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coseisoines
Junior Trancer
| Data inscrierii: 03/Mai/2015 |
| Mesaje: 2 |
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If you loved the costumes from Baz Luhrmann’s 1996Romeo + Juliet (remember Leonardo DiCaprio’s Hawaiian shirt and Claire Danes’ white angel wings?), then you love the work of Catherine Martin. Martin is the Australian costume designer behind the film who has won four Oscars and worked side by side with Luhrmann for years on some of the most memorable costumes in Hollywood, from the gritty glamour of Moulin Rouge! to the opulent flapper gowns of The Great Gatsby. She’s known for both her historical authenticity and her wild sense of fantasy when designing period pieces. On Friday, Martin sat down with the international editor of Vogue, Hamish Bowles, for a Tribeca Film Festival talk to discuss how she got started, her collaboration with Miuccia Prada, which vintage pieces are hard to reproduce (denim), and why buttons are extremely important in movies. Here are the highlights:
On anachronistic period costumes:
I think it’s a deliberate choice to make the images and the characters more accessible to an audience. You don’t have the distancing of reality, per se, because what meant something in 1923 doesn’t mean something today. But I think it’s also about shamelessly pursuing the feelings described in whatever text you have. So you try to transcend being slavishly true because it might not help in the end. Does it help to see Daisy and Jordan on the couch in those huge, big white linen dresses that they wore in 1923 that basically just look like nighties now? In our minds, all of us have seen hundreds of flapper Halloween costumes, and we’ve looked on Instagram, and people have Gatsby-themed weddings all the time.
On a collaboration with Prada:
Although Miuccia says she only references the past she knows herself, things she’s lived through or seen, you can see she’s incredibly cultured. She comes from a historical European tradition, and in her clothes you can see that culture, being well read and surrounded by museums. But with her it becomes the future. It’s a very interesting thing, and it’s not consciously trying to quote the past. Whereas in a way they are both trying to get at something new, Baz and Miuccia. But Baz does it by very consciously quoting the past all the time. There’s a certain amount of irreverent nostalgia and it’s all about referencing the past to get to the future.
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