The Fifth Element: The History of Costume Design. The Fifth Element: Costume History Korben reads Sanctuary Manga

First time designing costumes for artistic performances Coco Chanel took up in 1924: after meeting with the team of Diaghilev's "Russian Seasons", at the suggestion of Jean Cocteau, she created costumes for the ballet "Blue Express". The skirts presented there just above the knee were recognized as a great liberty, which, however, did not prevent Chanel from using this length for her collections of clothes, which were no longer intended for the stage, but for life.

Collaboration with Cocteau was not limited to the Blue Express, and in 1930 Chanel began to develop costumes for main character Cocteau's film "The Blood of a Poet", which, despite the vague plot and poor quality, would later become legendary. The style of the outfits in the film has nothing in common with the style of the collections produced by her atelier of that time, and at the same time there is something elusive in them, reminiscent of Chanel. The lead role in "Blood of a Poet" was played by Vogue favorite model Lee Miller, who turned into an actress for this film alone.

Coco Chanel's costumes for the Blue Express ballet, 1924

Lee Miller in the movie Blood of a Poet
Lee Miller in the movie Blood of a Poet

After The Blood of the Poet, Chanel did not participate in such projects until the late 50s, until the French director Louis Malle instructed her to create the image of Jeanne Moreau in the film The Lovers.

The Lovers was followed by Last Year at Marienbad by Alain Resnais, which was released in 1961. Then Chanel was 77 years old, but she still produced collections and willingly agreed to cooperate. The film turned out to be like a dream, as the director intended, largely due to the bird costumes of the main character: from any movement, the feathers on the sleeves and collars sway and hypnotize the viewer.

Jeanne Moreau in the movie The Lovers
Shot from the film "Last Year in Marienbad"Shot from the film "Last Year in Marienbad"Shot from the film "Last Year in Marienbad"

In 1962, Chanel took part in the creation of the film "Boccaccio-70", glued together from four independent fragments of different directors. Chanel created the costumes of the main character of the third part - it was directed by the Italian Luchino Visconti. The designer had to not only dress 23-year-old actress Romy Schneider, but also, if at all possible, teach her the laws french elegance. It seems that the idea was successful: in some scenes, Schneider, in the famous Chanel jacket and with a string of faux pearls, is indistinguishable from a regular client of the atelier on Cambon Street.

Romy Schneider in Boccaccio 70Romy Schneider in Boccaccio 70Romy Schneider in Boccaccio 70Romy Schneider in Boccaccio 70

In 1971, Coco Chanel died, but her fashion house remained in demand not only among clients, but also among directors. New designer Chanel Karl Lagerfeld, known for his irresistible desire to participate in everything, must have created costumes for almost a dozen obscure French films with great joy.

Christian Dior

In the early 1940s, Christian Dior, who was then creating his own perfume laboratory, was already a well-known designer and worked in the Lucien Lelong fashion house. At the same time, he first tried himself as a costume designer in passing pictures like Love Letters and Beds with Columns. But already in 1947, his legendary collection was released, which marked the beginning of the new look style, and Christian Dior had famous fans. With one of them, actress and singer Marlene Dietrich, almost all of Dior's further activities in the cinema will be connected.

Actress and singer Marlene Dietrich

Marlene Dietrich in the movie Stage Fright
Marlene Dietrich in the movie Stage Fright Marlene Dietrich in No Highway in the Sky
Marlene Dietrich in No Highway in the Sky

After filming historical picture"Paris Waltz", where Dior was responsible for the costumes of the era of Napoleon III, in the same 1950 Hitchcock's "Stage Fright" was released, where Marlene Dietrich performs leading role and wears only Christian Dior. In addition to dresses, trousers and jackets appear on the actress, which was a real turning point in the history of women's fashion. The following year, Dior again sews costumes for the new film "There is no highway in the sky" - Dietrich's outfits finally confirm the dominance of new look in Europe and America.

