00:37:18.000 --> 00:37:22.000
these islands will be doubled by the year 2,000 I won't do it.
00:37:22.000 --> 00:37:26.000
So did you notice hanging up in the background very realistic approach to close our farm?
00:37:26.000 --> 00:37:40.000
There's the spotty meritant dress that she was wearing earlier on. and now she's pregnant she can't wear it, and it's kind of hanging up as a sort of reminder of things things lost but I think it's a very realistic approach
00:37:40.000 --> 00:37:45.000
to clone some that sometimes you will just like leave them places and it's It's you know that that's what should do with it.
00:37:45.000 --> 00:37:47.000
But I like that. I like that as a little little cinematic touch.
00:37:47.000 --> 00:38:01.000
It's kind of slightly out of reach so that's Quant and there's another bit of quant I can show you and it'll lead us back it'll lead us back to Audrey Hepburn if
00:38:01.000 --> 00:38:11.000
you bear with me a second while I honor that a really interesting outlier in the in the body of work of Audrey Hepburn.
00:38:11.000 --> 00:38:20.000
Is this movie? 2 for the road? which is from 2 thirds from 1,967.
00:38:20.000 --> 00:38:25.000
It's Stanley Donan film. i've only got a very small copy of this.
00:38:25.000 --> 00:38:31.000
Unfortunately, it's Dvds not anomorphics that comes out quite small thoughts.
00:38:31.000 --> 00:38:37.000
This is a really interesting film, too, for the road it's a Oj.
00:38:37.000 --> 00:38:43.000
Have been an Albert Finney are married and their marriages on the rocks, and it's it's 1,967.
00:38:43.000 --> 00:38:52.000
When the film is set and it's set in 67. but the whole film is shown through a series of flashbacks, and we very rarely come back to 1,967.
00:38:52.000 --> 00:39:06.000
It's a kind of kind of nested flashback structure, where sometimes a flashback will lead on to us, and only and only marginally. let more recent flashback, and so Scott quite hard to keep track of where you are But
00:39:06.000 --> 00:39:08.000
What Dona does is he uses fashions.
00:39:08.000 --> 00:39:19.000
To kind of illustrate to illustrate where where we are chronologically and it's a really useful way of of breaking breaking the film up.
00:39:19.000 --> 00:39:26.000
It's really nice to see happen of this of this era not wearing chip on, she and wearing something more more contemporary.
00:39:26.000 --> 00:39:34.000
So in this we have Mary, Quant she's one of different points packa Raban, she wears towards the end.
00:39:34.000 --> 00:39:43.000
Hardy amy's there's loads of like mid sixtys kind of what I always think of as like Sunday supplement designers like the kind of stuff that you would see in like the Then new color.
00:39:43.000 --> 00:39:53.000
Sunday supplements about like fashions of the future and it's slightly unwarrable, but you know, within a couple of years there'll be there'll be high street versions.
00:39:53.000 --> 00:39:59.000
All that, and but it's it's right on on this point here, and it's it's fun.
00:39:59.000 --> 00:40:10.000
It makes the film fun. but it also kind of it also kind of reminds you of of where you are chronologically, but it says a couple of other things as well.
00:40:10.000 --> 00:40:12.000
So there's so many clips I could show you the whole film.
00:40:12.000 --> 00:40:16.000
If I felt if we had, because we had like a day to do this.
00:40:16.000 --> 00:40:26.000
But have a look at this this is this is a rare moment in the film where we're back in 1,967, and they're They're sort of bemoaning everything that's that's gone wrong in their life so just look
00:40:26.000 --> 00:40:32.000
at what Audrey have done is wearing in the scene you'd be far better off on your own wouldn't.
00:40:32.000 --> 00:40:38.000
You not again, Joanna. You want to get on. I know Maurice is. wait.
00:40:38.000 --> 00:40:42.000
Let him wait. he's got you on a line only he has to do. Start reeling you in.
00:40:42.000 --> 00:40:48.000
You shut the hell up about Maurice if he won't for the reason you know what would be happy broke broken, happy.
00:40:48.000 --> 00:40:51.000
You want to go back to living in Sally? You hated it.
00:40:51.000 --> 00:41:03.000
I loved you hated it. I hated it I hate being at other people's back and cold as soon as someone back so calls that just resented That's all okay, you run the show you handle it.
