Nikita Belomestnykh’s Post

How characters, costumes, and narratives form the crux of period cinema. Veteran costume designer Pia Benegal and actor Rajit Kapur highlight the contribution of costume designing in nuanced storytelling. From Mughal-e-Azam to Bajirao Mastani, period dramas have evolved into more than just historical narratives. They have become stories that delve deeply into character development and have entered the consciousness of viewers. As such, character development plays a significant role in driving the narrative forward. In this context, costume design is integral in setting the historical backdrop and enhancing the depth of the characters. It allows viewers to connect with the time, place, and culture of a narrative while deepening their understanding of the characters. Pia Benegal, who has worked across television and films for the last three decades, has been instrumental in elevating the craft of costume design. Some of her notable works include The Making of The Mahatma, Mujib: The Making of a Nation, Aligarh, Bose: The Forgotten Hero, Mammo, and Zubeidaa. Interestingly, Benegal has worked closely with actor Rajit Kapur (of Byomkesh Bakshi and The Making of The Mahatma-fame) in many projects helmed by her father, the legendary Shyam Benegal. The Making of the Mahatma, a documentary based on Fatima Meer’s book The Apprenticeship of a Mahatma, unfolds Gandhi’s journey from a young, relatively unknown lawyer to becoming the iconic leader of India’s independence movement. The session took us back in time through a montage of clips that showcased this trajectory. Benegal pointed out that costume design includes everything—from sourcing, inventory, budgets, and a whole lot of planning. “During the making of The Making of the Mahatma, it was quite a challenge because the budgets were limited. But what was expected was much bigger than that. All the costumes had to be made in India and then carted across to South Africa,” she says. “We had to plan for any kind of eventuality or last-minute requirement.” Trunks with pre-stitched costumes and uncut fabric were carried to the filming destination. Additionally, footwear, headgear, and other accessories were also packed. Benegal created a grid of what Gandhi looked like in India and how his choice of clothes changed when he moved to South Africa. Once again, when the freedom fighter returned to India after 20 years, his life philosophy had transformed. Yet again, his costumes changed. “When actors moved from one location to another, the requirement was different, and figuring it out scene-wise was a task. But it was a rewarding film at the end of the day,” she adds. Read more at: https://lnkd.in/gRMQkTnS

How This Costume Designer Collaborated with Park Chan-wook on 'The Sympathizer' https://ift.tt/LEI9yqF The Sympathizer is Max's newest period satire, based on a Pulitzer-winning novel by Viet Thanh Nguyen. It follows the Captain (played by Hoa Xuande), a double agent working with the CIA and the Communists after the end of the Vietnam War. The show, created by Don McKellar and Park Chan-wook, is a sharp, twisty journey of double-crosses and clashing cultures. A huge part of that journey relies on on the stunning period costumes provided by Oscar-nominated designer Danny Glicker. His designs reflect so many things—class, time, location, emotion, character, and more. And it was clear, as I chatted with him via Zoom, and he and Director Park were incredibly thoughtful about how a character's dress can show so much about who they really are, even if they're pretending to be someone else. We had an amazing conversation, and he offered some incredible insight on his process and the secrets you can find in the costumes of this espionage story. Enjoy. The Sympathizer | Official Trailer | Max www.youtube.com Editor's note: The following conversation has been edited for length and clarity. No Film School: I would love to know first of all what your path was like and how you got started as a costumer. Glicker: My path to becoming a costume designer has been kind of roundabout, I think like most people in the business, I've always loved film and theater and I really love character. And I was really always looking to the costumes as a sort of pathway, a doorway, a portal into the soul of the character. And it's sort of a confusing path because I loved the clothes and I loved the history of the clothes and I loved the story of the clothes, but I was not really very interested in pursuing a career in contemporary fashion, not what I was interested in. I personally love fashion, but that's not what I wanted to do. And so the more I learned about filmmaking and the more I learned about storytelling and character building, I realized what I loved was clothing as a language to express the deeper truth of the character. And for me, clothing is sometimes what I refer to as a delivery system. I use the clothes to very importantly create a truthful physical environment for the actor to experience the world in. I use the clothes to express to the audience the situations that the characters are experiencing and just as importantly the context of the surrounding world. So what my character wears is usually speaking to or in conflict with the environment of clothes that I provide with everyone else in the whole movie. And so I really view the clothing as a deeply personal and emotional expression of character and of worldbuilding. NFS: What excited you about working on The Sympathizer? Glicker: First of all, I mean, getting a phone call to work with Director Park Chan-wook is about as exciting as a phone call as any designer can get, because in the...