Ava Gardner fitting for Christian Dior
Ava Gardner in The Little Cabin

Another muse and close friend of the designer was the actress Ava Gardner. She is absolutely not like Marlene Dietrich, and for her Dior creates more feminine dresses that emphasize the figure not with the help of a corset and fluffy skirts, but due to the texture of the fabric. In 1957, a few months before his death, Christian managed to work with Gardner as a costume designer for the film The Little Cabin.

Hubert de Givenchy

Perhaps no designer has such a muse as Hubert de Givenchy. Acquaintance with actress Audrey Hepburn happened on film set: Givenchy designed costumes for Hepburn's character in Sabrina, which was released in 1954. For the design of Sabrina's dresses, the fashion designer received an Oscar, and actress Audrey Hepburn forever remained a client of his fashion house.

The next time they had a chance to meet on the set of the film "Funny Face" in 1957, where Hepburn again played the main role. By that time she had been sewing for three years. casual clothes only at Givenchy and decided to invite a designer to create outfits for the new film.

Audrey Hepburn in Funny FaceAudrey Hepburn in Funny FaceAudrey Hepburn in the movie SabrinaAudrey Hepburn in the movie Sabrina

In 1961, the Givenchy fashion house knew a real triumph: the film “Breakfast at Tiffany’s” was released, where Audrey Hepburn appears in that very little black dress. Three versions of this dress were created for the film, all of which are now owned by private collectors. After Breakfast at Tiffany's, those who still knew nothing about the actress learned about Hepburn, and those who knew her, but did not know Givenchy, learned about him.

Another famous film that Hubert de Givenchy worked on the costumes for was the 1966 film How to Steal a Million. Predictably, Audrey Hepburn played the lead role: we remember her for her lace bandage over her eyes, which, according to her heroine, made her look like a gangster.

Audrey Hepburn in Breakfast at Tiffany'sAudrey Hepburn in Breakfast at Tiffany'sAudrey Hepburn in Breakfast at Tiffany'sAudrey Hepburn in Breakfast at Tiffany's Audrey Hepburn in How to Steal a MillionAudrey Hepburn in How to Steal a Million

Yves Saint Laurent

Designer Yves Saint Laurent often designed costumes for theatrical performances, which can not be said about movies. However, on his account, the clothes of the heroes of two legendary paintings by two legendary Frenchmen: Luis Buñuel and Claude Lelouch.

In 1966, Buñuel invited Yves Saint Laurent to the shooting of Beauty of the Day, where the fashion designer met Catherine Deneuve (repeating the story of Hepburn and Givenchy). For the surreal film, Saint Laurent dressed Deneuve in clothes from his 1966 ready-to-wear collection. And in 1967, he had to create costumes for Annie Girardot, Yves Montana and Candice Bergen - the actors of the film "To Live to Live" by the iconic director Claude Lelouch, who, in order to repeat the resounding success of "Men and Women", had to make an almost perfect film about love.

Catherine Deneuve with director Luis Buñuel on the set of Beauty of the Day
Catherine Deneuve in the movie Beauty of the Day
Catherine Deneuve in the movie Beauty of the DayCatherine Deneuve in the movie Beauty of the DayCatherine Deneuve in the movie Beauty of the Day

Frame from the film "Live to live"

Paco Raban

If you are shooting science fiction or a film about the world of the future, you cannot do without the help of Paco Raban. They started talking about Raban in the 60s, when one after another he released collections from " modern materials»: metal, plastic, paper. Since then, he has never turned to the classics and continued to experiment. In parallel with the release of seasonal collections in 1967 and 1968, Raban created metallic leotards for Robert Enrico's The Adventurers and Jane Fonda's legendary costumes for Roger Vadim's Barbarella. In the same 1967, the designer created several memorable costumes for Audrey Hepburn, who starred in the movie Two for the Road.

Ralph Lauren

In the mid-1970s, Ralph Lauren took part in two film projects as a costume designer. I must say that the tasks in these two films were completely different. The first picture is another adaptation of Scott Fitzgerald's novel The Great Gatsby. Lauren's task was to create men's suits in the spirit of the 1920s: it was necessary to show gangsters at a secular reception and in the light of a hearth. Flawless suits and soft jumpers Lauren fit perfectly.

