Trystan has posted our latest Frock Flicks podcast. This time: Mira Nair's Vanity Fair (starring Reese Witherspoon). One of my favorite movies! Listen to the podcast, and give us your feedback.
Who doesn't love the gorgeous Art Deco fashion illustrations of George Barbier? There is an exhibition going on now at the Museo Fortuny in Venice (through Jan. 5, 2009) on his work. Check out information about the exhibit and some gorgeous reproductions of his work. It looks like there is a catalog, available in Italian and English, although I can only find the Italian version online.
I've realized that something I never do around here is book reviews, which is weird because I'm a total costume book collector. My costumer's bookshelf page is waaay out of date and needs total revamping. But in the meantime, I'm going to try to start posting book reviews here.
Chintz: Indian Textiles for the West by Rosemary Crill is based on the collection at the Victoria and Albert Museum. I admit that I usually find textiles-specific research boring, as I'm more interested in textiles being applied into clothing. But the one main exception to this is chintz (also called toile/indienne). This is one of the best books I've read, with a succinct explanation of the chintz making process and how that changed over time, as well as a history of the production and introduction of chintz fabrics in Europe. The only limitations I found was that it didn't get into the production of toile and the differences between fabrics for clothing versus furniture, and it cuts off at the end of the 18th century (simply saying that chintz fabrics went out of style, which is an oversimplification -- it's just that European made fabrics took off, but they became the hugely popular cotton prints we associate with the 19th century). The bulk of the book are gorgeous, huge, color images of chintz fabrics -- most are flat textiles, but there are some garments included. All in all, a definite must-buy for anyone interested in 18th century printed cottons, and also recommended for 18th century costumers in general.
I've finally gotten organized enough to write some long overdue movie reviews (and had some time to actually watch movies, too!). Reviews are up for Moliere; Cranford and The Shadow in the North; A Room With a View (2007 miniseries version); Ballet Shoes and Lilies. In other movie news... last weekend we recorded a new Frock Flicks podcast for the Mira Nair Vanity Fair -- I'll link to it when Trystan posts it. And I am watching Lost in Austen (currently being broadcast in the UK), about a modern day woman who ends up in Pride & Prejudice, and altho the costumes are semi-bad and the lead's refusal to wear her hair in a period style is DRIVING ME CRAZY - I am totally loving it!
I think it's because I expected it to tell the P&P story with interjections of, "oooo modern girl being 'modern' and shocking!" -- and while it's doing this, she is also having an unexpected effect on the story (screwing things up, really, but I'm interested to see what else she'll screw up and how it'll get resolved). Also, I'm liking how they are focusing on showing bits that AREN'T told in the novel (and how characters are different when seen "for real" rather than as written, rather than simply reenacting the novel's scenes).
Lumieres held a supper last night at Cynthia's house, and it was one of the more magical events I've attended. The group was smallish but wonderful company. We held it in Cynthia's backyard, which she decorated to the nines with a chandelier, lanterns in the trees, hanging glinty bits -- but best of all was she has amazing glassware, dishes, candles, etc. etc. etc. It was just warm enough to eat outside, and sitting in the dark with all of these beautiful people in gorgeous costumes, surrounded by candles and shiny dishes and glasses and everything (with period music in the background) was just FABULOUS.
For the second time we ordered food from Gregoire's, a French restaurant in Piedmont. Their food is spectacular and we've found that we can easily share entrees, so we each choose two and get to have multiple courses. I had sesame cod with ginger sauce, and Cornish game hen with some kind of something - don't remember! Plus lots of champagne.
We played the game from Marie Antoinette, where you stick a piece of paper to your forehead and then guess who you are based on yes/no questions of those around you. It was very funny, especially watching Trystan try to figure out that she was Jesus, and then in a funny irony, I was Nell Gwynn.
I wore my black francaise and my 1770s pouf wig, which I decided to finally dress (most of the big wigs being dressed in some kind of theme or style -- the obvious one is the ship in the hair, but they would do "a la zodiac" or "a l'inoculation" etc.). I was stuck with what I could find at my local craft store, so I ended up doing a "night" theme, with a peacock in front, silver moon in back, and silver stars throughout. Of course, it's important to note that when wearing a HA-UGE wig with a big bird on top, one has a slightly higher clearance level than usual - so I kept getting stuck in the tree/hanging. You can see my original wig design in the first few photos - later on, after tree wrangling, my peacock was sticking out at a weird angle (which of course I didn't know, as I couldn't see) - sigh!
I've posted my photographs, which are mostly atmospheric. Now I want to do it again!
If you are, like me, an avid reader of the Costumers Guide to Movie Costumes, you have no doubt already seen this, but in case you haven't: The Duchess movie website has added tons of detail about the costumes in the movie, including the ability to zoom and rotate high res images! Yay! Maggie at Costumers Guide has been collecting tons of images from the film, and her website a great place to keep current. I am SO dying for this movie!
Two more members of the Eugenie project have posted dress diaries (okay, it's been a while and I'm a lagger, but I'm finally remembering to link them here): Sarah Lorraine as the Vicomtesse de Lezay-Marnesia and Trystan L. Bass as the Marquise de la Tour-Maubourg. Both are now linked from the Eugenie project page, so if you'd like to read about more of the gowns, check them out!
If you were planning a trip to England in summer 2009, and you wanted to go to some out of the way costume museums (and/or out of London costume museums -- I've been to the V&A, Museum of London, and Bath multiple times), where would you go? I'm particularly interested in any museums with strong 18th century collections. Any advice would be appreciated!
For anyone interested in attending Costume College 2009, they have updated their information on memberships. Basically, it's going to be a lottery, with Costumers Guild West members getting first crack, then a second lottery with all CGW members who didn't get in the first lottery and everyone else. In other words, if you want to increase your chances of getting in, join CGW before Sept. 1st. CGW sister organization members (Greater Bay Area Costumers Guild and San Diego Costumers Guild) still get discounted pricing, but don't get in the first lottery.
[DAY-mo-day] adjective: old fashioned, out of style, unfashionable [from French, the past participle of démoder "to go out of fashion," from mode "fashion"].
by Rosemary Crill is based on the collection at the Victoria and Albert Museum. I admit that I usually find textiles-specific research boring, as I'm more interested in textiles being applied into clothing. But the one main exception to this is chintz (also called toile/indienne). This is one of the best books I've read, with a succinct explanation of the chintz making process and how that changed over time, as well as a history of the production and introduction of chintz fabrics in Europe. The only limitations I found was that it didn't get into the production of toile and the differences between fabrics for clothing versus furniture, and it cuts off at the end of the 18th century (simply saying that chintz fabrics went out of style, which is an oversimplification -- it's just that European made fabrics took off, but they became the hugely popular cotton prints we associate with the 19th century). The bulk of the book are gorgeous, huge, color images of chintz fabrics -- most are flat textiles, but there are some garments included. All in all, a definite must-buy for anyone interested in 18th century printed cottons, and also recommended for 18th century costumers in general.
