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“Frankenstein” by Guillermo del Toro is out for rent. It is obvious how the luxurious gothic costumes were created for the film.
Legendary costume designer Kate Gawley is no stranger to creating images for big blockbusters. Over the past 20 years, she has contributed to low-profile projects, such as “Pacific Rim” by Guillermo del Toro and “The Suicide Bomber” by David Yera, created low-profile costume dramas, and the most luxurious “The Crimson Peak” by the same del Toro and the series “Volodar Persniv. Persni Vlady” by Juan Bayon, for which they were nominated for an “Emmy”. Once again she teamed up with her favorite Mexican director for her most ambitious and exciting project – “Frankenstein,” a reimagining of Mary Shelley’s gothic classic.
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This line of Gouli reaches, it would seem, intractable: it draws in the reckless scientist Victor Frankenstein, played by Oscar Isaac, with luxurious oxamite coats and embellishments, which he will drink from them. My role in the role of Elizabeth—the object of my passion—is to wear seam ballroom cloth with a weatherunk-diagram of the sleepy system; luxurious bright veils; dye your hair from the feathers, as if to predict a halo; withered, framed with tulle; Rare archival jewelry from Tiffany & Co.; And it appears in a rich-sphere and otherwise ethereal cheerful cloth. But the image does not bring out the main story – a grandiose story about a visionary who tries to play the role of God, and thereby condemns himself to death. As a matter of fact, Gauley’s robots will no longer confine themselves to the enchanting world of del Toro.
It seems that an Oscar nomination is imminent for Goulya, and the victory would be more deserved, although the competition is bound to be baked: among the superniks is the torish winner Paul Tazewell (“Wicked: The Enchantress. Part 2″), Ruth E. Carter (“Sinners”), Malgosia Turzanska (“Gemnet”) and Miyako Bellizzi (“Marty Supreme. Genius Combination”).
In the work on “Frankenstein” the collaboration between the director and costume designer was even more active. Del Toro’s work has an infusion of the mountains of the British film studio Hammer and the films of the Italian film director Mario Bavi – all these monstrous messages for the 1960s, bright and emotional And through those that pass through the low line – “Pan’s Labyrinth”, “The Devil’s Backbone” and others, – and in every new history of the war, the world reinterprets them anew. When you got to know Kate Gawley, you marveled not at her sketches or portfolio, but at the book police. There were albums of photographer Joel-Peter Witkin, painters Caravaggio and Goi. And he said: “We can work together.” Strong visual language is what played a major role.
In his films, del Toro pays special attention to colors – he wants the scenes of Victor's childhood to be black and white. Aside from that, color history is also evolving. On the cob, look at the light of ice and snow – white, cream, blue. “We interpreted the white color as a symbol of death,” says Gauley. “We didn’t use black, purple, green and blue balls to create deep, rich colors. Once upon a time, we searched for the right tone, thinking, as far as we can enter the skin scene.”
Gouli guesses the dissatisfied calls from his robot. Yakos del Toro and cinematographer Dan Laustsen believed that they would shoot scenes with candles. “We needed to create rich colors, and the dark light simply beat them in,” says the New Zealand costume artist. “From the first blue cloth of the heroine Miya, we have been making them for a long time— The stitches in the frame were dead. And then we added balls of fabric with shades of gray – and it worked perfectly in the lens.”
Then Guillermo said: “Kate, even bigger, even bigger!” To enhance the dramatic effect, she also added veils to the stage. Ale the director, without missing a beat: “I want a rich crinoline!” This was a rather glamorous appearance, although it solved problems: the decorators had to widen the doors so that Miya could pass through. The costume designers boasted that the volume of the chosen actor was incredible.
In other moments, however, it was necessary to change the scale in order to focus on the details – and here the palette really helped. For example, Garlander (patron of the arts Victor, played by Christoph Waltz) has a hidden barvy. And the axis in Elizabeth is gradually changing – this is a metamorphosis. These colors mirror other characters. Through Viktor’s eyes, she immediately stands like an angel. Then her choice repeats the red color of Trunya Claire, Victor’s mother, from the funeral scene. There she licks her lips, full of thoughts about all the women. “My job as a costume designer is to serve the director and the text,” Gouli sums up. “And here I had two texts – a script and a novel – and a deeply emotional insult. We all cried. It’s so hot that I’m crying again.”
