Vivian Maier

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Vivian Maier (February 1, 1926 – April 21, 2009) was a nanny by trade, but a documentarian by heart.  On her downtime she’d roam the streets photographing a myriad of people and things.  Children, elderly, the discarded whether it be objects or people.

You notice her winking wit, sly humor, graphic sensibilities right away.  This was the 50’s and 60’s, the great boom time in post-war America, but she seems more interested in the ones that were being ignored by the wave of optimism and upward mobility.

Her story is sad, but compelling.  She never married, didn’t have many close friends, but loved the children she cared for as if they were her own.  Three of the children ended up helping her out financially when she became destitute and alone in her old age.  She hoarded rolls and rolls of undeveloped film and put them in storage.  When she passed away, her storage lockers went up for auction and that’s how John Maloof, realtor and amateur historian, found her.  He has since been her biggest cheerleader, staging exhibitions, and getting a book of her work published, “Vivian Maier: Street Photographer.”

Looks like it could've been taken by any street style blogger, yesterday. Timeless. New York, 1954.

Looks like a movie set. January 9, 1957, Florida.

Her charges said she was like Mary Poppins, and in this self portrait she really looks the part with the hat, bicycle and long overcoat. She's inspiring me to write a character based on her. 1959.

You can tell how shy she was by her self-portraits. She likes seeing herself as tiny reflections, or just her shadows. She never looks made up, always with a plain, serious, somewhat self-conscious expression. 1953.

The great irony is that all this fame, money, and acclaim showering her is posthumous, and all the attention might have made her uncomfortable.  But at least she gets the adoration, and respect for her life long dedication to her art.

If you’re in the Brooklyn area on Friday, November 18, there will be a slideshow presentation and Q&A with John Maloof at the powerHouse Arena.

http://www.vivianmaier.com/

In related news, “treasure found in a storage unit auction…”

http://news.yahoo.com/man-reported-500-000-worth-treasure-storage-unit-200501811.html

Makes you wanna go on “Storage Wars.”  Who knows you might find some gold, or the next Vivian Maier.

Degas and the Ballet: Picturing Movement

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If you’re in London (you lucky doggie) before December 11th, you can catch this exhibit at the Royal Academy of Arts, which consists of paintings, and sculptures by Degas, and photographs and films by him and his contemporaries.  Photos and film were the cutting edge of technology and Degas was right there, using them to enhance his work.

I love dancers and love his work because of how he captures moments.  It’s funny that he’s now seen as a very popular, warm, fuzzy impressionist, but he was radical in his time.  He was obsessed with capturing the human body in motion.

Edweard Muybridge, 'Woman dancing (Fancy)', plate 187 of Animal Locomotion,, 1884-86, Collotype on white wove paper, 18.4 x 41.7 cm. Royal Academy of Arts, London. Image © Royal Academy of Arts, London / Prudence Cuming

You have to remember that before photography, the only way you’d have a picture of someone or yourself was if it was painted.  When photography (new technology) became available, people adopted it for their own uses immediately, much like our own age.  Below is a Carte de Visite.  It’s a thin photograph mounted on thicker card stock and you’d give it out to friends and visitors.  Having your own photograph must have been thrilling.  People started trading cards with each other.  It was so popular that you used to display all your friends cards and try to buy celebrity cards.  Meet the great-great-grandma of Facebook.

The skirt is divine. 'Portrait of Marie Sanlaville in Costume for Don Juan', c. 1866–70, Carte de visite, 10.3 x 6.2 cm. Bibliothèque nationale de France, Paris. Bibliothèquemusée de l’Opéra. Image © Bibliothèque nationale de France.

So I pretty much gasped when I saw this photo.  It’s so evocative.  It’s like the image itself is projecting through time from the 19th century.  I could see this inspiring photo shoots, cinematographers, and designers.

Edgar Degas, 'Dancer Adjusting her Shoulder Strap', c. 1895-6, Modern print from gelatin dry plate negative. 180 x 130 mm. Bibliothèque nationale de France, Paris. Image © Bibliothèque Nationale de France.

