narnia costume design : Isis Mussenden

After reading an interview with costume designer Iris Mussenden - I found these quotes interesting.


RH: Describe the process of designing and making a costume from start to filming close.

IM: A costume begins with the script. As mentioned above, the research into the character needs to be explored. Who are they? What state of mind are they in...and on and on. Once the actor is cast, a discussion with the director and the actor take place to collaborate as to how this character is going to be played. From there I come up with ideas of how this particular person would dress and either start to sketch or to pull already made clothing together for a fitting. It is here in the fitting room that the character appears and the actor leaves us.

It is a very exciting moment. It can be a particular dress, a pair of shoes, it can even be a particular belt that says, "Yes, this is what he/she is all about." From there we either make the costume, (choosing fabric, designing the details such as embroidery etc...) and continue to fit the costume to make sure it fits as we wish. From this point the costume goes on camera, and the set costumers care for the costume, as well as keep track of the continuity. When the film is done shooting the costumes are cataloged and stored until the film comes out.


RH: Tell us about the designing of the White Witch's wardrobe.
IM: The White Witch was the most challenging costume to design in the Narnia series. She was described one way in the book, but once Tilda Swinton was cast, we needed to adjust. Our wish was to maintain the essence of the White Witch, but to not force black hair and red lips on an actress that would make her look anything but regal. I had a very young and talented textile artist working for me, and together we experimented with different techniques to create the "Ice" inspired fabric and lace for her dress based on photographs of glacier cracking. Inspired by my then four year old son's Pokemon cards...I came up with the concept of her evolving throughout the story. The last thing I wanted was for her to feel like she had a closet with clothing in it. (She was not human after all.) As she lost her powers and the ice melted, so did her silhouette and so did her ice crown. It was a long process and many people were involved with the costume. - REF 


http://teenink.com/nonfiction/celebrity_interviews/article/340973/Costume-Designer-Isis-Mussenden/

Eiko isshioka designed a costume for mirror mirror and Colleen Atwood queen of hearts in Alice in Wonderland. Colleen Atwood uses lots of detail in her designs.   I thought the use of the heart shape was very interesting and effective.  The heart shape of the lipstick and the false head made of of wax and the dress shape. This has given me ideas of making an ice heart and using the heart shape . And  Eiko isshioka uess some of detailbut i am  interesting look a peacock detail of hard embriodery and marchire embriodery to mix and the peacok has a lots eyes to saw to everyone and the big wild pound and this has given me ideas of peacok of eyes  matbe a eyes of a ice saw uof saw.  

  

my fmp powerpiont : evil queen character of evil

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- You have designed the costumes for Tim Burton’s Alice In Wonderland, having worked on so many of his other movies, so how did you two get together?

We met actually through a production designer that I had worked with who recommended me to Tim when we were doing Edward Scissorhands. I met Tim and we hit in off in our interview and he basically hired me right then, which was very exciting.

- What is your working relationship like with him? How closely do you work together is he very hands on in bringing ideas to the table?

Basically we start with the script, we usually have an initial meeting and he talks to me about the general feel of how he sees it and I go off and do my research. I then bring him materials, which he reacts to, and then we go on to the next stage which is the design process.

We start researching fabrics and fabric ideas; he enjoys all the textiles and visual materials, so he sees all that. 

Once I start making the clothes he usually comes in on the second fitting, once we have got the initial boring stuff done, and has a look and we take it from there.

-  And what makes you keep wanting to work with him?

I really like him as a person, which is very important, but I also admire him as an artist and I’m always excited to see when he is thinking for a project, he has always had a very interesting view on what he wants to see. - REF

http://www.femalefirst.co.uk/movies/Colleen+Atwood-8658.html