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Thursday, October 11, 2012

Costume Drama at Vanity Fair

de bene esse: literally, of well-being, morally acceptable but subject to future validation or exception

V&A Costumes

From the exhibition “Hollywood Costume,” at the Victoria and Albert Museum: Cate Blanchett’s regalia from Elizabeth, Charlie Chaplin’s getup from The Tramp, Kate Winslet’s ship-boarding ensemble from Titanic, Christian Bale’s Batman suit from The Dark Knight Rises, Meryl Streep’s coat from Out of Africa, Brad Pitt’s Fight Club outfit, Ginger Rogers’s dress from Lady in the Dark, Marilyn Monroe’s fur stole and sequined shift from Some Like It Hot, Judy Garland’s “Dorothy” dress from The Wizard of Oz, and Gwyneth Paltrow’s Elizabethan frock from Shakespeare in Love.
‘You can’t have a great movie without the costumes’ being great,” declares costume designer Deborah Nadoolman Landis, the senior guest curator of the exhibition “Hollywood Costume,” which opens this month at the Victoria and Albert Museum, in London. Landis and her team have spent more than five years searching out and gathering together 130 of the most unforgettable costumes designed for characters over a century of filmmaking. “Hollywood Costume” explores what an essential tool costume is in cinema storytelling and how intricate the relationship is between designer, actor, and director from script to screen.

“We most succeed when we’re most invisible,” explains Landis. “I want the audience to be fully immersed in the movie. I’m so not interested in the clothes—they’re so surface. I only care about the characters.” The exhibition will unite classics from the golden age, including iconic looks such as Scarlett O’Hara’s green velvet “curtain” dress from Gone with the Wind and Dorothy’s blue-and-white gingham pinafore from The Wizard of Oz, designed by Adrian (and made on a treadle sewing machine, as if by Auntie Em).

Among the 70 costume designers whose work is featured here is three-time Oscar winner Sandy Powell. “Her vision of Daniel Day-Lewis [full disclosure: he is the author’s younger brother] as Bill the Butcher in Gangs of New York in striped trousers and tall, stovepipe hat made him even more vertical. Martin Scorsese said Day-Lewis ‘cut through the crowd like a knife,’ ” Landis says. “Sandy looks at all the research and then re-invents the period for the dramatic context.”

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