00:41:03.000 --> 00:41:07.000
You worry about the house and the flat nanny and Mrs. Rathbone?
00:41:07.000 --> 00:41:13.000
I don't want any of them do I am I the one that wants the mammal sports watches.
00:41:13.000 --> 00:41:16.000
Take your watch? I don't want it I don't want anything?
00:41:16.000 --> 00:41:28.000
Why is it? Whenever you give a woman everything she wants you get so floody minded you don't give me everything I want. You give me everything you want to give me Joanna, your watch. Joanna.
00:41:28.000 --> 00:41:35.000
I love you
00:41:35.000 --> 00:41:38.000
I just think how hot, how hot's that pb so Bbc.
00:41:38.000 --> 00:41:46.000
Suit must be under what substances can you wear a Pbc. So it kind of says something about the characters. it doesn't it, and the scene is about what we've arrived. and we've got all the trappings of everything
00:41:46.000 --> 00:41:51.000
we want but they're but they're not very we don't really want them anymore.
00:41:51.000 --> 00:42:00.000
And I think there's, probably something about a pvc suit that also ticks that box as well, it's that it's sort of desirable and its own weird way.
00:42:00.000 --> 00:42:08.000
But then also sort of completely useless and horrible there's loads of loads of sort of great looks.
00:42:08.000 --> 00:42:11.000
Those are just sort of great clips i'll have to show you some of that.
00:42:11.000 --> 00:42:18.000
Let me show you a slightly longer one. where we get to see
00:42:18.000 --> 00:42:25.000
A bit of packer rabbin now pakistan at the time, and this is what I mean by slightly unwearable.
00:42:25.000 --> 00:42:30.000
I'm wearable fashions what he was doing was he was making
00:42:30.000 --> 00:42:41.000
He wasn't the only one but he was making clothes out of metal clothes, out of bits of metal little metal disks, and the things that you kind of see on on on models in the in in Sunday supplements and at
00:42:41.000 --> 00:42:44.000
fashion shows and things that you kind of think that's amazing.
00:42:44.000 --> 00:42:48.000
But when in reality but anyone ever wear it completely impractical.
00:42:48.000 --> 00:43:00.000
And of course, you know, in a movie is the answer and and to you know, to say something about characters in a in a film. So there's a lovely scene at the end, where, towards the end where kind of things are back to sort
00:43:00.000 --> 00:43:04.000
of going going right for them again. Have a look at this, and you can.
00:43:04.000 --> 00:43:12.000
A a rare moment of audiohabburn in in in Pakistan
00:43:12.000 --> 00:43:19.000
We're doing. I want you to meet my fiance since the Obino Joanna Wallace David's been telling me about you.
00:43:19.000 --> 00:43:24.000
Congratulations. Thank you. Had a phone call from Hal Familyius on.
00:43:24.000 --> 00:43:35.000
I got the job. Good! good going to the States only for 2 years.
00:43:35.000 --> 00:43:42.000
Then you must pay me 10 min I need your advice mark we're gonna see him in Rome on pride on his way through 10 min.
00:43:42.000 --> 00:43:56.000
Huh! Say, i've heard the wonderful news about you and this beautiful girl here, and I only want to say that if you 2 can be as happy as those 2 wonderful people over there and have a marriage like theirs you have to stay to worry
00:43:56.000 --> 00:44:05.000
about. You see, Mark, my problem is very simple. of course, no one else in the scene is wearing address made out bits of metal.
00:44:05.000 --> 00:44:17.000
It's a way of marking her out on screen everyone else suddenly looks very ordinary, whereas another film they're the glamorous. But it's a way of kind of saying we're slightly a cut above the
00:44:17.000 --> 00:44:29.000
film has this lovely kind of scene towards the very end there's a few flashbacks kind of pile in on each other very quickly, and wait, and then we're led back to the sort of have a look at this little moment
00:44:29.000 --> 00:44:35.000
here. It is probably the most kind of contemporary Audrey Button ever gets, and this is
00:44:35.000 --> 00:44:38.000
This is all Mary Conk, which is wearing the glasses up on other people's glasses.
00:44:38.000 --> 00:44:41.000
I've seen i'd love a pair of these losses myself.
