J's Halloween Look 2013

Yes, I know I'm late. Halloween is already behind us and I got so busy at the time I couldn't find a spare moment to post it. But better late then never! This year I went for the sort of a twist of a Wednesday Addams x Pin Up girl x 60's spooky librarian mix that eventually made me look like a sort of dark version of Lana Del Rey (which I totally don't mind haha). I used La Riche Directions turquoise hair dye and I absolutely loved the effect! For those of you interested in achieving pastel shade I recommend doing what I did - don't put the paste directly onto your hair, try mixing it with hair conditioner instead, in 20% paste - 80% conditioner ratio. You'll get a nice strong pistachio shade. You can always add up more paste later on if you prefer stronger shade. I also used black lipstick from MAC - it spreads  brilliantly and covers lips nicely for a long time, definitely worth recommending! The studded headband is from Call It Spring for £3, and earrings are from H&M for £7 + I found this bow neck dress in second hand for as little as £7. Putting everything altogether and voilà! I'm ready to party. Hope you like it!

My Fair Lady (1964) Royal Ascot costumes

As the Royal Ascot season has begun, the hats are back again for a moment as a centrepiece of attention. Sadly enough, a grand format of the attire that set a golden age of the Royal Ascot had been narrowed down to the mere necessity, required by the dress code of this famous venue. As a reminder of the bygone glamour, a hallmark of this racecourse, we present you the set of caps of Royal Ascot costumes from "My Fair Lady" (starring Audrey Hepburn), brilliantly designed by Cecil Beaton, as a tribute to the times when fashion was larger than life.

The Royal Ascot is one of Europe's most famous race meetings, and dates back to 1711 when it was founded by Queen Anne. Every year Royal Ascot is attended by members of the British Royal Family, arriving each day in a horse-drawn carriage with the Royal procession taking place at the start of each race day and the raising of the Queen's Royal Standard. It is a major event in the British social calendar, and press coverage of the attendees and what they are wearing often exceeds coverage of the actual racing. The dress code is strictly enforced. For women, only a day dress with a hat is acceptable, with rules applying to the length and style of the dress. In addition, women must not show bare midriffs or shoulders. For men, black or grey morning dress with top hat is required.

   

"How do you do?"

An original concept art of the set design and costumes from the movie.

Snow White and the Huntsman (2012)

"Snow White and the Huntsman" is a true feast for the eyes. We all love the way it tackles the preconception of clarified distinction between beauty and evil. As the story itself is known to every human being, the only true display of creativity in regards to the production could be (and was indeed) shown throughout the brilliance of the art direction. 

Yet again, a three times Oscar-winner Colleen Atwood proved her position as one of the most remarkable couturiers-on-set. Her designs represent the psyche of each character scrupulously conveyed into every detail. For instance, in Queen Ravenna's case, this symbolism was achieved by the use of the materials like beetle wings, branches that resemble porcupine spikes, dragon scale alike sequins and rooster feathers. One of the most difficult costumes to make was the feather cloak, as it took four weeks to hand-cut and mount each of the feather to the garment. But beside the haute quality of every design, there's also the matter of quantity:

We made 250 of the Warrior Costume. That one [Snow White] was 20. The Huntsman was about 15. The Wedding dress was a one off. There were three of the gold dress. There were two of the cape, one of which got totally oil slicked out. It looks cool but it’s kind of destroyed. It’s a one off because she wears it for a very short time in the movie. And there’s three of the Reptilian costume because it’s an action costume as well. All the pieces of that come off so you can shoot without the heavy skirt if you want it to be less weight. The shoulder pieces come off so that in between takes Charlize (Theron) can be comfortable in it but it’s also got stretch in it. That dress has huge stretch arm pits in it. There are all kinds of things like that incorporated into it if you know you’re going to [use it that way].

The fairest design of them all, however, might be Charlize Theron’s wedding gown, worn during Ravenna’s royal union to Snow White’s father, the ill-fated king. “The inspiration was more architectural” Atwood says of the severely corseted dress. “The sleeves were made out of parchment that was cut and manipulated into a caged skeleton. It was our way of telegraphing [the queen’s] evil edge. All of the fine embroidered details are actually leather. I really wanted it to not be a fluffy wedding dress. I wanted it to have an edge to it, and that’s why I decided to go with pleats.” Although Sanders offered input about Atwood’s designs, the Oscar winner reveals that this particular costume rendered the director speechless. “He didn’t have a lot to say when he saw this one,” laughed Atwood. “It had the ‘wow’ factor for him. We could tell in early stages that this design would just work.”

In terms of set design and direction, the strong emphasis on the aesthetically driven scenery makes the movie visually compelling, conveying every scene into little independent art piece. While watching it we couldn't stop thinking of the immerse and extensive research behind it all, executed during the creative process; these loads of perfectly calibrated mood boards, visually describing the exact feeling behind every character, costume, set and scene. 

Also, there's a treat for the connoisseurs of the post production. The most marvelous end credits sequence you've ever seen, directed by Henry Hobson. The overall feeling of the movie conveyed into dimly lit trace of the costumes' details accompanied by The Florence and the Machine song "Breath of Life". Who knew the end credits sequence had that much of an artistic potential!


Snow White & the Huntsman - End Titles Sequence - Henry Hobson from bootsmith on Vimeo.

Vivienne Westwood for English National Ballet

The British ballet is getting a haute treatment. Vivienne Westwood fashion house has loaned few of the Spring/Summer 2013 looks to English National Ballet. It is considered the a part of company's rebranding campaign in a bid to make ballet seem contemporary, accessible and relevant, while still deeming itself as a historic art form. We love these catchphrases on their new posters advertising new season.