Saturday 30 October 2010

    The White Witch ~ Jadis

     

    Her face was white — not merely pale,

    but white like snow or paper or icing sugar frost.

    C. S. Lewis

    Stir the fire till it lowe

    How like a queen comes forth the lonely Moon

    From the slow opening curtains of the clouds

    Walking in beauty to her midnight throne!

    ~George Croly

    The White Witch brings new meaning to the phrase cold blooded.

    She covers Narnia with ice and snow, and rules by an oppressive law

    in which she turns anyone who opposes her into stone.

    While Jadis may be one with a frosty disposition, her beautifully icy palette is one cool look.

    Dreadlocked Tilda Swinton plays the White Witch as a calculating dictator with little emotion, save for the hunger of more power and control. She despises the beauty of Narnia and though she fears Aslan, she wants nothing more than to seal her rule over the land by taking his life. Though she may not appear as sadistic as many other villains, the White Witch is not to be trifled with. After all, she has no qualms about turning everything in her path into stone, stabbing a child, or humiliating and killing a lion.

    Based on Biblical allegories, The Lion, The Witch, and The Wardrobe showed the Pevensie kids’ journey in the magical world of Narnia to help the lion Aslan, and other magical creatures defeat the White Witch. When Aslan left many years ago the White Witch rose to power, turning the warm, green land into a frigid world of winter. But the Pevensie children are the ones who can lead the Narnians in rebellion and return their home to its former glory.

    The White Witch from The Chronicles of Narnia: The Lion, the Witch and the Wardrobe was portrayed by Tilda Swinton in the 2005 film.

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    Sunday 17 October 2010

    Joy and passion

     

    My talented and lovely friend Katelyn is visiting and I wanted to share her beautiful felt and silk creations.

    She creates pieces that are joyful and full of optimism.

    These pics show the beautiful “Katelyn Aslett” printed silk fabric and felt creations

    that graced the catwalk at Mercedes Benz Fashion Festival in Brisbane last year.

    Designed and created with pure heart and passion,

    combining flora-infused natural silks and wool fleece,

    that have been handdyed, manipulated and often distressed

    for an uncompromising aesthetic integrity.

    And the photos below were taken in her gorgeous studio.

    “The photo shoot was fantastic – to see the designs on Elle and Sas was like falling in love…like seeing them for the first time after weeks of being surrounded by the colour and texture and cuts it was so wonderful to see them as though for the first time and realise that it was all I had dreamed and more…Insight Creative were once again inspired behind the camera and Sas and Elle captured the happiness behind this collection. We set up the photo shoot in the main workroom in my studio which has added such a lovely personal feel to the shots that add a special depth..

    If you covet a Katelyn Aslett creation or want to see more visit Katelyn or follow her blog.

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    Saturday 16 October 2010

    Let them eat cake!

     

    Marie Antoinette by Sofia Coppola

    One of my favourite eye candy movies ~ watching it makes me feel like I’ve bathed in pastel coloured icing sugar.

    And the candy coloured costumes, sets and food

    were inspried by the macaroon colors of pinks, gold yellows, and pistachio greens.

    Marie Antoinette loved macaron from young age, she even named her cat Macaron when she was 5 years old.

    From the lavish cakes to the costumes and sets,

    the film transforms the 18th century French court of Versailles

    into what Coppola refers to as

    “a cake and candy world.”

    “The idea was to capture in the design the way in which I imagined the essence of Marie Antoinette’s spirit. So the film’s candy colours, its atmosphere and the teenaged music all reflect and are meant to evoke how I saw that world from Marie Antoinette’s perspective. She was in a total silk and cake world. It was complete bubble right up until the very end.” Sofia Coppola

    “At the start of pre-production, Coppola handed Canonero {costume designer Milena Canonero}

    a box of pastel-coloured macaroons from the Laduree pastry house.

    “She told me, ‘These are the colours I love’,” recalls Canonero. “I used them as a palette.”

    “It was very much a girlish fantasy

    ~ every frame was filled with beautiful flowers, enormous cakes, silk and tassels.” Sofia Coppola

    “So many of our costumes were in the framework of the song I Want Candy. We chose colours and textures that remind you of thinks you would want to eat. We go from very pale and soft to more shocking. You can say we were very influenced by the period but we don’t present a classical vision. It’s more of a fashion statement. At times it was very rock and roll.”

