costuming

The Road To TCMFF 2017: Los Angeles Area Classic Film Exhibitions

Kaire Bible and Beth Ann Gallagher in Club TCM TCMFF 2016

Karie Bible and I in Club TCM at TCMFF 2016

If you’re going to the TCM Classic Film Festival, and you’re searching for ways to make the most of your visit, this list is for you! Colleague and friend Karie Bible, founder of the long-respected site covering specialty film-going in Los Angeles Film Radar, and I have compiled selective lists of activities sure to help a film fanatic fill any extra time before and after the fest. Today’s list focuses on time-limited movie-related exhibitions.

Exotica FIDM Exhibit Dramatic Back Gown and Wrap.jpg-large

Image Courtesy of FIDM Museum

EXOTICA: FASHION & FILM COSTUME OF THE 1920s
This is my must-see on our list. Organized by FIDM, EXOTICA highlights international influences on early film costumes. As silent cinema portrayed foreign lands, the requisite wardrobe established characters and settings and off-the-screen inspired real world fashions. Soon sheiks were romancing senoritas, and ladies and gentlemen were lounging in chinoiserie pajamas. Two special pieces on display are Rudolph Valentino’s bolero from BLOOD AND SAND (1922) and a dress designed by his second wife Natacha Rambova. The exhibit runs now through April 22nd and is FREE and open to the public.

LA LA LAND AT FIDM ART OF MOTION PICTURE COSTUME DESIGN

Image Courtesy of FIDM Museum

25TH ANNUAL ART OF MOTION PICTURE COSTUME DESIGN
Also at the FIDM Museum, this exhibit gathers together “more than one hundred costumes from twenty-three films.” Represented films include FANTASTIC BEASTS AND WHERE TO FIND THEM, ALLIED, KUBO AND THE TWO STRINGS, LA LA LAND, FLORENCE FOSTER JENKINS, and FENCES. You’ll be able to see up close the craftsmanship that went into designing these costumes and how distinct the creations for each film are. Only one film nominated for a 2016 Academy Award for Best Costume Design is not represented by a display, JACKIE. Admission is FREE.

Jean Harlow Hollywood’s First Blonde Bombshell Exhibit

Image Courtesy of The Hollywood Museum

JEAN HARLOW: HOLLYWOOD’S FIRST BLONDE BOMBSHELL
This exhibit recently opened at the Hollywood Museum on Highland. That is within walking distance down the street from the TCMFF. The show features Harlow’s 1932 Packard, a costume from BOMBSHELL (1933), memorabilia, and other rare items. Adult admission is $15. Seniors, students, and children receive discounted entry. The exhibit will run for several months. Bonus: The museum is located in the Max Factor Building, designed by architect S. Charles Lee in the “Hollywood Regency Art Deco style.”

The Birth of Motion Pictures An Illustrated History of Silent Cinema 1910-1929 Exhibit

THE BIRTH OF THE MOTION PICTURES: AN ILLUSTRATED HISTORY OF SILENT CINEMA 1910-1929
This exhibit is further away and is open for limited hours Wednesdays through Sundays, so it requires extra time and planning to visit, but if you love silent film or the art of movie poster illustration, you should try to fit it into your schedule. The show is being held in the town of Brea, California, about one hour outside of Los Angeles. It features rare silent film posters and an actual Academy Award from the silent era! Much of the material on display is rare and shown on loan from a private collector. The limited edition catalog, sure to become a collectible, has been called “a masterpiece” by Silent Film Quarterly. Admission is $3, and the exhibit closes on April 14.

Stay tuned for the  next The Road To TCMFF 2017 featuring classic film-related events!

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FEUD & the Costuming of Bette Davis, What I’ll be Watching for

Susan Sarandon as Bette Davis in FEUD Smoking

FEUD premieres tonight on FX, and like many classic film fans, I’m watching to see how legends Bette Davis and Joan Crawford are portrayed, and I’ll be paying particular attention to one area of costuming.

Susan Sarandon plays Davis. The latter actress, while capable of glamour and being beautiful onscreen, always favored her performances over the strictures of the star machine that led more wary or canny actresses to compromise on characterization in favor of not lowering beauty standards too far. Davis felt no restriction. She wanted her Mildred Rogers in OF HUMAN BONDAGE (1934) to look as sickly as possible when the script called for that, and she pushed for her WHAT EVER HAPPENED TO BABY JANE? (1962) costume to be more extreme than as originally designed.

Sarandon has shown a willingness to deglam onscreen for the right roles, but offscreen she’s been a poster girl for not looking her age or letting it determine whether she should be sexy on the red carpet and how. A favorite outfit of hers to wear to movie launches, so much so it’s almost a uniform, is a suit with no shirt worn underneath its jacket, often leaving a pretty bra visible for all to see. If her bra isn’t in view, its push-up effects leave no doubt of its presence.

I’m finding it ironic that an actress sartorially famous for her bras and gravity defying chest is playing one who eschewed underwire bras, despite being as generously endowed. As the recent Orry-Kelly documentary, WOMEN HE’S UNDRESSED (2015) revealed Davis was convinced wearing underwire caused breast cancer. The costume designer was left having to camouflage that the leading lady was undersupported or braless by “using foulards, pockets, buttons, and other visual tricks.”

So while I’m watching FEUD, I’m going to be looking at Sarandon’s silhouette to see if series costume supervisor Katie Saunders incorporated this particular quirk when approving designs. Like Davis knew, it’s paying attention to the little details that help a performer build and inhabit a character.

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Before They Were Stars: Audrey Hepburn’s Revue Days

Audrey Hepburn London Revue Costume
In Audrey Hepburn‘s third film, the British comedy LAUGHTER IN PARADISE (1951), she played the part of “Cigarette Girl” She was cute and memorable in a role that gave her more than one scene and multiple lines. Costuming treated her body as something to be made more stereotypically sexy, so they padded and pointed her chest.

In the above picture from her London revue days, she was starting to make a name for herself, but the costuming plan was corrective as well. The long legs are shown off, but her hips are made to look fuller by tacking on a partial skirt which in turn makes her waist look more nipped. Her bust line is obscured by an asymmetric neckline and shoulder, and her elegant “swan neck” is shortened by a ruffled collar.

Her gamine figure was not yet receiving the tailored looks best suited to it. Audrey’s impact on style and acceptable body types would come after better roles.

 

Thanks to Terence Pepper for allowing me to reblog his photo and the thoughts it inspired!

 

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