In 1977, the second picture was released, on the costumes for which Lauren worked - "Annie Hall". It was Woody Allen's first "almost serious" film starring him and Diane Keaton. Lauren dressed a man and a woman in almost the same things, so it's not always clear whether we have a couple of main characters, or two Woody Allens.

Shot from the film "Annie Hall"
Shot from the film "Annie Hall"
Shot from the film "Annie Hall"Shot from the film "Annie Hall"Shot from the film "Annie Hall"Shot from the film "Annie Hall"Shot from the film "The Great Gatsby"

Giorgio Armani

If you take and calculate how many things by Italian designer Giorgio Armani were used on the set of various films at least in the 1990s, the number will tend to infinity. After Armani worked in 1980 on the image of Richard Gere, who played the main role in American Gigolo, the designer began to be addressed as a specialist in men's wardrobe. Jackets, trousers, Armani shirts, individually and all together, have appeared in so many action films and melodramas that it is already impossible to count. However, it was very rare that Armani acted as the designer of the entire wardrobe, as in the 2004 film The Darling (Giorgio Armani designed all 38 pieces of clothing for actor Kevin Kline and several dresses for Ashley Judd as Linda Porter). Most often, he only added fundamental details like turtlenecks and jackets for Sean Connery in “ rising sun» 1993. Armani was also worn by Liv Tyler in Stealing Beauty (1995) and The Untouchables (1987). Only James Bond remained unconquered: contrary to expectations, Agent 007 did not appear in Armani in any series (so far he wears only Brioni).

Richard Gere in American GigoloKevin Kline in the movie Pet
Sean Connery in the movie The Rising Sun

Jean Paul Gaultier

Over the past twenty years, perhaps the most huge contribution Jean-Paul Gaultier contributed to the creation of costumes for films. It is not known how the process of developing outfits for other designers is going on, but the sketches drawn by Gauthier, selections of fabrics, drawings and photographs from the shooting are enough for entire exhibitions. Yes, and the films with which Gauthier collaborates become cult by themselves.

Gauthier's first experience as a costume designer was in 1989, when he was invited by Peter Greenaway to shoot the film The Cook, the Thief, His Wife and Her Lover. Gauthier had to realize the director's idea, who divided the scenes in the picture by color: the characters are dressed in costumes that match the color of the room. If now it is easy to do with the help of computer technology, then Gaultier had to sew the same dress in several versions and colors.

Jean Paul Gaultier and Peter Greenaway

Shot from the film "The Cook, the Thief, His Wife and Her Lover"
Shot from the film "The Cook, the Thief, His Wife and Her Lover"
Shot from the film "The Cook, the Thief, His Wife and Her Lover"

The next director to call Gauthier was Pedro Almodovar. For his film Kika, Gianni Versace created costumes, and Gauthier had to work with only one heroine - of course, the main one. For Victoria Abril, who played the role of a journalist who shoots the program "The Worst of the Day", the designer designs grotesque outfits that hint at a constant work with blood and violence.

In 1995, director Jean-Pierre Jeunet turns to Gaultier for help: he asks the designer to dress the entire team of actors from the film "City of Lost Children" from head to toe, most of who, of course, are children. The director's idea was that the time of the action is not known to the viewer: it is only clear that everything is not happening now, but when exactly is not clear. This film no longer required the plastic blood splatter and exploding breasts of Kik, and Gaultier had to make sure the clothes didn't look boring. In the film, there is a hint of the designer's favorite Breton stripe: the suits of many children turned out to be striped.