    “Sofia wanted a richness and a freshness for Marie Antoinette and the clothes need to show her evolution from a very young girl to a sophisticated woman. You see through her dresses how she gains more confidence and even her décolletage becomes more emphasized.” Milena Canonero

    At the Versailles Court in Paris, members of the Dalloyau family, whose descendants later founded the gastronomy house of the same name, served macarons to royalty in the then ruling House of Bourbon.  In the 1830s macarons were served two-by-two with the addition of jams, liqueurs, and spices. The double-decker macaron filled with cream that is popular today was invented by the French pâtisserie Ladurée.

    “One of the ways that working in France brought so much to the movie is that we were able to find people who actually specialise in 18th century food preparation. There’s all this tradition to the way food was made at that time. It was all so elaborate, so over the top. It was really fun as a director to have an entire ‘Cake Department’ devoted to creating macaroons and all these ridiculously cute pink pastries that we used as set dressings. The whole palette of the movie was a ‘cake and cookie’ kind of thing.” Sofia Coppola

    Coppola commissioned the legendary Manolo Blahnik to design hundreds of pairs of shoes for the film. The exquisite detailing of the shoes in opulent silk, lace, and dazzling jewels complemented the gowns beautifully. Apparently women of the 18th-century wore a lot of lace because it was a sign of wealth. The costume designer used original lace from that period but only sparingly because she wanted the dresses to be more graphic than lacy.

    “The biggest challenge facing Canonero was the sheer volume of costumes involved in staging three operas – Marie Antoinette was a keen and accomplished amateur performer – her wedding to the Dauphin, his coronation as Louis XVI, plus gambling and party scenes. “To dress and undress so many people is incredibly challenging. It’s rare to make a movie these days that spans 20 years of a very grand life.” The bulk of the clothes were made in ateliers in Rome’s Cincecitta studios. “I started by throwing pieces of material of Kirsten to see what colours suited her best. I hardly used wigs, because they weren’t right for her We thought that maybe we could have gone more crazy, but there was just not time.”

    “For Madame du Barry, “the rather vulgar mistress of the decadent King” (Louis XV, Marie Antoinette’s grandfather-in-law), Canonero wanted a totally different look from that of Marie Antoinette. “I dressed her like an exotic bird, in contrast to the rather naive, innocent queen-in-waiting.”

    From this interview:

    Did you use original pieces or did you redesign everything yourself? The cut of the clothes was perfectly correct. But the way we chose the color combinations and the hair was inventive. And of course you always look at something that exists in the past and then depart from there.

    What kind of materials did you use?   Beautiful silks, taffeta, and satin. But for Marie Antoinette I used original lace from the 18th century and I also used original waistcoats for the men, and the jewelry and accessories were sometimes used in a freer way. In those days all the ladies in the court would be covered in lace because it was the way to show how rich you were. They had much more jewelry than I used. I preferred the decorations of the dresses to be more graphic than lacy. Even though I used beautiful period lace sometimes.

    Pearls::Satin::Pink::Glitter::Froo Froo::Excess::Lace::Ribbon::Powder Blue::

    The imagery is so delicious that this will not be my last Marie Antoinette post. Actually I have restrained myself and intended this to be a short post! So much beauty to share…

    {Sources: Bandelle; eyesing}


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    Sunday 27 June 2010

    Daphne Guinness mourns Alexander McQueen

     

    “He was the kindest, shiest, funniest person.

    And when the chips were down, he was there.

    He wasn’t a flake. You could count on him.

    I will miss him.”

    Daphne Guinness

    Heiress and haute couture aficionado, Daphne Guinness remembers her friend, Alexander McQueen, the late British designer and pays tribute to his genius.

    ‘Notwithstanding the fact that he was one of my best friends and he saved me from many things, Lee Alexander McQueen was a gigantic personality. He was a colossus, a titan. And he had the biggest heart.

    We met many years ago. As he told it, he saw me across Leicester Square, and I was wearing one of his coats. So he came up to me and said, “I’m Alexander.” We became so close. Me and Lee and Issie [Blow], we were a little gang.’

    Daphne Guinness arrives for the service at Saint Paul's Church in Knightsbridge in a billowing black cape from the designer's autumn 2002 collection

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