00:44:41.000 --> 00:44:51.000
I've seen. Oh, the oliver people still make them they're several £100 seen images from the time of the rolling stones or wearing them, so they all had a bear but they were designed for rogering at them for this
00:44:51.000 --> 00:44:55.000
film bar to peoples, and a bit of quant that she's wearing, I think, in the quant.
00:44:55.000 --> 00:45:01.000
So slightly channel channeling the kind of M. appeal. look of the avengers have a look.
00:45:01.000 --> 00:45:10.000
You have to admit it. we've changed I admit we've changed. It's sad but that it is life.
00:45:10.000 --> 00:45:16.000
At least you're not a bad temper disorganized conceited failure anymore.
00:45:16.000 --> 00:45:31.000
You're a bad temper disorganized conceited success that's possible.
00:45:31.000 --> 00:45:36.000
Wait a minute. it's you know if bad basketball will put a parasite not here.
00:45:36.000 --> 00:45:38.000
Were you No, my passports in here must be in here somewhere.
00:45:38.000 --> 00:45:52.000
I've got a very important meeting in rome i've got to get through
00:45:52.000 --> 00:45:56.000
There you go. probably the most contemporary you ever see.
00:45:56.000 --> 00:46:02.000
Audrey had done. I think that and that's all Mary Quant thinking about those metal dresses.
00:46:02.000 --> 00:46:08.000
Let's finish with something a little bit silly that kind of pokes fun at that.
00:46:08.000 --> 00:46:12.000
I want to show you this because this isn't you probably well, you may not have seen this.
00:46:12.000 --> 00:46:16.000
You might have done It's not a film that's that's rightily available.
00:46:16.000 --> 00:46:23.000
So again I've Got quite a small copy, of it I thought it would be quite fun to look at a little bit of a film called, Who are you, Polly Magu?
00:46:23.000 --> 00:46:29.000
From 1,966 strengths by William Klein, which is a kind of it's a satire about fashion.
00:46:29.000 --> 00:46:35.000
This, but this whole first scene is kind of taking the Mickey out of
00:46:35.000 --> 00:46:48.000
This, This idea of clothes made of metal I think it's really interesting to to think that even at the time people knew that that was Bonkers people knew that it was silly, and it was really unwearable.
00:46:48.000 --> 00:46:51.000
and even cinema audiences would have known that.
00:46:51.000 --> 00:46:56.000
So we get this kind of this kind of fun poking poking at it. have a look at this.
00:46:56.000 --> 00:47:14.000
You'll see exactly what I mean this is the first time
00:47:14.000 --> 00:47:24.000
Thank you.
00:47:24.000 --> 00:47:45.000
That's what is you done just
00:47:45.000 --> 00:48:15.000
I hope you're well, I Miss maxwell can't you know she's lucky that i'd like people shift to live your time
00:48:39.000 --> 00:48:48.000
Don't plan for punching good
00:48:48.000 --> 00:48:56.000
Wasn't good enough
00:48:56.000 --> 00:49:05.000
Number One: Okay.
00:49:05.000 --> 00:49:09.000
Was I sit up surly more than you i'll give him a pipeline make a fail.
00:49:09.000 --> 00:49:16.000
Oh, she did! She moves up on the session booty before.
00:49:16.000 --> 00:49:27.000
We don't know I need
00:49:27.000 --> 00:49:30.000
We'll have to leave next I promise i'd stop at 10 to the hour.
00:49:30.000 --> 00:49:40.000
Questions, and it's a very silly film who are you probably, Mago, but it makes a serious point, and the serious point is that fashion is essentially a kind of stupid and frivolous business.
00:49:40.000 --> 00:49:48.000
And I I end with that as a bit of fun, but I hope it's the session has made you think a little bit about clothes and what they can say about characters on screen.
00:49:48.000 --> 00:50:00.000
And and whether we need designers to understand the kind of the the nuts and bots of filmmaking, or whether you can just drop a design or end, who just makes a certain answer look good.
00:50:00.000 --> 00:50:03.000
And and there's room for both isn't it in some ways.
00:50:03.000 --> 00:50:06.000
But i'll be interested as to which you which you prefer, and which you really liked.
00:50:06.000 --> 00:50:11.000
But there we go, happy to have to stay questions over to you if you don't thank you very much, Christopher.
00:50:11.000 --> 00:50:23.000
That was all. Rather fabulous folks wasn't it and and as a rosemary said, You seem to have picked some of her favorite films, so that's good glad to be a service who's meeting no i'm
00:50:23.000 --> 00:50:28.000
waiting to see if we get some questions in because I think you've stunned everybody in silence.
