Posts Tagged ‘costumes’
December 10, 2015 | by Sadie Stein
“Mr. Bond, they have a saying in Chicago: ‘Once is happenstance. Twice is coincidence. The third time it’s enemy action’.” ―Ian Fleming, Goldfinger
In kindergarten, no one but Michael L. had actually seen a James Bond film. (Michael L., as opposed to Michaels A. and T., was very sophisticated, and his parents let him watch lots of movies.) But thanks to Michael L., we knew all about them: James Bond was a spy who wore a suit. He had girlfriends called Octopussy and Pussy Galore, presumably because he liked cats. He often said “Bond. James Bond,” and sometimes “007: License to Kill.” Armed with this information, we played James Bond every day at recess. Michael L. was always James Bond. My best friend was one of the cats; it varied. I was Moneypenny. Read More »
November 2, 2015 | by Dan Piepenbring
- Suspense, mystery, confusion, a certain contemplative je ne sais quoi … you can use ellipses for just about anything these days. Try ending your e-mails with them for a much-needed injection of professional ambiguity. And remember their roots: “Penny dreadful scribblers and yellow journalists adopted the mark wholeheartedly, entwining its brand with high melodrama, cheap commercialism, and camp … Adorno, noting the dots’ prevalence in comic books and trashy romance, argued that a ‘hack … must depend on typography to simulate … an infinitude of thoughts and associations, something [he] does not have’ … Some ellipses feel hammy and overwrought. But others allude to charged material with superlative restraint (as in Fitzgerald or Joyce). They can be gently mysterious … They convey the endless rovings of consciousness.”
- Today in rediscovered Expressionist dance costumes: there are these, which look to have come from a very forward-thinking children’s sci-fi featurette. Two dancers from Hamburg, Lavinia Schulz and Walter Holdt, designed the costumes in the 1920s. “The dancers created twenty full-body costumes for performances between 1919 and 1924, all accompanied by avant-garde music, often composed by Hans Heinz Stuckenschmidt.” In 1924, Schulz shot Holdt and then herself, thus ensuring that their avant-garde costumes were tainted with bad memories and left in storage for many decades.
- As the notion of the “bookless library” wends its way from cheap joke to reality, James Gleick asks: Whither the library? “The library has no future as yet another Internet node, but neither will it relax into retirement as an antiquarian warehouse. Until our digital souls depart our bodies for good and float away into the cloud, we retain part citizenship in the physical world, where we still need books, microfilm, diaries and letters, maps and manuscripts, and the experts who know how to find, organize, and share them … A transition to the digital can’t mean shrugging off the worldly embodiments of knowledge, delicate manuscripts and fading photographs and old-fashioned books of paper and glue. To treat those as quaint objects of nostalgia is the technocrats’ folly.”
- The landscape painter Frederic Edwin Church lived in a mansion called Olana, which doubled as “a 3-D landscape artwork with more than five miles of carriage roads.” But what of its craftsmanship? A tour of Olana leaves one with more questions than answers: “We would learn that what was strange about this window, which appeared to be stained glass, was that its diamond-patterned grille was sagging at the edges; it was made of paper. ‘Church cared more about appearances than authenticity,’ we were informed. From the hall we filed into a narrow private study, where the walls were bordered with a script I thought was Arabic, but when I asked its meaning, I was told that it was nonsense Church invented, because he liked the way it looked … There was an empty easel with a palette; shelves of art supplies; a painting by the artist’s mentor, dim; a case of carved-stone artifacts collected on a trip to South America. ‘Some of those objects are authentic, others made for tourists,’ said the guide. ‘Church didn’t care.’ ”
- Most people went to Studio 54 and the Paradise Garage to dance. Bill Bernstein went to take pictures. His work stands as a vibrant document of the disco era, which he remembers for its inclusiveness: “On a typical night of shooting, Bernstein would arrive at a club at around eleven p.m. or midnight, never drinking, just wandering the dance floor and lounge areas looking for interesting subjects. ‘I would just sort of try to keep my eyes open, and stay there until I felt like I couldn’t do any more, or I was exhausted,’ he says. ‘The speakers were gigantic and the room would vibrate. Between the room vibrating with the noise and the lighting, which was constantly flickering and moving, after about four hours, I was drained.’ ”
May 21, 2015 | by Sadie Stein
A young friend recently asked me if I had an old graduation gown she could wear for a third-grade play in which she was playing a Supreme Court Justice. I keep many of my old things and have a pretty decent dress-up chest at this point; I’ve helped with costumes before. But this time, I had to tell her I didn’t.
