Here is the actor I was talking about in tonight's class. Doug Jones seems to be Guillermo del Toro's go-to guy for portraying non-human characters. This is an interview with Doug Jones about his two roles in Pan's Labyrinth and while it doesn't really show him moving in the costume, it gives insight into his mindset and process.
You should look him up on imdb but another inhuman character he portrays well is Abe Sapien in the Hellboy movies (also directed by del Toro). Maybe there are some youtube video compilations of these characters.
He's a good example of utilizing the costume/garment to its fullest potential.
Hey just wanted to post some garments from the grad student Alexandrea Vershueren. Her work is really interesting and i just wanted dot share a a few pics from her collection. You can look at her work on other grad students work on http://spotontextiles.wordpress.com/.
The film, Paris is Burning may be of interest to some of you, and is certainly pertinent to our class, exploring the relationships between subcultural phenomena, fashion, performance and dance.
"Paris Is Burning is a 1990 documentary film directed by Jennie Livingston. Filmed in the mid-to-late 1980s, it chronicles the ball culture of New York City and the African American, Latinogay and transgender community involved in it...The film explores the elaborately-structured Ball competitions in which contestants, adhering to a very specific category or theme, must "walk" (much like a fashion model's runway) and subsequently be judged on criteria including the "realness" of their drag, the beauty of their clothing and their dancing ability." (from Wikipedia)
Trajal Harrell is a contemporary curator and choreographer, who is currently curating projects at Danspace (see post below). His work also touches on themes discussed in this class, including the overlap between contemporary dance, performance, art and fashion. In this project from last year, “Twenty Looks or Paris Is Burning at the Judson Church (S)” Harrell poses the question, “What would have happened in 1963 if someone from the ball scene in Harlem had come downtown to perform alongside the early postmoderns at Judson Church?” The work "becomes an entry point into much larger meditations on how all of us perform — sometimes reinforcing, sometimes subverting — the big shifting categories of gender, sexuality and race....In other words, how we unveil and camouflage the self." For a full version of the article, visit here.
Beginning Sept. 22Danspace Projectoffers another important destination for dance and performance with a new installment of its Platform series featuring works selected by a guest curator. In the latest, which runs nearly six weeks, Trajal Harrell proposes “certain difficulties, certain joy,” a search for joy in experimental dance, which on the surface might not necessarily exude bliss. Cecilia Bengolea and François Chaignaud, for instance, explore extinction and rebirth in “Sylphides” while wearing sensory-deprivation body bags. The series, which strives to build context around art and the world in which it is created, provides another way of upending the notion of dance as a traditional choreographic endeavor.
Deborah Lloyd, creative director of Kate Spade, and Zainab Salbi, who founded Women for Women International (WfWI) have been collaborating to help female survivors of war rebuild their lives. "WfWI takes a holistic approach: educating women about their legal and reproductive rights and providing psychological counseling, job-skills training, and microcredit loans." Kate Spade, the accessory-and apparelmaker, contracted with a WfWI micro-credit and jobs program in Bosnia and Herzegovina to make mittens, hats, and scarves.
Visit this link for more information about this project.
Here's a link to a performance of T.I.'s "Gucci Rag" performance that we talked about in class, as well as a recent advertisement for the company emphasizing the tradition of artisans involved in hand crafting these luxury leather goods.
Boudicca "If I wanted to do just the commercial side of fashion, I didn’t need to go to an art school. [the education at Middlesex] was all about making, designing, presenting, and displaying.” -Brian Kirkby, Boudicca
There is a short article on the Costume Designers Guild website entitled "The Relationship Between Costume and Fashion Design". http://www.costumedesignersguild.com/articles/default.asp?yrid=2010&artid=mf02&indx=0 There is some pontification and then they provide three high level film costume designers opinions on the matter. Here are a few quotes:
"I believe a Costume Designer's job is to visually tell the story, without the costume becoming the story... while in fashion, the costume is the story." -Michael Dennison
"Voraciously pouring over uploaded personal snapshots and research books, Larlarb informs her design with details from real life. She considers costume design more than providing wardrobe, she believes it 'actually fleshes out the character's behavior.'"
"The Oxford English Dictionary defines costume as "A set of clothes in a style typical of a particular country or historical period," while fashion is described as "A popular trend, especially in styles of dress and ornament or manners of behavior." To put it another way, fashion reflects the current vogue in clothing, and costume uses clothing to evoke a personality to support a plot. For the most part, the purposes of the two mediums differ; fashion is motivated by commerce, while costumes are designed for an actor in a specific role, not for public consumption."