00:50:28.000 --> 00:50:38.000
Just for Oh, here we go here's one this is this one's from Miranda wasn't the court at the very beginning more orange than red.
00:50:38.000 --> 00:50:45.000
Oh, interesting! Well, I find it again again. Now bear with me a second.
00:50:45.000 --> 00:50:58.000
It may just be the way the film looks. I I I read this as maybe we can take a quick vote on it.
00:50:58.000 --> 00:51:03.000
Let's share this
00:51:03.000 --> 00:51:17.000
What do we think looks red to me you know what i've I've realized actually myself personally, that I have real trouble with things that are at the very end of our engine at the very Our Agenda fred and curiously
00:51:17.000 --> 00:51:20.000
this decide. This is an interesting scientific fact that you can use.
00:51:20.000 --> 00:51:35.000
Women have better vision. Women can discern more shades of red and orange than men, because of the way, because you there's a possibility that women can have 2 different types of of cone in that in the in your dna you can
00:51:35.000 --> 00:51:41.000
women's, acuity for red can be twice as good as men's, because of the way dna works, and only women can be tetrachromats.
00:51:41.000 --> 00:51:46.000
Some women can see more colors entirely than than all men. Men can never be touched, Chromat.
00:51:46.000 --> 00:51:53.000
But I definitely sometimes struggle with like. Sometimes I look at tomatoes, and I think is that red or orange things that are on that cusp.
00:51:53.000 --> 00:51:58.000
But I I do read that as red. Yeah. and I think things like color blame.
00:51:58.000 --> 00:52:03.000
This is a bit more prevalent in men than women as well, which is probably part of it as well.
00:52:03.000 --> 00:52:06.000
Sexualcrimacy is really interesting that's about for another day.
00:52:06.000 --> 00:52:11.000
The general consensus seems to be read i'm not here.
00:52:11.000 --> 00:52:23.000
So, even if it was a very red orange, a very, very bright orange bed, I think it would still be doing the same cinematic job, which is kind of drawing our attention to her, and suggesting These, ideas of danger
00:52:23.000 --> 00:52:31.000
and and passion particularly. I think red red is used as a sort of cinematic code for for those things.
00:52:31.000 --> 00:52:34.000
All that all the time, and and you're very very often in costume. Yeah.
00:52:34.000 --> 00:52:43.000
Okay, but let me have a look through here, and cause even There's some, maybe some comments in here that might be interesting to have a little more over
00:52:43.000 --> 00:52:56.000
So let's say that right Okay, so from Regina she thinks fashion has freed us culturally, and I guess that's probably right.
00:52:56.000 --> 00:53:08.000
Hmm an interesting angle I mean that's that does. that goes a bit beyond what we're looking at
00:53:08.000 --> 00:53:10.000
And it would be interesting to look at maybe at movies.
00:53:10.000 --> 00:53:21.000
That sort of reflect reflect that idea. I think I need more detail on that statement, really Okay, is that interesting, interesting?
00:53:21.000 --> 00:53:25.000
And questions from Sue and this is a personal opinion.
00:53:25.000 --> 00:53:33.000
When I think. do you think Audrey Hepburn is a good actor, because it's quite different to see how that starts.
00:53:33.000 --> 00:53:44.000
And Gibbons, she, and looking like almost like the same character all the time, and then seeing her later, and some of the other designers, I think I think Audrey Hepburn is a good actor.
00:53:44.000 --> 00:53:49.000
I like crm screen I suspect, like a lot of film stars.
00:53:49.000 --> 00:53:55.000
At the time she was probably never quite given material. That was a long way out of her range.
00:53:55.000 --> 00:54:00.000
She came up through the fifties and early sixtys and into the late sixtys at a time.
00:54:00.000 --> 00:54:05.000
Really when the studio instead in Hollywood is kind of is kind of on the Wayne.
00:54:05.000 --> 00:54:08.000
But actors are very much put in boxes. You were, you know you were.
00:54:08.000 --> 00:54:26.000
You were a time, and you and you would get the roles that fit your as like a like a gang land leader in an early seventys gritty thriller.