Pedro Almodovar, Victoria Abril and Jean Paul GaultierShot from the film "Kika"
Shot from the film "Kika"Shot from the film "Kika"
Shot from the movie "City of Lost Children"
Shot from the movie "City of Lost Children"
Shot from the movie "City of Lost Children"

In 1997, The Fifth Element by Luc Besson was released and almost immediately became a legend. Milla Jovovich draped in elastic bands like a mummy; Bruce Willis in a tight orange tank top; Gary Oldman, more like Hitler if he were a fashion designer and walked around in striped pajamas; Chris Tucker in a skirt, exactly like Gaultier himself - it was Jean-Paul Gaultier who invented and embodied these and other images in the film. Even the McDonalds workers of the future got their uniforms.

Frame from the film "The Fifth Element"
Frame from the film "The Fifth Element"Frame from the film "The Fifth Element"
Frame from the film "The Fifth Element"

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It is difficult to find a person who has not watched the cult film "The Fifth Element" at least once in his life. Jean Paul Gaultier acted as the costume designer for this painting and designed around 1000 models! The designer is known for his outrageousness, creativity, artistry, as well as elements of subtle self-irony and hooliganism. For the film "The Fifth Element" this is what was required.

So, Milla Jovovich appeared on the screens, tied like a mummy with elastic bands, then the courageous Bruce Willis in a tight orange T-shirt with a neckline on the back. Gary Oldman, in the role of the villain Zorgan, acted as the prototype for Hitler and was dressed in striped black and white rubber pajamas. And what were Chris Tucker's costumes worth - a leopard costume or a costume with roses captivated the audience.

The main character Lilu in the first episodes was dressed in a white suit. elastic bandages. Later, she donned a cropped white tank top, gold leggings, an orange rubber band in the shape of suspenders, and combat boots. Lilu's costume perfectly complemented the image of her heroine.

Interestingly, after the film adaptation of the action movie, many designers, inspired by Lilu's costume, created similar dresses with bandage elements.

Many remember Bruce Willis as the masculine Corben Dallas in an orange T-shirt, but few know that he had a feminine neckline on his back.

The American musician Prince was originally invited to play the extravagant Ruby Rose. The singer found Gauthier's sketches too feminine and turned down the role, but Chris Tucker happily agreed to take part in the filming. And he did the right thing!

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The role of the eccentric tyrant businessman Zorgan in a rubber suit went to Gary Oldman.

Minor characters also received luxurious costumes. The flight attendants on board the ship appeared in white wigs and low-cut blue uniforms.

And this is what it looked like Opera singer, a blue-skinned alien Diva Plavalaguna.

Even the McDonald's workers of the future got their own unique uniforms.

While writing this text, I wanted to watch the film again, and you?

Jean Paul Gaultier wonderful artist, creating sophisticated, sophisticated models with a touch of outrageous and bright sensuality. At the same time, his work is distinguished by subtle self-irony, some hooliganism and artistry, making clothes "from Gauthier" devoid of bourgeois pathos. Therefore, his models are so in demand among pop and film stars, and his work as a costume designer is incredibly interesting.

Film 1. "Falbalas" by Jacques Becker. childhood impression.

"I owe cinema the fact that I became a fashion designer," says Jean-Paul Gaultier. Strong impression on the young Jean-Paul he produced the French film of 1944 "Falbalas" (we translate it as "Ladies' rags"). "When I was nine or ten years old I first saw Falbalas, a film directed by Jacques Becker with Micheline Prel.

The film was set in the atelier of Marcel Rocha, where they filmed the fashion house in which main character. This opened up a whole fairy world in front of me. Of course, there were also my grandmother's corsets, but "Falbalas" was really a trigger. It incredibly accurately describes the world of Parisian couturiers. So when I started working for Cardin and Patou in 1970, I knew I hit Falbalas!”

Interestingly, not only was M. Roche's Fashion House filmed, but he was also the costume designer in this film.

Marcel Rocha

Marcel Rocha opened his house in 1924. He was friends with Jean Cocteau and Paul Poiret, besides he was an influential designer with a worldwide reputation. His clients included Hollywood stars such as Carole Lombard, Marlene Dietrich and others.

M. Rocha model

For actress Mae West, Marcel Rocha created a black wasp-waist corset with chantilly lace. He generally paid great attention to lingerie. In the 40s, when a thin waist was popular, he introduced a semi-corset into fashion, which pulled the waist and had garters for stockings. And it was called "guepiere" (translated from French "wasp").