How Helen Huang Designed Grounded Costumes for 'The Penguin' https://ift.tt/e4uRMNE How do you dress a Penguin? It's a question that's been answered many times, by Tim Burton and DC artists and others. But in his newest iteration, costume designer Helen Huang was tasked with giving the character and expansive cast of The Penguin their looks, and you might be surprised at some of her inspirations—and how this version of Oz Cobb is dressed as more of a working-class hero, rather than the tuxedoed supervillain we're used to. But these unique takes on characters, both familiar and new, lend HBO's new spin-off series air of gravitas not often afforded to comic book adaptations. Huang's specific goal was timelessness—the looks are familiar, but not trendy, keeping all the characters grounded while not pinning them to a specific decade. It's a delicate dance expertly navigated by Huang, a two-time Emmy winner. Huang was kind enough to speak with No Film School about her work on the series, how she showed each character's growth through costume, and how up-and-coming costume designers should educate themselves. - YouTube www.youtube.com Editor's note: The following conversation has been edited for length and clarity. No Film School: I spoke with your production designer, Kalina Ivanov. She told me that you all were thinking about Scarface and French Connection, New York in the '80s. From your perspective as a costume designer, what did that look like in your process? Helen Huang: They did make a lot of references to French Connection and Scarface. Klute was in there. For me, when they talk about these movies as a reference, I tend to think of a timelessness involved in the world, which is something that we tried very, very hard to achieve. That time in New York, in New York's history, has a very grounded, grittier texture to it. And then, with this IP coming off Matt [Reeves]' movie, it's grounded but still very stylized. I feel like that balance was always in the forefront of my mind, trying to achieve that balance. And then the other thing was making the image—between Kalina's production design, the cinematography, and then costumes—making the image emotional. I started with that approach. I looked at a lot of 1980s New York street photography, a lot of pictures of people on the street, on the subways, to get a feel and understanding for what a timeless look is. It does help with the emotional quality that [the story] does hit fall/winter. It leans into that. I feel like that always gives the visual quality something very special that you don't get with costume with summer dressing. So we looked at a lot of images of that, and I have some very specific images of how each section of Gotham looked. For example, with the Falcones, we didn't want them to feel like 1990s crime bosses. I really wanted to feel this idea of an institution, the crime institution. I leaned very heavily on European aesthetics and images for the...

Learn How Carlos Rosario Created the Epic Historical Costumes of 'Shōgun' https://ift.tt/lbnGWDF Shōgun, an adaptation of James Clavell’s 1975 historical novel of the same name, is a breath of fresh air on FX as an expansive historical epic with predominantly Japanese dialogue. Set in 1600s Japan, viewers meet Lord Yoshii Toranaga (Hiroyuki Sanada), who has made many enemies on the Council of Regents. Nearby, a mysterious European ship is found marooned, carrying Englishman John Blackthorne (Cosmo Jarvis). The show features both an impressive scope and stunning attention to detail, the latter of which is particularly reflected in costume designer Carlos Rosario's work. Rosario, a student of European high fashion and later an apprentice to Oscar-winning designer Colleen Atwood, has brought an incredible level of expertise to the series, crafting all costumes and armor for all characters, bringing a modern sensibility while also honoring traditional Japanese methods and culture. We were delighted to meet with Rosario via Zoom to discuss his work on the series. Shōgun - Official Trailer | Hiroyuki Sanada, Cosmo Jarvis, Anna Sawai | FX www.youtube.com Editor's note: The following conversation has been edited for length and clarity. No Film School: I know that your background is high fashion, so what got you into costume design? Carlos Rosario: I feel like it was destiny, really. I feel like the circumstances in life led me into costume design. Initially, it didn't even cross my mind that actually costumes were needed on movies. That's how clueless I was about the movie-making process. When I got into the industry, I was very, very young. I actually came to Los Angeles as a tourist, and a friend of mine told me, "Why don't you just actually bring all your drawings with you, just in case? It's Hollywood, you might meet somebody." And so one thing led to another, and I met somebody that actually told me that in order to work in the movie industry, I needed to be part of the union. And at that moment, obviously, I didn't have any experience. I couldn't join the union as an assistant designer or a custom designer, but I thought, well, I have all my illustrations. There was a section that was specifically for illustrators, and so I applied as an illustrator because I didn't know what the process was to design costumes. And I thought, well, I know how to draw. Maybe this is my way in. And so I applied, I presented my portfolio, I showed my drawings, and I got really lucky because the president of the jury was the president of the union. And two weeks after accepting me, he actually became one of the designers on Batman and Robin. And so he asked me if I could do the drawings for his project, and that's how I started. So, in a way, I started as an illustrator. It's as simple as that. That was my way in. And throughout the first few years, by working very closely with designers, specifically Colleen Atwood, because I worked with her...