00:54:26.000 --> 00:54:36.000
I mean, could she do it? Did she would you have the range of something like that? I don't know I would love to see Audrey Hepburn cast against Hype more because she is always the you know the the the
00:54:36.000 --> 00:54:41.000
casting agent. Is it's sort of in collaboration with the studio of just that.
00:54:41.000 --> 00:54:45.000
Well, we want to. Yeah, we want Audrey help and there's that old that on Hollywood adage that you start with.
00:54:45.000 --> 00:54:48.000
Like get me you start with like who's audrey he burned.
00:54:48.000 --> 00:54:53.000
Then It's get me, Audrey Hair burn and it's get me a young Audrey hat burn, and then it's Who's Audrey Hepburn?
00:54:53.000 --> 00:55:02.000
And you go through that cycle, but you know when you're when you're hot, your hot and definitely these days act act more are allowed to stretch their range more.
00:55:02.000 --> 00:55:11.000
But coming through in the fiftys, and sixtys I don't think she ever would have the opportunity to prove she was, if she really was a versatile actor.
00:55:11.000 --> 00:55:21.000
But she's always good on screen you always feel that she's You always feel that she's safe so even though she doesn't exhibit the range you might want I would definitely put her in the box of good actors that's
00:55:21.000 --> 00:55:36.000
a long martial question. Okay, So a bit more of a comment from an isn't isn't the job of the designer to contribute to informing a subcatic trouble that's true isn't it what they're there
00:55:36.000 --> 00:55:43.000
for so I mean these these moments where like an actor has a sort of favorite designer that come in and design stuff for them.
00:55:43.000 --> 00:55:54.000
So that's that that they're relatively rare and that's kind of what I was you know what I was hoping to to hide and say how how they can work or or not work so eve santa
00:55:54.000 --> 00:56:00.000
Ron seem to understand what you you know if it'd been if it'd been a a cinematic costume designer. he would.
00:56:00.000 --> 00:56:06.000
He would have been good at it, would humor Chiwan. She had been good at it. Could he address someone else in the same way?
00:56:06.000 --> 00:56:21.000
What's that? Okay, we've got a comment from Lyndon as well, and in the in the film, the timidance seat and the red that do Your address Julie Andrews to timeless but the clothes dated
00:56:21.000 --> 00:56:25.000
very quickly. That would have been a good one to include today.
00:56:25.000 --> 00:56:30.000
Actually you're right yes, and you know that's that is the thing about very fashionable clothes.
00:56:30.000 --> 00:56:40.000
They do they do date, they do date very quickly I mean That's even, you know, if Santa Ros designs are a bit more time, especially you know you look at you look at Belgium, and it doesn't mean it didn't
00:56:40.000 --> 00:56:47.000
Stop! screams late sixties not quite as much as the as the 2 for the road clips, but it does it.
00:56:47.000 --> 00:56:50.000
Yeah, there's no way you can you can not things that you just take to be completely normal in their time.
00:56:50.000 --> 00:56:56.000
They try. and you look back and go well people wore that even if it's even if it seems completely ordinary at the time.
00:56:56.000 --> 00:57:02.000
So yeah, you're right to be to bring in a you know to have like contemporary fashions in a film.
00:57:02.000 --> 00:57:05.000
You're immediately saying, this one will look dated in 51050 years.
00:57:05.000 --> 00:57:10.000
Yeah, Yeah. So a couple of people have asked the same question.
00:57:10.000 --> 00:57:23.000
Basically Sue and Susan and the current film director still work with specific designers and included in that you know some of the big famous designers that we we know about in the fashion world.
00:57:23.000 --> 00:57:41.000
They do and they don't it would it depends and interestingly, probably the last really big one of those I can think of is look best on and doing the the fifth element that's late ninetys I think of that
00:57:41.000 --> 00:57:48.000
as a recent film, because I know the feeling so.
00:57:48.000 --> 00:57:54.000
Those were the the fifth element stuff is all done by
00:57:54.000 --> 00:58:01.000
Assign his name won't come to me someone put it in the chat, or i'll look it up for you.
00:58:01.000 --> 00:58:09.000
But no, the the designing clothes specifically for for film and for Tv is a bit more of a closed shop.
00:58:09.000 --> 00:58:16.000
When you see stuff that's made clothes that are made specifically for film
00:58:16.000 --> 00:58:23.000
A lot of them are rubbish unless they're designed to be shot in real close-up, and and designed to look a particular way.