Here’s a short video:

http://www.royalacademy.org.uk/exhibitions/degas/

The Artist

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This film is gaining tons of momentum and might be the first silent film in 83 years to be nominated and win for Best Picture.  Jean Dujardin plays a silent movie star who has a difficult time transitioning to talkies.  Maybe because it is SO different, black and white, and silent, that it really sets itself apart from all the noise out there.  It may also be the sweetness, the innocence (no blood, no car crashes, no bullets) that tugs at people’s heartstrings, and makes them vote for this movie.  It’s also a love letter to the movies from a movie lover.

We’ll see…  And so should you.  I’d be remiss not to mention the 20’s costumes by Mark Bridges look perfect.  It is the point of this blog, non?  Opens November 25th in LA.

"The Artist" directed by Michel Hazanavicius, starring Jean Dujardin and Berenice Bejo.

Article on the costumes:

http://articles.latimes.com/2011/nov/06/entertainment/la-ca-sneaks-artist-costumes-20111106

Bonnie and Clyde

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Theadora Van Runkle, passed away on Friday November 4th.  She worked on many memorable films like “Bullitt,” and “Godfather II,” but is widely remembered for her work on “Bonnie and Clyde.”

This film is a constant source of inspiration for designers.  Directed by Arthur Penn in 1967, it tells the tale of Bonnie Parker and Clyde Barrow‘s crime spree in the early 30’s.  America was deep in the Great Depression and pissed off at bankers.  Hmmm… Sounds familiar.

Theadora Van Runkle‘s costume design for star Faye Dunaway is timeless, and casually elegant.  It can be adapted for both spring and fall collections, just change the weight of the knits and wovens.

Theadora's costumes give Bonnie a softness and sophistication in contrast to her "hillbilly" confidants, and symbolizes her yearning for more than her current existence provides.

Theadora's use of berets actually come from Bonnie Parker, but she styles them a little differently and that makes a world of difference.

Bonnie's looks hand knitted and is worn past the crown of the head.

Dunaway's is a finer gauge knit and is worn to the hairline. Big difference. Notice, the deep V-neckline and the open weave detail all point to her GUN. She's definitely not that innocent anymore.

Here's a better detail of the sweater and scarf. I think this most of all, captures the allure of Theadora's work. It's easy, something we can do; a beret angled just-so, a printed silk scarf worn unexpectedly, and a fitted short-sleeved sweater. But it looks so cool. Image mptv.com

Again, beret + deep V-neck (this time with a great print) = cool.

And wasn't Faye Dunway just gorgeous at this age? Image mptv.com.

Bonnie visits her mother for the very last time. Penn shot this with a filter and instantly gives it a worn photograph look, like whatever happiness she's feeling now, is already a memory in a photo, never to be experienced again.

And Warren’s pretty cute too, but Theadora’s clothes are what endure in my mind.

Related articles

Marisa Berenson: A Life in Pictures

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She has led a charmed life and has the pictures to prove it.  The daughter of an American diplomat and Italian Countess, granddaughter of designer Elsa Schiaparelli, Marisa Berenson was jet-setting glamour girl of the 70’s.  She was a top model in the 60’s, and parlayed that popularity to launch an acting career with serious directors: Luchino Visconti’s “Death in Venice,” Bob Fosse’s “Cabaret,” and Stanley Kubrick’s “Barry Lyndon.”

That ain’t no spray tan. Aaah, to be a rich hippie in the 60’s. Marisa Berenson. Photo by Arnaud de Rosnay, Vogue, January 1968.

Marisa Berenson: A Life in Pictures, written by Marisa Berenson, Edited by Steven Meisel and Jason Duzansky, Contribution by Lina Bey.  Published by Rizzoli.

Saul Bass: A Life in Film & Design

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Saul Bass: A Life in Film & Design, by Jennifer Bass (his daughter) and Pat Kirkham (design historian) looks like a must buy.  Chock full-o-images, over 1,400, it should give you some brain marinade.  A mix of Picasso meets 60’s mod, I LOVE IT!  His style is so distinctive you can literally spot it a mile away. Only he could make title sequences compete with being the coolest part of the movie.