In our country, his name is well known thanks to the spirits. He released his first perfume in 1944 as wedding gift for the wife. He called them simply - "Femme" (Woman). The company "Lalik" has developed a bottle in the form of a fragment female figure with a slim waist and rounded hips, he is said to have been inspired by Mae West. The number of spirits was very limited, because there was a war, so they were enrolled in a queue.

obstinate clients,

The work of Jean-Paul Gaultier himself also features a certain moment of exaggeration. However, in my opinion, he does it quite interestingly. Later, fate gave a chance to Gauthier himself to work as a costume designer in the cinema. Of all the designers who provided their costumes for filming, Jean-Paul, in my opinion, really added bright, important accents to the films, helped to more accurately reveal the characters' characters and the essence of the picture itself.

Film 2. 1989 "COOK, THIEF, HIS WIFE AND HER LOVER"
PETER GREENAWAY. SEXUAL AGGRESSION.

Jean Paul Gaultier, Peter Greenaway - Party 1993, Theater des Champs Elysees

This is Jean-Paul Gaultier's first film in which he acted as costume designer. Despite the rigid plot, the film is very picturesque and incredibly imaginative. It has been called "a masterpiece of triumphant pictorial spectacle".

This film brought together a wonderful team of excellent professionals: the director is Peter Greenaway, a man with an unconventional view of the world (by the way, an artist by training), production designer Ben vann Os (who doesn’t remember his “Girl with a Pearl Earring” ?!), my favorite composer - Michael Nyman ("Piano", "Drafter's Contract" and much more). Actors - Michael Gabon (whose face, thanks to "Harry Potter" is now known to the whole world), Helena Mirren (the beautiful "Queen" Frears, an actress with Russian roots) and Tim Roth (a thin, beautiful actor, Tarantino's favorite, now still known to fans of the series on "Lie to Me"). And the costumes in this film played a big role.

The motto of the film is "food, sex and death." Gaultier's style, with its sexually aggressive dresses, corsets, tight skirts, high heels, fits perfectly into this concept. Greenway loves to structure everything. So in this film, his love of order takes on the image of a food factory: food is prepared in the kitchen, eaten in a restaurant, thrown away in the toilet. Each of these objects has its own color: green, red and white. The color of the characters' costumes also changes depending on which room they are in. While the heroes are walking through the kitchen, their clothes are gray-green, they go into the restaurant hall - it turns black and red, they go to the toilet - black and white. Moreover, this was not done on a computer, but new suits of a different color were sewn.

Well, the final, demonic dress of Helena Mirren accurately and figuratively emphasizes the tension of the scene. The heroine in it looks like an outlandish bird entangled in a net.

Self-quoting.

A similar dress, but in a different color from the couturier collection

Collection 2009 - 2010 and Lady Gaga

Film 3. 1993 "KIKA" by P. ALMODOVAR.
BLOODY GLAMOR

In the kitschy picture of the absurd "Kika" Gautier no longer acts as a costume designer, but only as a designer of one star - Victoria Abril. It seems to me that this character, in terms of its aesthetics, is closest to the designer, his artistic "I". Other characters were dressed by Gianni Versace.

P. Almodovar, Victoria Abril and Jean-Paul Gaultier

costume designs for the film

frame from the movie "Kika"

This costume from the movie is in the Victoria and Albert Museum in London.
Part of the "Cyberpunk" outfit designed by Jean-Paul Gaultier for Victoria Abril in the 1994 film "Kika" directed by Pedro Almodovar. Victoria Abril"s character, Andrea "Scarface" Caracortada is shown riding her motorcycle around Madrid wearing futuristic combat clothes such as these with electronically controlled lights and elements.

As for the dresses for Andrea, host of Worst of the Day, the director asked Jean-Paul to imagine that she had just been a victim of a disaster, but at the same time she should look glamorous.