Casting card: Actress profile 🎥Excited to see where it takes her I do these too… and here’s some advice if you need one. Creating a strong casting card (also known as a comp card or headshot card) is essential for actors applying for roles. A casting card serves as your first impression and should showcase your versatility, appearance, and acting skills. Here's how to create an effective casting card: Choose High-Quality Photos Headshot: Include a clear, professional headshot as the primary image. This should focus on your face, with natural lighting and minimal retouching. 📷Your expression should be warm, engaging, and reflect your personality. (Note that we include one like this in her collection and the others are modelling shots) 📷 Full-Body Shot: If space allows, include a full-body shot to showcase your build and posture. Versatility Images (Optional): Add a few additional photos showing different looks or characters you can portray, such as casual, formal, or period costume. (We had some fun creating these that I’ll share later!) #castingcard #callingcard #headshots #professionalphotographer #studioheadshots

How This Costume Designer Updated Jedi Robes for 'The Acolyte' https://ift.tt/uT5Vh7t We're always excited to see a new Star Wars project—especially when Amandla Stenberg and Lee Jung-jae are involved. How could you not be amped for The Acolyte? And when we get to speak with part of the creative team, like costume wizard Jennifer Bryan, we're even more excited! As we learned speaking with her via Zoom, she comes from the world of contemporary TV with credits like Better Call Saul and Breaking Bad under her belt, and this was an exciting opportunity for her to flex different muscles. We were able to ask about some of the new looks for the Jedi Knights, how she builds world and character through costume, what it's like pitching to Kathleen Kennedy, and more. Let Bryan take you to hyperspace with her interstellar advice! The Acolyte | Official Trailer | Disney+ www.youtube.com Editor's note: The following conversation has been edited for length and clarity. NFS: I am a big Star Wars fan. I don't know if you were when you got this project. Bryan: I was just in the general population of having seen some Star Wars movies. I wasn't a super nerd, but of course I am now. NFS: That's going to be my first question then. This being an established universe, how do you approach the work of designing costumes? Bryan: It's a first for me in terms of doing a project that is worldbuilding from scratch. I was very, very excited. I come from contemporary television. Somebody asked me that, about making that jump from contemporary to fantasy sci-fi, and I told them—costume designers, her toolbox has to be very wide, because you never know what you're going to be presented with as a work challenge. Especially if you've been trained, formally like I have, you need to be able to catch whatever comes at you. I'd always wanted to do worldbuilding sci-fi, deep imagination, and things that you really have to come out from the well of your creativity. And this show provided that for me. NFS: One thing that I noticed immediately was your spin on the Jedi robes. I'd love to hear you talk about how you arrived there and what your process was. Bryan: I started my prep in the States and then eventually went over in June, and I had my first big presentation to Kathleen Kennedy. And when I was doing my research, I thought, "Wow, the colors of the Jedi!" I'm a colorist, that's one of the tools that I rely on heavily when I'm designing regards to what the period is. If I can bring color into it that's appropriate, I'll do that. So I started doing my presentations, and I know the Jedi are already in the iconography of Star Wars, but because the timeline was before, a hundred years, I had a hundred-plus years out. Almost prequel-like. I knew I had some leeway. I took a stab. I thought, "I think the Jedi uniforms and color palette could be a little different, not too far off, but a little different from what we've known." So what I proposed, and Kathleen Kenn...

🎬✨ The Art of Costumes on Set: Who's Behind the Magic? Costumes are a crucial part of every film, and it takes a team of skilled experts to create the perfect look for each character. From glowing fabrics to bloody outfits that must look the same in every scene—every detail is carefully crafted! 🔹 Costume Designers: They create the style and design of the costumes to bring characters to life. 🔹 Costume Makers: They sew the costumes, turning the designer's vision into reality. 🔹 On-Set Costume Specialists: On set, they make sure the costumes look perfect in every scene—whether it’s keeping the blood splatters in the right place or fixing the look after an intense stunt. In large film crews, each role is handled by a specialist, while in smaller productions, one person may take on several tasks. But together, they ensure the final look is flawless! ✨ ❓ Which film impressed you with its costumes? Share your favorites in the comments! 💬 #costumedesign #filmcostumes #behindthescenes #moviemagic #costumedesigners #setlife #filmindustry #cinematiclooks #characterdesign #costumeart #onset #visualstorytelling #filmmakers #moviecostumes #wardrobe #dirAct #relionite #magiconset #setmagic #womenintech #professionalfilmmaking

