costume nerding

so now that we know that Croix probably isn’t going 2 die…………… do you guys think she’ll

a) get her old costume back

b) get a new “best of both worlds” costume (nerd glam)

c) get an actual regulation teacher’s uniform lmfao


Backs, glorious backs

Stage costumes have a tendency to put all the emphasis on the front of a costume, cause the old rule say that you never turn your back to the audience. Maria Bjørnson chose a different approach. She saw the costumes almost as set pieces in their own right, towards the “black box” set design, so they should look sculptured and ornamental from all possible angles. As a result they have tons of details in front, but also side drapes, beading in the back, trims, pleats, and of course many stunning waterfall drapes. There’s also extravagant hats and wigs with curls, braids, bows and feathers. 

Here’s some of my favourites of the female costumes. 


Comparing the Elissa costumes of Carlotta and Christine in (professional) replica and non-replica versions of Phantom of the Opera

There seems to be three main design philosophies:

  1. Christine should look more or less identical to Carlotta (many replica productions, Czech Republic, Finland)
  2. Christine should somewhat resemble Carlotta (many replica productions, Hungary, Estonia, the Restaged Tour)
  3. Christine should look totally different from Carlotta (2004 movie, Poland, Romania)

(credit in captions)


From design to costume: favourite departures from the design

Nothing makes me happier than seeing costume makers allowing Maria Bjørnson’s design to come absolutely alive, paying attention to every tiny detail she put into the sketches. But there’s also been some really nice costumes departing a bit from the design, or at least the sketches I have. Heres five favourites from “Masquerade”, as requested by @rjdaae

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“The power of a glance has been so much abused in love stories, that it has come to be disbelieved in. Few people dare now to say that two beings have fallen in love because they have looked at each other. Yet it is in this way that love begins, and in this way only.” – Victor Hugo, Les Misérables
Cosette | @petite-marionnette (my love 💓)
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The Wishing fabric, designed by a husband-and-wife team in the UK, has been used for Christine’s blue Wishing dress since 1986, and is still in use. It has also been used in other movies and TV series; for example in Dangerous Liaisons (1988), The Piano (1993), Forsyte Saga (2002) and Lincoln (2012).

But the inspiration is floral/stripy fabrics from the mid and late 18th century, where this style was at its height. The Rococo fabrics were woven with threads in different colours, and usually featured alternating stripes and floral girlands or ranks of flower. Red/rust/pink is reoccuring colours, but blye, green and white was also popular. The mid/late 19th century got a Rococo revival in art, architecture and fashion, the latter sparked by designer Worth, which is why this type of fabric also got a revival, and why it appears in Christine’s Wishing dress.

Here’s some examples (credit in captions), along with the Wishing fabric.

anonymous asked:

hey i'd be super interested to know what your thoughts on the new anastasia costumes are. I am personally in love with the red gown

First, OH MY. I went to the Anastasia tag to find a specific costume gif set I saw last week. Turns out there’s lots of porn tagged Anastasia. LOTS. This is where I wish Tumblr made it possible to search for two tags at once…

All the naked ladies aside… I rather like what they’ve done with the costumes. A standout-scene for me is the “ghosts” in the ballroom scene, where the dancing royalties and nobilities in the background really looks like shadows of the past

This is so well done it sends shivers down my spine. And of course, their silvery, glittering attires has that strong 1900s imperial look, and is well contrasted by Anastasia’s rougher brown clothes.

The addition of the red/gold ball gown is also a welcome change. I question the silhouette a bit, it looks more 1950s Dior that something you’d see in the 1920s. But it’s a gorgeous piece in itself. I also read designer Linda Cho wanted to give a feeling of something typical Russian and also imperial, with the “Russian” red colour and a bodice decorations which was meant to visually remind of the double-headed imperial eagle:

Not sure many gets the eagle symbolism, but the red will at least be understood. And red is also an epic stage colour. Of all of the Anastasia musical costumes, the red dress is IMO the most memorable one and one we’ll probably see in cosplays. There’s lots of fantastic costumes in the musical, but few really sticks out and tickles my OMG-I-HAVE-TO-MAKE-THAT gene.

I also love that there’s a stronger focus on the blue gown. It looks lovely, with interesting decorations, and quite regal overall:

Though *slightly* in danger of envoking the Chrysler Building gown from The Producers… Though to be fair, the gown from The Producers is made to look like Anastasia and the style of that era, so the references are quite overlapped! Just happy Anastasia is not wearing a Kokoshnik (big screen-like headgarb with beading), like Roger DeBris is… 

(”I’m supposed to be the Grand Duchess Anastasia, but I think I look more like the Chrysler Building“)

OK, back to the case here… I overall like the Anastasia costume design a lot. The costumes are telling something about the characters, and they envoke the period and the style of the respective eras. Only negative comment is probably that there’s not all that many stand-out pieces and showstoppers. But a solid piece of design anyway. :)