You see, the morning of my college graduation, in Chicago, I was running late. I snatched what I thought was my gown from the closet—only to arrive at the gymnasium and discover that in my haste I’d grabbed my roommate’s black rain slicker. Read More »
March 26, 2015 | by Jeff Seroy
Sixty-four years later, The Tales of Hoffmann continues to delight and perplex.
Lovers of the recherché have flocked to see Michael Powell and Emeric Pressburger’s 1951 Tales of Hoffmann at Film Forum, where it’s still showing for one more day. In a newly restored print, the film’s fantastical mise-en-scène and extravagant polychrome glory assault viewers head on for a hundred and thirty-three minutes. At each screening, Martin Scorsese introduces Hoffmann in a videotaped homily, during which he confesses to an “obsession” with the film, having first fallen for it, strangely enough, when it aired in black-and-white on Million Dollar Movie. Most critics rave or rant, or both, about this odd work. The amiable William Germano, the author of a smart, slim volume about the film for the British Film Institute, spoke at the screening I attended, and his was one of the more measured, sanguine appreciations: “Whatever Hoffmann was, there had never been a cinematic creation quite like this one.” Read More »
February 24, 2014 | by Yona Zeldis McDonough
Santo Richard Loquasto has a big, easy smile, and an infectious enthusiasm for his work. Since his first production—Sticks and Bones, in 1972—he’s worked on some sixty-one Broadway productions, either as a scenic or costume designer, and often as both. His cunning sets and fanciful costumes have garnered him fifteen Tony Award nominations (he’s won three times), and he’s also won numerous Drama Desk Set Awards for Outstanding Set Design and Outstanding Costume Design. Loquasto is also known for his work in film—most notably with Woody Allen, with whom he’s worked for decades, most recently on Blue Jasmine. One afternoon last summer we met at the Margot Patisserie on the Upper West Side, where Loquasto talked about how he got his start, the demands of designing for dancers, and the downsides of his job.
What got you into costume design?
Well, it just always interested me as a kid. I grew up in Pennsylvania. Mine is the classic story of a teenager in the Poconos, painting summer-stock scenery because that’s what you do there. What I was really interested in was scenery and visuals. I was always creating the mise-en-scène in my backyard. The costumes were always part of it. I was interested in the scenery because in many ways it’s … well, I can’t say it’s more manageable, but it is, of course, because you don’t have to deal with people quite in the same way. People think of me as a costume designer, but in New York, the first things I did were scenery. I did a Sam Shepard one-act play off Broadway in 1970, and then worked for Joe Papp for many years. By that time, I was in grad school at Yale, concentrating on both scenery and costumes. I was designing costumes at Williamstown. When you don’t sew, you’re somewhat intimidated by that aspect of it. You’re lucky if you get to work with amazing people who make the costumes for you and with you.
I just raced from this little shop, Euroco Costumes, where I have the costumes designed for most of my dance projects. It’s two people, Janet Bloor and Werner Kulovitz. She’s brilliant at the stretch issues, and he is an amazing costume-maker of the grand school. Beautiful period cutting. I’ve only known him for about thirty years. You rely on the shorthand that develops between you and also what they bring to it, which is not only their expertise but also their passion. It’s very interesting—normally people who make costumes, who deal with the horrible deadlines and the issues of comfort and the egos of the performers, get sick of it. But I see them get excited by new projects and it’s exhilarating for all of us.