Revisiting the Silvertop banana costume case Silvertop v. Kangaroo (3d Cir. 2019) held that a banana costume was both copyrightable and infringed: In holding that the costume was protectable, the Third Circuit reasoned: Although a banana costume is likely to be yellow, it could be any  shade of yellow—or  green or brown for that matter. Although a banana costume is likely to be curved, it need not be—let alone in any particular manner. And although a banana costume is likely to have ends that resemble a natural banana’s, those tips need not look like Rasta’s black tips  (in color, shape, or size). Commenting on this reasoning, Jamie Boyle and Jennifer Jenkins said:  So, while the court admits that a banana costume is likely to be yellow and curved, it says it could also be brown and straight. On Halloween, when your child goes out in her brown, straight, banana costume and her friends ask “why are you dressed up as a stick!?” she will be able to respond with a simple, terse explanation. “Star Athletica,” she will say. (It's not really Star Athletica that is the direct culprit, but the court's cramped understanding of scenes a faire/basic designs; Star Athletica just means that all the limiting work is done by idea/expression and similar doctrines, and the court misapplied Star Athletica's holding that the designer's intent is irrelevant to separability to the separate issue of whether the designer did something creative/original.) Anyway, the court has a possibly better argument: "copyrighting Rasta’s banana costume would not  effectively monopolize the underlying idea because there are many other ways to make a costume resemble a banana.  Indeed, Rasta provided over 20 non-infringing examples." So I decided to take a look at the record. First, there aren't "over 20"--there are 21 pictures, 2 of which are of a costume from Arrested Development. (I only used one of those two pictures.) Of the 20 costumes--treating minor variations as different costumes--3 are "sexy" bananas, a different 6 cover the face, 1 is a guy in a yellow suit with a hood, and 1 is an odd Wolverine. Maybe that's still enough to justify protection for Rasta's version, but the fact that no one noticed Wolverine in there suggests to me that principles of equity were doing more work than copyright principles. On the other hand, the court isn't really suggesting that noninfringing costumes need to be straight and brown or green. Yay?  

As I aim to become a costume designer for theatrical productions, I’m diving deep into the fascinating intersection of fashion and economics this semester. One concept that has stood out to me is elasticity—specifically, how the uniqueness of a design influences its demand. In costume design (and fashion as a whole), there’s a delicate balance between following trends and infusing your creative vision. The more unique and innovative a piece is, the more demand can become inelastic. If my designs stand out, customers (or, in my case, the director) may be less sensitive to pricing. #Mereditheconomics

Why Does Jesse Plemons Wears Those Red Sunglasses in 'Civil War'? https://ift.tt/ZpouyXn If you've seen A24's dystopian war epic 'Civil War', you surely noticed the unique costuming layered throughout the different militias and journalists throughout the film. Hawaiian T-shirts? Painted fingernails? Transparent red sunglasses? Pretty cool. 'Civil War' costume designer Meghan Kasperlik put a lot of time, research, and thought into how to flesh out director Alex Garland's dystopian United States. Working closely with Garland, she took inspiration from real life war journalists and considered what different militia members would realistically wear in this world. She even made seven jackets out of a table cloth. Read below Kasperlik's process and advice for aspiring costume designers everywhere. Editor's note: the following quotes from Meghan Kasperlik are edited for length and clarity. Number One Rule of Costume Design? Research  "I do a tremendous amount of research, and I'm really interested in getting into the character's head and what they do—what they do for a job, where did they go to college or they didn't go to college, what do they eat? I go full gamut and try to learn as much as possible. For Lee's character (Kirsten Dunst) in Civil War, I read a book by Lynsey Addario, a very famous female war photographer. As I was reading this book, I thought, oh, wow, the beginning stages of Lindsay's book are kind of where Jesse (Cailee Spaeny) is. As she gets more professional, it's like, oh, this is later in life, this is the stage where Kirsten's character Lee is. By no means are either of them Lynsey Addario, but I took inspiration from that, and then I started taking inspiration from other war journalists for Joel (Wagner Moura), and also Sammy (Stephen McKinley Henderson). So it's really important for me to do the research and [get to know where characters are] from, and then I kind of go from there." What's Up With Jesses Red Sunglasses? "Jesse [Plemons] actually brought them to the fitting, and I mean, it was just so cool because most of the time the costume or the prop department will have a lot of those things. It was cool because Jesse really thought about [how to take his character in a] different direction. At first I was very hesitant because I was like, well, we haven't really done anything in the film like this yet. And we had the other two guys that had paint in their hair and fake nails, we haven't done this, and where did these come from? Who did they take them from? Did he kill the person? All these things were going through my head, and I was very concerned if the audience would take this seriously, because his dialogue was very serious. But then I was like, this is Jesse Plemons, of course this is going to work out. So we took it to Alex and we asked Alex about it, and he was like, oh, yeah, that's cool. So I can't take full credit for Jesse's glasses because he brought them to the table. ...