Buchprogramm Midas Collection F17

Paco Rabanne (metal)working in 1968. The couturier used
anything but typical fabrics
—
p152 Rabanne was part of a team that created Jane
Fonda’s costumes for Barbarella. His aesthetic is clearly
visible in this PVC one-piece with thigh-high boots
Karl Lagerfeld at a drawing board in Germany in 1984.
Lagerfeld essentially made the Fendi brand by launching
its first ready-to-wear label
—
p70 Michelle Pfeiffer In The Age of Innocence. Fur has
long been used in cinema as a means of portraying wealth
and status
153
71
PACO RABANNE
TWO FOR THE ROAD (1967)
BARBARELLA (1968)
panish-born designer Paco Rabanne is an
innovator to the highest degree, his garments
Stending more towards mobile art installations
than clothes people can wear. His debut show, ‘12
Unwearable Dresses’, in 1966 was a look into the future,
a calling card for a man who thought nothing of bending
pieces of metal around his models on a workbench
and calling it a dress.
Director Stanley Donan wanted a very different
look for Audrey Hepburn in his comedy drama Two for
the Road (1967; see also pages 17, 155). The film, a story
of a young couple’s difficult marriage, was a departure
for Hepburn because she was, in essence, playing a real
person. In movies such as Donan’s own Charade (1963)
and How to Steal a Million (1966; see pages 111, 112), she
exists more as an aspirational poster image. In Two For
the Road, Hepburn plays Joanna, one half of a bumpy
partnership with husband Mark (Albert Finney). Donan
was well aware of his leading lady’s connection to couturier
Hubert de Givenchy, and in fact was good friends
with the designer, but for this picture Hepburn needed
to be shopped for; she had to wear clothes that any
woman, albeit a well-heeled one, could purchase off the
rack. Casting Givenchy aside was difficult for Hepburn,
although wardrobe supervisor Clare Rendlesham
ensured she never appeared in anything less than
FENDI
CONVERSATION PIECE (1974)
THE AGE OF INNOCENCE (1993)
BEDAZZLED (2000)
THE ROYAL TENENBAUMS (2001)
endi is intrinsically linked to cinema. The house
is keen to emphasize the collaborative nature of
Ftheir contributions to film, which at present number
over 30 features. They are not costume designers;
they work with costume designers. They understand
what a Fendi garment means on screen, and are happy
to embrace all connotations, from a delectable mink
coat worn by Madonna in Evita (1996) to a garish red fur
jacket with patent leather trim, and red leather boots,
on Elizabeth Hurley in Bedazzled (2000). Even outside of
cinema, Fendi’s clothes are as much about costume as
fashion. They delineate a certain type of person: sometimes
exquisite, sometimes kitsch, but always rich.
Fendi began life in 1918 when Adele
Casagrande set up a leather and fur workshop in Rome.
In 1925 Adele married Edoardo Fendi and they opened
a boutique next door selling their own goods during the
post-war recovery period. In 1946 Adele and Edoardo’s
five daughters joined the family business. Yet most
significant to the Fendi story was the appointment of
Karl Lagerfeld as creative director in 1965. Lagerfeld
moulded Fendi into what it is today: a luxury fashion
conglomerate. His belief in ‘fur as material’ – using the
fabric beyond mere accessory to construct entire garments,
namely divine fur coats – made Fendi famous.
In 1977 Lagerfeld launched Fendi’s first ready-to-wear
Vom Catwalk auf die leinwand – Designermode im Kino
13
Bereits seit den ersten Tages des Films spielten Modedesigner eine
wichtige Rolle im Kino. Dieses Buch fasst die einflussreichsten und
legendärsten Designs aus der Historie des Films zusammen, von
Ralph Laurens Trendsetter, dem maskulinen Stil für Diane Keaton als
Annie Hall in »Der Stadtneurotiker« bis hin zu Audrey Hepburns kleinem
Schwarzen von Hubert de Givenchy in »Frühstück bei Tiffany«.
»Fashion & Film« feiert den Beitrag der Modedesigner zu großen Filmen,
stellt die wichtigsten Materialien vor, untersucht ihre Bedeutung im
Umfeld des Filmstoffs und erläutert, warum sie für die Ewigkeit gemacht
sind. Illustriert mit wunderschönen Standbildern aus über 100 Filmen,
Modefotos sowie Arbeitsskizzen ist dieses Buch eine Augenweide für
alle Liebhaber von Film und Mode.
Mit 50 Portfolios von: Agnès B., Azzedine Alaia, Bill Blass,
Brooks Brothers, Calvin Klein, Cecil Beaton, Christian Dior,
Dolce & Gabbana, Fendi, Gucci, Hardy Amies, Jean Paul Gaultier,
Karl Lagerfeld, Manolo Blahnik, Marc Jacobs, Prada, Ralph Lauren,
Tom Ford, Versace, Vivienne Westwood, Yves Saint Laurent u.v.a.
Christopher Laverty ist ein renommierter Kostüm- und Modejournalist,
der auch als Berater tätig ist. Als Herausgeber und Redakteur der preisgekrönten
Website »Clothes on Film« erscheint er regelmässig bei BBC
und HBO und schreibt für verschiedene Zeitschriften. Eine seiner letzten
Publikationen war ein Buch über den Film »Grand Budapest Hotel«.
Christopher Laverty
Fashion & Film
Designermode im Kino
224 seiten, hardcover, Fadenheftung
Format 22,5 x 30 cm, € 34.90 | sFr. 44.–
IsBn: 978-3-03876-117-4 | Wg 1585 | märz 2017