00:58:23.000 --> 00:58:37.000
They are, you know, a lot of the banks banged together, so it's not the same it's not the same discipline as making as as making you know sort of cure clothes, or even sort of off the bag
00:58:37.000 --> 00:58:41.000
of the bag clothes. Hmm: Okay, right well we've got some more questions.
00:58:41.000 --> 00:58:46.000
So we'll just run on for a little bit to to look at these
00:58:46.000 --> 00:59:00.000
Now let me just look hold on 1 s we've got lots and lots of cool, which I will make sure you get a copy of later, and from Rosemary, who, who who has seen a lot of her favorite films to do and she's
00:59:00.000 --> 00:59:15.000
asking about maybe some other iconic 60 phones. darling servant, for example, how important is fashion in those I think we need to make a distinction between fashion and and clothes.
00:59:15.000 --> 00:59:25.000
You know clothes per se, because how you know clothes are incredibly important, and from whenever I watch films with my wife, and there's something on screen that it's that kind of seems meaningful.
00:59:25.000 --> 00:59:28.000
She quite often goes. Do you think that's meant to be that?
00:59:28.000 --> 00:59:35.000
And I always say, yeah, every everything is meant to be there, every little nuance of whatever you see, is meant to be there.
00:59:35.000 --> 00:59:42.000
So. every sort of detail of how someone dresses and what they wear can be, can be really utilized.
00:59:42.000 --> 00:59:48.000
To tell you something about that character. Does this Does something button up in a certain way, you know. Does it? does it fit them?
00:59:48.000 --> 00:59:53.000
That's always a really interesting one. you can put characters in clothes that are slightly too big to make them.
00:59:53.000 --> 01:00:00.000
Look to sort of make the to sort of shrink them down on screen, or you can put them in things that are too small to make them look to the bigger and and more powerful.
01:00:00.000 --> 01:00:06.000
That there's you know it's it you can do so much with it.
01:00:06.000 --> 01:00:14.000
And then you have this kind of error as Well, that's sort of slightly prior to this, and a lot of film you are what in love of their thirties and forties movies,
01:00:14.000 --> 01:00:20.000
Men quite often wore their own clothes. so humphrey Bogar in a lot of those kind of Warner brothers movies.
01:00:20.000 --> 01:00:29.000
It's quite often just barring the sits that he turned up in which I find bizarre that he would just turn up, and they'd just be like yeah what what you're wearing is good i'm free put the script down and we'll start and we'll
01:00:29.000 --> 01:00:36.000
start filming you think Wow! that's completely the complete the other end of the spectrum, like we've sweated over every detail of what this character is wearing.
01:00:36.000 --> 01:00:40.000
But you know great, but your good stuff, maybe he just you know didn't it?
01:00:40.000 --> 01:00:48.000
It's part of that thing isn't it of casting Humphrey Bogart in the way that you would comest order a Hepburn because you want because you want bogart you want you want
01:00:48.000 --> 01:00:56.000
headburn and they mean more to the audience than the count as they're playing and like I say fashion.
01:00:56.000 --> 01:01:11.000
It itself can sometimes data picture can sometimes data film. It can sometimes pin a film too too closely to its era whereas the kind of things you can do with costume in telling you something about a character are a bit more a bit more
01:01:11.000 --> 01:01:17.000
timeless. Okay, right we've got time for another couple of questions.
01:01:17.000 --> 01:01:25.000
We still got quite a few questions, but I don't think We're gonna have time for them All everybody But what we will do is Take the other ones a week, and we'll try and answer them afterwards.
01:01:25.000 --> 01:01:28.000
So let me just it's far any far any right?
01:01:28.000 --> 01:01:35.000
Okay, Well, let's look here. question from deborah Do you know who designed M.
01:01:35.000 --> 01:01:44.000
Appeals wardrobe now, I do and the Emma. I can't think of the guy's name for a while.
01:01:44.000 --> 01:01:50.000
You could buy the you could buy em at peel's water, but it was designed to be
01:01:50.000 --> 01:01:58.000
I want to say Sinclair something, Dave Sinclair I can find out for sure.
01:01:58.000 --> 01:02:01.000
But you could buy. you could buy the Mpr water.
01:02:01.000 --> 01:02:05.000
So in that in that sort of fifth series of the avengers where Mml.