Can you talk to me about designing for Alexei Ratmansky’s The Tempest?
The Tempest you can approach in any number of ways, like most Shakespeare. I did a lot of Shakespeare in the Park in the seventies, both scenery and costumes, and for ten years, I worked in Stratford, Ontario, at the Shakespeare festival. I didn’t do The Tempest there, but I’ve dealt with the play. It was interesting to work with Ratmansky. For him, working on The Tempest is not like, say, Romeo and Juliet, which is so much more of a ballet vocabulary, both because of the great score, which so guides you, and because of his ballet background. Also, everyone knows the story so well. Whereas with our production of The Tempest, there is this much looser Sibelius score.
I follow the play, and I think you have to start there. As an interpreter, you have to follow the progression as Shakespeare laid it out, with your own understanding of where the words aren’t applicable to movement. You understand when Ferdinand and Miranda fall in love. You know what to do. There’s anger and rage and comedy. There was a debate at one point about losing the clowns, Trinculo and Stephano. I quietly fought to keep them. I said, their relationship to Caliban makes for a wonderful scene, and those things are in the structure to give us a breather, so it’s not just this man railing against everything.Read More »
April 13, 2012 | by The Paris Review
I recently took out a subscription to National Geographic. I haven’t really looked at the magazine since childhood, and with the very first issue I received a couple months ago, I couldn’t believe I’d been away so long. NatGeo’s known for its photography for a reason: the imagery in these stunning, often unearthly shots seems tangible. My favorite so far is a portfolio by Phyllis Galembo of African and Haitian ritual costumes. These are a long way from your typical African masks. “Just putting one on,” says one art historian, “is a charged event.” —Nicole Rudick
It’s the most wonderful time of the year—the NHL postseason! Grantland's Katie Baker, making predictions for the opening series of the Stanley Cup playoffs, picks Tupac’s “Hit 'Em Up“ as the representative song for the first-round “hatefest“ between the Penguins and Flyers (which, for those unfamiliar with current hockey events, is a perfect fit). —Natalie Jacoby
Dinners for Beginners, written in 1937 and out now from Persephone, is “for people who know nothing about cooking. At the same time, it is intended for all those—whether they can cook or not—who appreciate good food and like to entertain their friends, but cannot afford to spend more than a strictly limited amount of money on housekeeping … The authors have tried to write a cookery book that EXPLAINS EVERYTHING. No knowledge is taken for granted. The beginner is not expected to know by the light of nature how to make gravy, sauces, or pastry; she is told when the lid of a saucepan or fireproof dish ought to be on when it should be off.” —Sadie Stein
This weekend I am checking out a new production of The Maids, Jean-Paul Sartre’s alleged “favorite play ever.” Loosely based on the Papin sisters, French servant girls who brutally murdered their employer in 1933, Maids was penned by notorious thief-turned-playwright Jean Genet. Get a taste of the sadomasochistic weirdness in this clip from the 1974 film adaptation. Running through Sunday. —Allison Bulger
Vivaldi’s “Spring” while reading The Clouds by William Carlos Williams. An unlikely pair, I admit, but it works: Williams’s images of the forever changing clouds marching across the sky, set to the whimsy and flux of Vivaldi’s classic, which captures so perfectly the feeling of this season—inherently a march of change. Try it. —Elizabeth Nelson
Hard as it might be to choose a favorite Dick Cavett interview, I always find myself returning to his talks with movie stars and directors. From the rambunctious episode with Peter Falk, Ben Gazarra, and John Cassavetes to erudite study with Jean-Luc Godard to the relaxed reminiscences of Katharine Hepburn, there's never a dull moment. —Josh Anderson
The Met’s production of La Traviata is live in HD this Saturday. I can’t wait! —S. S.