Il Teatro Alla Moda, Theater in Fashion

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Later that Saturday I went to see this exhibit in the temporary Wallis Annenberg space Beverly Hills. On display were some opera, theater, and ballet costumes designed by the top designers: Lagerfeld, Valentino, Missioni, etc.

Program for "Lucia de Lammermoor," costumes by Marras Missoni.

Missoni knit kilt, cloak, sweater, and vest. Such great patterns and texture, of course.

Romeo Gigli costume for "Die Zauberflote." Red, blue and green rooster feathers.

Gigli dress for "Die Zauberflote."

Valentino from "Dream of Valentino."

Versace ballet costume. How adorable! Beaded linen.

The back is cute too.

Another beaded linen Versace ballet costume.

I was about to shoot some more but then noticed the  “No Photography” sign.  Yes, I chickened out and put my iphone away.  I paid $10, I didn’t want to get thrown out.

This is the last week, so check it out if you can.

http://www.annenbergbh.com/

FIDM: FABULOUS! Ten Years Of FIDM Museum Acquisitions, 2000–2010

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I went to see the exhibit on Saturday.  Didn’t realize all the banking protests were going on just a few blocks away, which made for more traffic than you’d expect on an early Saturday, but I digress…

I made it just in time for the guided tour, which really added to the experience because you learned the context of how some of the truly exquisite pieces were acquired by the museum.  It’s wonderful that such a resource is available on the grounds of the FIDM campus.  The students can just mosey on down and be inspired on their lunch breaks.

No photos allowed.  😦  but please check it out when you’re in LA.  Oh, and it’s frickin’ free.  I did shell out $92 for the complete collection catalog.

Detail of a KILLER Alexander McQueen "Peacock" dress.

Happy Halloween!

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Two best things about October, 1) the World Series, and 2) Halloween.

There are lots of baseball movies, and I love them all from “Major League,” “A League of Their Own” (I worked on that film as an extras casting asst. while I was in film school), and “Eight Men Out.”  But stylistically, “The Natural,” stands out.  Directed by Barry Levinson in 1984, it does a terrific job of elevating ballplayers and baseball to mythic proportions.  Robert Redford still doing the leading man thing, and doing it well, Kim Basinger as the dangerous moll, and Glenn Close, the sweet-looking home town girl.

Redford gives Brad Pitt a run for his money.

Her sunlit hat is a beacon of Roy's past perfection, and the promises of his youth.

Dracula.  What is it about this character that continues to fascinate and inspire?  The latest iteration being the “Twilight” series.  In 1992, Francis Ford Coppola, no less tackled the adaptation of Bram Stoker’s “Dracula” with mixed results.  One image I still remember is Lucy’s wedding gown.

Eiko Ishioka was the Costume Designer, but professionally, she’s done it all.  She was one of the best graphic designers in Japan, she won a Grammy for a Miles Davis album cover.  She was promoted to Creative Director at the top ad agency in the 1970’s when there weren’t many women in that position.  She then turned to production and costume design.  In 1988, she won a Tony for Best Scenic Design and Best Costume Design for “M. Butterfly.”  Her latest work is in the new Broadway “Spiderman.”

She’s known for her avantgarde/sensual designs, which made her a perfect match for “Bram Stoker’s Dracula.”  She won the Oscar that year for her showstopping work.

From the back, Lucy played by Sadie Frost.

This collar was so over-the-top and unexpected. I remembering hearing gasps from the audience. In a funny way, it also foreshadows Lucy's beheading, by making her head seem detatched from her body.

Macabre but beautiful glass coffin.

Undead Lucy looks like a frightful angel with the winged headdress and dressed in white lace.

Eiko is so amazing I think I’ll have to devote a whole post to her.

Cabinet of Dr. Caligari

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A TREAT, not a trick.  You can watch it on the big screen!  If you’re a film geek, come get your geek on, just in time for Halloween.  Disney Hall, 111 S. Grand Ave., 7:30 pm Sunday.

Directed by Robert Wiene

mptvimages.com

mptv.com

mptv.com

Creepy, spooky, German expressionism.  I’m sure Tim Burton is a fan.