# British Fashion on the Big Screen: A Private Viewing

## Метаданные

- **Канал:** Vogue Business
- **YouTube:** https://www.youtube.com/watch?v=L0GdFr68Eb8
- **Дата:** 27.05.2022
- **Длительность:** 9:48
- **Просмотры:** 919
- **Источник:** https://ekstraktznaniy.ru/video/52799

## Транскрипт

### Segment 1 (00:00 - 05:00) []

british designers have been creating costumes for the silver screen since the first flicker of motion media in the 1920s in this exclusive showcase we go behind the scenes to get a private viewing with some of britain's most famous costume designers and fashion experts in the industry i'm sandy powell and i'm a costume designer for films i'm anna robbins the work you would probably know me best for is my costume design on downton abbey my name's sophie canale and i'm the costume designer for bridgeton season 2. i'm jeremy angel we supply costumes to film tv and theatre and we were founded in 1840. i'm samantha pattinson our mission statement is really to embed sustainability in the design world through action and dialogue from cecil beaton and john molo to jenny b ven and sandy powell numerous british creatives have created award-winning designs for the big screen hi sandy thank you so much for joining us it's such a privilege to have you with us today you've had ongoing collaborations with directors and filmmakers like martin scorsese and todd haynes how important is collaboration to bringing a creative vision to life collaboration is paramount i mean it's it's what you do i mean the whole purpose of working in film is to collaborate and work with other people i'm fortunate enough to have worked on so many sort of wildly different subjects and periods that all of the costumes are different to me and they all have different meanings and some of them have sentimental meanings some of them bring back happy memories so i have favorites for different i mean i might like something for instance i might like daniel day-lewis and gangs of new york because that reminds me of a fantastic time i had that was my first film with martin's school susie we captured the beautiful autographed suit that you got signed at a number of different red carpet events it's a really iconic piece of history i think can you tell us a little bit more about how that came about well the suit came about as a way of raising money to help raise money to purchase prospect cottage which was the house owned by derrick jarman that suit actually started life as a tuol which is a pattern for a suit i wore the year previously to the academy awards men wear the same thing every time i'm going to and then had the idea that it was a blank canvas i could get signatures on it for fun and then well no hang on signatures on the suit if i can actually really do it then we can sell it it'll be worth some money and that's how it happened and it kind of like snowballed it just got bigger and bigger i strive to be original i don't see the point in doing anything in this you're attempting to do something that hasn't been seen before which i know is pretty much impossible but unless you have that in the back of your mind you probably are going to end up just churning out the same things so anna you've as you've said worked on downton abbey since the fifth series and on both the feature films what have been some of the highlights on working on such a quintessentially british period drama i mean it's been a real privilege to be part of such a cultural phenomenon and i think britain's famed for its period dramas and downton's really up there as one of the best i really like to use original pieces where i can so it's about treasure hunting and finding pieces that can be used or restored and used this is an original dress that was just perfect for cora and it was in pretty good condition for it being 100 years old but the chiffon is starting to perish and some of the beadwork had come away so it spent a long time being restored it's a really electric moment when you've got a costume absolutely perfect in the setting for that part in the story i think there's characters i've loved designing so bringing rosalind to life in wild rose was just a really fun exciting process i mean i love the opportunity to go home and work and it was a fantastic film to be shot in glasgow and it was amazing because we were finding these lovely parallels between nashville and glasgow and um working that into these looks for rose lynn and i love country music so it's like the perfect combination well i'm very excited to be here with sophie canale the designer for the costumes on brilliant series too sophie how do you use costume design to bring to life a period fantasy for a regency period setting in a modern world i think with taking on the concept of bridgeton you know it's period cuts and contemporary fabric we're making a hundred roughly 160 costumes every six weeks so it's a military operation we had 120 in-house crew so there's three jewelers three milliners a die department so it's really kind of

### Segment 2 (05:00 - 09:00) [5:00]

pushing and bringing everyone together to create each individual costume why did you opt to bring colour and texture to a production set in the recency period when so many others before you have chosen to go with traditional white muslin i think you know it was ellen morognik's project i think her and shondaland had this concept of bringing a new audience to period drama and for me as a designer fabric is really important it's my first stage of how i start you know we've got amazing suppliers in the uk um which was fantastic also lots of french meals mills a lot of our laces come from france um italy and then you know we use etsy a lot as well you know it's just like searching for small companies in latvia you know trying to source from all over the world really our fabrics so just to be able to accomplish so many dresses well hi jeremy thank you so much for inviting us to overcoming your lovely warehouse we understand it when designers come here they work with us differently so someone could be in here and they could find everything but someone might be in here for weeks and they might only find one or two items but they're exactly what they want and it's such a resource to allow them to mix vintage with recreation and everything like that this is the replica of the coronation dress it's stunning it's one of my favorite pieces that we have and it was made originally for harrods for their window display and we had to make it all inside all internally because they had very strict sort of um provisions for what being made everything had to be ethically sourced and everything like that so the easiest way for us to do that was to do it all in house and then the crown came along and claire foy gets into that and that was the coronation dress for the crown the business has always been run by my family so there's always people who've seen people growing up in the business there are people who've been here for 30 40 50 years they're part of our family we want the people who are different look at things differently is you can't make a production like sex education or bridgeton or and not realize how important the costumes are going to be so we've got a phenomenal team of makers if you don't have costumes just got naked people on camera and you've it's much harder to tell your story unless it's the emperor's new class hi samantha thank you so much for joining me so can you tell me a little bit more about what rcgd global does to make sustainable fashion happen on the red carpet we started as a design competition that wanted to give designers all around the world the opportunity to create something sustainable for the red carpet the lessons that we can showcase on the red carpet can be translated across to every area of the fashion industry we work with ngos and charities that are campaigning actively for the workers rights garment workers rights we talk about slow fashion artisan culture and the importance of honouring those contributions to the fashion industry we talk about representation and equity on that carpet as well michael badger was based in atlanta georgia designed student from savannah college of art and design and then we have vivian westwood or dane vivian westwood who's this kind of british cult icon when it comes to the design world but also just a pioneer of conversations about sustainability climate revolution 2013 so bringing together this established designer um from britain and then this emerging designer from the us to collaborate on a single piece and it was beautiful it was made with um a kind of it was dyed with golden rod and chamomile natural dyes putting a spotlight on the relationship between textiles in the industry textile water pollution of textiles and the natural solutions and the more kind of eco-friendly solutions we can have and it made kind of best dress list so it was just such a great um kind of landmark for us to show that sustainable design can be beautiful sexy educational and it can provide solutions it's constantly surprises that's the beauty of the industry and that's why i like it because every script is different you know you don't know who's coming into your fitting room next it's it's ever-changing and you know and you have to be built for that and enjoy that because no day is the same and no job is the same i feel so privileged to be a part of such an incredible dynamic forward-thinking um industry and i love what i do i think it's our duty anybody who's been doing their craft for a long time it's your duty to pass it on and i think it's very important to be working with young people and to be inspiring and giving them hope really