01:02:05.000 --> 01:02:13.000
Starts wearing those kind of the sort of track suit onety kind of suits that she wears for doing kung fu and and things You could buy those those for sale in the in the High Street.
01:02:13.000 --> 01:02:22.000
So you could. You could get your very own your very own one and So that's like a I don't know how many people did.
01:02:22.000 --> 01:02:37.000
I've certainly haven't haven't seen any surviving I don't think but it's really interesting that the the makers of the event just thought well this is you know this is a potential this the potential
01:02:37.000 --> 01:02:45.000
tie in that something that people would spend would spend the money it's such an iconic look that Look! That's why I sort of referred to it at the end of 2 for the road.
01:02:45.000 --> 01:02:50.000
Because the the bit of Mary quant that she's wearing looks, I think it looks very much out of the same So the stable as those are.
01:02:50.000 --> 01:02:54.000
It's sort of in up it Looks out of action it looks like you can do action in it.
01:02:54.000 --> 01:03:03.000
But but yes, no. The name of the actual designer escaped me, but I have. I have. We can we can get that afterwards.
01:03:03.000 --> 01:03:10.000
Can't we we're right okay no question from Madeline.
01:03:10.000 --> 01:03:12.000
Now you talked a little bit when you were talking about.
01:03:12.000 --> 01:03:17.000
I think it was Eastern wrong about, you know, designing the clothes for the film for the characters.
01:03:17.000 --> 01:03:23.000
And then some of those clothes ended up, back out into the fashion routes and for people to buy.
01:03:23.000 --> 01:03:27.000
And Madeline is asking has been responsible for the questions ever made.
01:03:27.000 --> 01:03:33.000
The designer a commercial success. So and I think I think what Madeline's meaning is a costume designer.
01:03:33.000 --> 01:03:37.000
That then has gone on to commercial success off the back of Hmm.
01:03:37.000 --> 01:03:49.000
I can't think of a cinematic costume designer that's ever kind of stepped out of that box and kind of sold sole versions of the clothes that people wanted that that Mmm i'm assuming
01:03:49.000 --> 01:03:56.000
you ever saw. The wrong was very well known before. He then went on to the name for Catherine to know.
01:03:56.000 --> 01:04:00.000
Been doing that, for you know the best part of a decade by the time you did that.
01:04:00.000 --> 01:04:04.000
So yeah, you you could you? You would definitely sort of walk into Eve, son, or on the next year and go.
01:04:04.000 --> 01:04:08.000
Look, there are those trench coats, and there are those Rosa Vva.
01:04:08.000 --> 01:04:12.000
Shoes, and you know, and and so the look kind of trickled down to the High Street.
01:04:12.000 --> 01:04:15.000
I think often the look of things like that in films.
01:04:15.000 --> 01:04:26.000
Film fashion does trickle down to the high street but not always at the hands of the person that's done the designing, because the person person that's doing cinematic costume design is probably just onto
01:04:26.000 --> 01:04:35.000
the next bit of cinema designing unless they've got a particular specialty in doing historical things, or you know, unless they're an expert in certain fields. they'll be dressed just dressing other characters and moving on
01:04:35.000 --> 01:04:47.000
it's only where you need to have the connections to kind of bring it to the High Street, and make money, which is why I think only really people that start as that start us as fashion designers by saying I've been able
01:04:47.000 --> 01:04:55.000
to to do that right? Okay, we're going to take one more question. and then I promise you, after the any other questions, that will take these away.
01:04:55.000 --> 01:05:00.000
Somebody just says, jump will go to a fifth adam and that's the name i'll start going with.
01:05:00.000 --> 01:05:13.000
Yeah, Jean Bogotier designed not just the not just the costumes for for Bruce, Willis and Millieovovitch, but he designed and hand crafted himself a 100 extras costumes so every extra in
01:05:13.000 --> 01:05:18.000
that film is wearing an original piece of John Paul Goier, which he made with his own hand.
01:05:18.000 --> 01:05:29.000
So it must have been incredibly busy to. But the fifth element was at the time the most expensive movie made outside of Hollywood, and still is the second most expensive movie man outside of Hollywood.
01:05:29.000 --> 01:05:38.000
Whatever and he was quite big at roamed about that point as well wasn't he on pole too, it's very late ninetys It it all fits, but to make all those costumes I mean that's a lot of work and to do them
01:05:38.000 --> 01:05:41.000
all himself not just delegate them to a to a lackeys.
