August 10, 1995 |
The Movie: "A Walk in the Clouds" The Setup: Love blossoms between married GI Paul Sutton (Keanu Reeves) and Victoria Aragon (Aitana Sanchez-Gijon), the beautiful pregnant daughter of a Napa Valley vineyard owner. The Costume Designer: Judy L. Ruskin, whose credits include "Born on the Fourth of July," "Sleepless in Seattle," "City Slickers" and "Forget Paris." The Look: Victoria isn't the only one on her estate to own a closetful of dreamy '40s dresses, mostly in floral prints.
May 5, 1994 |
The Movie: "That's Entertainment! III." * The Setup: The stars of MGM musicals of the late '30s through the late '50s introduce footage and outtakes from the films (including "Till the Clouds Roll By," pictured above). * The Costume Designers: Adrian, Walter Plunkett, Helen Rose and Irene. All except Plunkett were full-time studio employees. * The Look: Before there was black-spandex attitude, as seen on MTV, there was style.
July 27, 2006 |
LOOKING at a curtain rod jutting from the shoulders of the Miss Starlett dress -- a gown Bob Mackie created for a "Gone With the Wind" spoof on "The Carol Burnett Show" -- it's hard not to laugh all over again. Mackie famously included all the drapery fittings from the plantation's curtains, including giant tassels, cording, valance and the inspired touch: the rod.
February 11, 1994 |
Oh, those wacky caption writers at Sports Illustrated. No pun is too strained, no entendre too double for the magazine's annual swimsuit issue, which went on sale this week. Our favorite blurb accompanies a shot of bountiful model Stacey Williams, wearing nothing but a sopping wet T-shirt: Waiting for a warm breeze to get that pesky dampness out, Stacey stands out in an after-swim dress by Michael Kors . . . . Well, what do you expect?
April 8, 2012 |
Few set designers begin production with the intention of creating a deliberately gaudy and tacky stage. However, Thomas Buderwitz, scenic designer for South Coast Repertory's "The Prince of Atlantis," sought to do just that — to "push the boundaries of good taste. " The just-opened play by Steven Drukman follows Joey Colletti (John Kapelos), one of Boston's biggest seafood importers, as he lands himself in a minimum-security prison after getting into trouble with his company.
August 11, 1994 |
The Movie: "The Adventures of Priscilla, Queen of the Desert." The Setup: On a drag version of a road trip, three queens of diverse fashion persuasions leave Sydney, Australia, and travel across the country to put on a show at a resort. The Costume Designers: Lizzy Gardiner, who has worked on several Australian movies and television series, and Tim Chappel, a drag performer and designer for whom "Priscilla" marks his feature debut.
March 31, 1995 |
The Movie: "Jefferson in Paris." The Setup: Romantic escapades of Thomas Jefferson (Nick Nolte, pictured) when he was America's minister to France from 1784 to 1789. The Costume Designers: Jenny Beavan and John Bright, who shared an Academy Award for "A Room With a View." The pair also designed costumes for "The Remains of the Day," "Maurice," "The Bostonians" and "Howards End." Bright, who owns the London costume house Cosprop, also did "The French Lieutenant's Woman" and "Tess."
August 17, 1995 |
The Documentary: "The Hollywood Fashion Machine" (American Movie Classics, Tuesday at 5 p.m. and 9:30 p.m.) * The Costume Designers: Travis Banton, Gilbert Adrian (see related story, Page E3), Jean Louis, Edith Head, Hubert de Givenchy, Theadora Van Runkle and others. * The Setup: Designers and other fashion authorities explore how movies have influenced what we mortals wear, from the '30s to the present.
March 16, 2003 |
It was Ann Roth's idea to give Nicole Kidman the nose. The much-discussed prosthetic nose that helped Kidman change physically into Virginia Woolf for her Oscar-nominated role in "The Hours" came from Roth, a veteran costume designer whose suggestion, said the film's producer and director, allowed the actress to transform more fully into the famous English writer. The attention Kidman's fake nose has received disturbs Roth.
December 5, 2004 |
As afternoon light streams in through high windows, a young woman, luminous in an 18th century-style dress of gold silk, regards her reflection in a mirrored wall. Her small, corseted waist emphasizes the swell of breasts and hips; close-fitting sleeves call attention to her slender arms, outstretched like a dancer's above her billowy, floor-length skirt. "That sleeve. Now, what's happening there? It needs to come together."