The story told in “Frankenstein” effectively brings tears to your eyes. She has the most soulful sense of self-sufficiency: cold, bony trees, melancholy, that Creation (an essence created in human likeness by the doctor Victor Frankenstein), which is popular with the impersonality of body parts Other people and their guesses. “This is a kind of classic phantasmagoric dream, – like Gouli. – We were inspired by Caravaggio, Caspar David Friedrich – we wanted to convey the sense of memory, confusion, nature that permeates everything. It was very important to tell us selection of textiles.”
Elizabeth's cloths are filled with fantastic woven fabrics. The director created descriptions for the skin of his characters, and in Elizabeth he was one of the most famous. Vaughn, for example, loves mosquitoes and beetles, and there is also a moment when she picks up books at the market, among them “Natural Theology” by William Paley. This old friend set the theme of the film – religion and the wonder of nature. When you look at the endpapers of Victorian books, you get the impression that they smell like malachite. “We tried to convey all these details in the sketches of the costumes,” says Gauley, “we painted them first, and then transferred them to the fabric. Our studio had a collection of beetles in our studio, for the purpose of drawing.” There are clues about the heroine’s preferences not only in the fabric ornaments, but also in the collection of embellishments. The blue beetle worn by Tiffany & Co., worn by Elizabeth, is a unique look from the 1900s.
Actor Miya Got described her heroine as a free woman who would run across the fields, just like the heroine of “Stormy Heights.” But she also has another strength. Zustrich zi Creatures is either religious sincerity, or at least the infusion of nature. Also, these frames increase to the images of the Virgin Mary and Christ. And one more detail that brings out the respect of Kate Gawley – Elizabeth will never know. It’s impossible to grasp – that’s the muse that Victor will permanently marry. This is evident from the clarity of the fabrics and sleeves – the stench lingers more ephemerally, perhaps more primarly. And then there are the veils, which the super-screams always cry out – and even the stench of the guise of actors – and the team of artists selected fabrics that allow them to ooze. The veils were worn in rich colors – this added a striking wow effect.
One of the brightest accents in the image of the main character is the pearl hair dyes and bonnet drops, which resonate with the round shapes in the architecture that are sharpened in the film. And one long bonnet, which Gouli made, inhaling the images of the Virgin Mary. This classic religious image is repeated in the work of production designer Tamari Deverell – for example, in the scene with Medusa in Victor’s laboratory. “Working with Gilliermo is worth the trouble,” says Gouli. “Kozhen on a significant Maidan comes up with the idea of finding out the possibilities of infiltration from his robot. I remember that Tamara ran with buckets of green moss to cover the bashta – or its color was enhanced by the green shades of Miya’s cloth.”
A real masterpiece – this is a happy cloth of the main heroine. “This image is extremely important: it is named Guillermo, and not the original Victorian name,” even Gauley. “It’s a small epoch, but at the same time – a modern aesthetics, which the director has abandoned.” The cloth is sewn with fine stitching, five organza balls and a bodice with Swiss stitches. The stitches on her hands are another homage to the classic films “Frankenstein” (1931) and “The Name of Frankenstein” (1935) and extend to the bandages on the creature’s body. The cloth, partly woven with Swiss-German folk traditions, is silhouetted, and the coat of arms of the homeland of the Frankensteins can be seen on it. What will fascinate you most is the way the cloth crumbles when Miya steadily runs up and down. The look has a slight 1960s moodiness, enhanced by high-fashion makeup by Jordan Samuel and a long-haired bob styled by Cliona F'ury.
The visual reference for creating the image of Victor for the director was Mick Jagger of the 1970s. “We wanted, when we entered the laboratory, it would be so that a rock star would appear on stage,” like Kate. “Vin punk and dandies. To come from an aristocratic homeland, live with the evil ones, and then get rich and start wearing speech with a slight ignorance to the rules. This is like Francis Bacon and Picasso – they wear clothes for creativity, not for show. They work with blood, with organic matter – and everything settles on his costumes. “Oscar Isaac can't be blamed.”