01:05:41.000 --> 01:05:50.000
It's that is that really of something. yeah okay right we've got what we're gonna take one more question, and then we'll take the rest of the way. Everybody and we'll do what we can to get those answered afterwards.
01:05:50.000 --> 01:05:52.000
And we will push them up beside the recording of the lecture.
01:05:52.000 --> 01:05:59.000
Once we we get that, get that upon the members sites. So this is a question from Jenny.
01:05:59.000 --> 01:06:07.000
Why do? you think Hollywood is dominated in contrast to French cinema, which seems much more fashion conscious?
01:06:07.000 --> 01:06:20.000
Interesting question isn't it it is an interesting question I what I really love about French cinema, And this may be a partial answer to this question: I love how, when you go to France you're see posters for
01:06:20.000 --> 01:06:26.000
films that look amazing. They look like Hollywood movies, or they look like sort of big wrongcoms or dramas, or things like that.
01:06:26.000 --> 01:06:30.000
And you think Oh, I wonder if i'll see that coming to the Uk.
01:06:30.000 --> 01:06:37.000
And they never do. They have got. The French are fantastic sort of insularizing their culture.
01:06:37.000 --> 01:06:43.000
They have the so many fantastic French movies never make it outside France, and in some ways they don't care.
01:06:43.000 --> 01:06:46.000
It's a bit like French music it's a little like French pop stars!
01:06:46.000 --> 01:06:56.000
A lot of them, you think. Oh, whatever happens to sound so it's like there's still an enormous star in France setting platinum records in France, but just never going outside the borders of France and I think the film
01:06:56.000 --> 01:07:01.000
industry works there in to a degree in quite in in the same sort of way.
01:07:01.000 --> 01:07:08.000
They're very happy to just be enormous in France and not necessarily break overseas.
01:07:08.000 --> 01:07:12.000
It's just a cultural thing more than any other nation's cinema.
01:07:12.000 --> 01:07:17.000
I think they're a bit like that so that might be partially responsible for it.
01:07:17.000 --> 01:07:31.000
Bottom line. they're just they don't really care that much they're they're happy to to make a a load of money, and and it's inside the French the French film industry. But of course people do watch French films they
01:07:31.000 --> 01:07:35.000
do, and and I don't know I mean in terms of influence Do they influence the way?
01:07:35.000 --> 01:07:37.000
The way Hollywood films look at French films.
01:07:37.000 --> 01:07:42.000
Do have a really certain look them the way they and I love seeing France on screen.
01:07:42.000 --> 01:07:52.000
I love seeing Paris on screen. I love it How when you go to Paris. it looks like it still looks like it does in in Belgium. like we're just walking around you kind of think Oh, Yeah, Paris. Still, looks exactly.
01:07:52.000 --> 01:08:00.000
Like that. london's changed so much. and New York has changed if you look at films shot in New York in the sixtys and seventys it looks completely different.
01:08:00.000 --> 01:08:10.000
But Paris is kind of as a slightly more sort of permanent look about it, but it's and i'm and yeah, no, Actually, I I love that about it.
01:08:10.000 --> 01:08:26.000
But yeah, in terms of an influence. And the the that influence on other on other films. That, I mean, that is really interesting is that I I suppose that must to some degree be the answer that they're not really interested in influence out what would that influence look like I
01:08:26.000 --> 01:08:35.000
mean are the British? Is the British film industry going to make thumbs that are that look particularly sort of stylish and Gallic? Have we got it in us?
01:08:35.000 --> 01:08:39.000
Good that could. Could Hollywood do that I don't think anyone even really tries?
01:08:39.000 --> 01:08:53.000
I think we just, I think, visually the rest of the world is quite happy to let France be France, and have that certain, that very sort of specific and just and and sort of unique way, that they, the they they portray their own country, and
01:08:53.000 --> 01:08:57.000
that. and and the people in it I can't think of anyone that does that that does that as well.
01:08:57.000 --> 01:09:10.000
So I guess. Yeah. again, a long answer short. question. I guess the answer is that possibly they're just not that interested in being influential in in quite that way. Okay, Well, folks, I think we need to wrap it up There It's 10
01:09:10.000 --> 01:09:15.000
past 6. No, and that was absolutely fabulous. I hope everybody enjoyed that.