The choice of the range of these dresses is not accidental. There is not only a direct association: red is blood, black is death. Here and following the Spanish traditions with a violent sexual temperament, the bloodthirstiness of bullfighting, the gracefulness of flamenco.

In this shot, the hem of the dress looks like streams of blood that flood the screen. A spectacular metaphor conveyed through the costume. "Her costumes reflect the character of the heroine," says Almodovar. And Gaultier calls this style "bloody glamour."

Hair wriggles like rubber wires

blood is dripping on his shoes in shiny red plastic appliqués.

"It's a reflection of the aesthetics of horror, junk design and post-punk in fashion, and the result is aesthetic violence," said Almodovar.These costumes fit perfectly into the style of the film, adding some visual poignancy and grotesqueness to it.

"It's a reflection of the horror aesthetic, junk design and post-punk in fashion, resulting in aesthetic violence," said Almodóvar.

Catherine Deneuve in a Gaultier dress

Madonna's famous costume

Film 4. 1995 "CITY OF LOST CHILDREN"
MARC CARO, JEAN-PIERRE GENET.
FORWARD TO THE PAST

Looking at the characters in the movie "City of Lost Children" you feel like you got it out of an old, dusty chest magic theater. Dwarfs, giants, identical people, Siamese twins, a talking brain ... and children on the other side of it all.

And they are all dressed by Gauthier. "The greatest talent of Jean-Paul Gaultier is that he brings his personal vision into the universe of the film. Yes, how!", - said about the designer Caro, one of the directors of the film.

"We both believe in an extreme of beauty that many people would find weird. That same extreme is present in his fashion shows."

costume designs, scenes from the movie "City of Lost Children"

"City of Lost Children" is a very French picture, with a special national flavor. Gauthier tried to make costumes in the style of the first French films. “In old French films, the image has a very great importance"said the designer. "For example, in the films" L "Argent" ("Money") by Marcel L "Herbier and" Les Enfants du Paradis"("Children of Paradise") by Marcel Carnet. I saw these films as a child - my mother watched them on TV. They influenced me and my attitude towards fashion. The film "Money" is a kind of "Metropolis". These are all films in style art deco.

frame from the movie "Money"

Caro said that there is no specific time in the picture. It is clear that this is not happening now, but you don’t know exactly when,” Gauthier said. “He told me to watch Charlie Chaplin films, for example,“ kid" ("Baby").

Shot from the movie "Baby"

He wanted the children to look something like this, in the same spirit. In terms of time - somewhere from the beginning of the century to the 40s.

Frame from the movie "City of Lost Children"

“I felt,” Gautier continued his story, “that elegance was a thing of the past, but I thought it would be cool and modern to put together different eras to create a timeless period."

A real sweater of the Breton sailors, which is so popularized by Gauthier. In the 18th century, the inhabitants of Brittany (a region in northwestern France) sailed to England to sell onions. These merchants wore sweaters that made them recognizable from afar. They were very tightly bound. in an unusual way- did not let water through, resisted wind and cold. The Britons kept this method of knitting such sweaters a secret. Since they were worn tightly dressed on the body, they were called "the second skin of sailors."

Jean-Paul himself in his "signature" jumper and haute couture models from his collections

I love that my costumes in this film are part of its atmosphere. They play a decisive role in cinema, but they are also made for cinema, and not as an advertisement for Jean-Paul Gaultier."
Apparently, Gauthier was so fascinated by working with children that years later he made a children's collection.

1997 "THE FIFTH ELEMENT" LUC BESSON.
UNISEX OF THE FUTURE

One of the most notable paintings by J.-P. Gauthier, this, of course, is The Fifth Element. He designed 954 costumes for this film. "I wanted myself the best designer, and that is Jean-Paul," Besson said. "He feels the color, he knows the taste of New York." The space of the film, which takes place in the future, allowed Gaultier to embody all his fantasies in costumes. So, even for the brutal Korben Dallas, performed by Bruce Willis, he came up with a suit with a neckline on the back, which is usually a detail of women's dresses.