les miserables costumes

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Ever wanted your very own Xylophone Vest, but lacked the patience to sew on all that braid? Not particularly enthused by the “custom made” options on Ebay?

You’re in luck!

I’m opening up a few commissions spots for Enjolras’ Act 2 vest to be completed over May. At this point, I am only able to offer 3 spots due to other time commitments, but if there is enough interest, i would consider opening up to more in the future.

Given the nature of the vest, prices start at $300 (USD), not including shipping. Your vest will be custom made from your measurements with over 20 metres of gold braid and 80 gold buttons.

If you’re interested, or if you have any questions, send me an email at tashlingrace@hotmail.com

okay so I’ve just binge-watched Yuri on Ice to avoid my responsibilities, so allow me to offer you this Yuri on Ice-ish Enjoltaire AU:

  • Enjolras is a renowned French figure skater, idolised by the fans because he’s both impossibily talented and beautiful. He’s been under the spotlight for as long as he can remember
  • Thing is, if he really did start off loving figure skating, the pressure is getting too much lately. His parents are the ones who really want him on the ice, but all his fire has burnt out. He just wants to take a break and focus on other stuff, like activism and his friends
  • Meanwhile, Grantaire is a famous-but-never-winner Greek figure skater, who idolised and fostered a crush on Enjolras for freaking EVER. He has a very laid-back and nonchalant style, and he’s graceful on the ice, but his self-esteem, depression, and poor life choices are getting in the way of his career
  • One day, Enjolras sees one of Grantaire’s performances and oh boy. Grantaire has an innate grace and his body can tell such vivid stories, but he holds so much back! Enjolras’ decision is taken. He’ll coach Grantaire for the Grand Prix, since he has no desire to skate himself
  • Grantaire is, of course, D-Y-I-N-G because his idol is???? On his doorstep??? What the fuck is happening???
  • Things go less smoothly than anticipated. Enjolras is demanding and sometimes harsh, while Grantaire doesn’t believe in himself as much as he should
  • They have a huge fall out at some point. Out of frustration and exhaustion, Grantaire points out that he can’t be Enjolras, because he doesn’t have the cold iron beauty that it takes, that he can’t be made of icy marble like Enjolras is
  • They make up later, opening up to each other. Enjolras explains that he’s lived under the crushing pressure of perfection all his life, and it messes up his expectations. Grantaire apologises profusely, saying that perhaps Enjolras should coach someone who actually has a chance of winning the Grand Prix
  • But Enjolras has none of that. He believes in Grantaire. That’s what he says every time before Grantaire gets on the ice. “I believe in you.”
  • Bonus point: Spanish figure skater Courfeyrac, Captain of the Enjoltaire ship, constantly nagging them about being like an old married couple and keeping the fans updated about operation “Holi-gays on Ice”
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When I watched Les Miserables at the theater, I definitely felt like it had some of the best costume design I’d seen in a recent film. I don’t actually know very much about costume design for film, but I know quite a lot about apparel clothing design, and what I know informs me that these costumes involved an incredible amount of time and effort, every bit of which paid off.

These aren’t the only great ones in the film, they’re just the ones I liked and could get in passable screenshots or promotional images. Besides these, a few in particular went above and beyond–like the blue dress Cosette wears with her bonnet, which never does get shown at full length in daylight, but you can tell that it’s beautifully detailed notwithstanding.

I pretty much love everything about this film.

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Ah, Javert’s classic look…

Those thick, imposing, iconic sideburns, straight out of the novel. That smooth brown/later gray hair, worn in a severe ponytail that might be anachronistic but which perfectly embodies his rigid, outdated worldview and principles, and which symbolically (and sexily) comes undone in his final scene. The somber, dignified dark blue uniforms. The imposing black greatcoat. The array of hats. Every detail is a prime example of visual character-creation.

I understand why they didn’t go with this look in the movie. It has a “larger than life” quality that probably wouldn’t have meshed with modern screen realism, least of all with Russell Crowe’s softer-edged characterization. But it tells us all we need to know about Javert from the moment he appears onstage. And he looks like he walked straight out of a 19th century illustration for the novel. Look at any French illustrations from Hugo’s lifetime or soon afterwards (Bayard, Brion, Jeanniot): the other characters might look completely different from the standard images of their musical counterparts, but Javert is always recognizable!

More on the staging of “Les Mis”: the White Light of Death

One detail of the original production that never fails to be effective is the association of pure white light with death, in contrast to the yellowish/amber-tinted light that generally illuminates the characters. The white light that floods down onto Fantine and Éponine the moment they expire, washes over Enjolras’s dangling body on the barricade, and transfigures Valjean as he rises to join the spirits in the final scene.

Some people call it cheesy, but I think it’s beautiful. It evokes the white light that people usually see during near-death experiences and infuses even the saddest moments with hope of heaven.

Besides, it’s used in subtle ways that first-time viewers probably don’t even notice. At the end of “One Day More,” the whole stage is illuminated with bright white light, which in the moment just adds to the sense of exhilaration – only later (possibly several viewings of the show later) do we realize it was foreshadowing that most of the characters in that tableau were doomed to die. And the costumes reflect the theme too. If you look closely, you’ll notice that Cosette’s wedding gown is actually cream-colored, not pure white. It oh-so-subtly contrasts with Fantine’s white nightgown, Valjean’s white shirt and the light that envelops them, making her look “warmer” and more “earthly,” while they look more ethereal.

Ham-fisted symbolism it might be, but it’s well done!

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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.” – Les Misérables

Cosette | Marius 
Photos © the above, please do not use or repost without permission.

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Samantha Hill’s Cosette Cloaks.

 It seems that Sam has had three different cloaks that she wears during look down. The one she wore in Toronto was much darker than any of the others I’ve seen and closer to green than blue like Katie Hall’s. It also has one off white stripe. 

 Her first Broadway cloak doesn’t seem to have a waist band, the color seems to be closer to the one she is currently wearing in the Broadway production and it looks to have two stripes. My guess is it was a tour cloak they used for the photos.

 Her current cloak is the only one I have seen (other than the Korean one) t have black trim. She had this one in time for the One Day More Performance on GMA  in 2014 and I believe when I saw the show in previews she had this version.

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WIND VS. THE 1830s AESTHETIC

Let’s preface this set with a little background:

I remember back in ye old days of my entrance into the Les Mis fandom, there was some debate over the issues of Cosette’s skirts and the wind vs. Marius being scandalized by the aforementioned event. I don’t remember what the debate was about nor do I want to sift through the tag and possibly my archives to find what was being said regarding the apparent controversy surrounding this piece of text. However, I remember thinking on how strong the wind must have been in order to pick up her skirts in such a way and wondering if such an occurrence could happen or if it was simply a plot device used by Hugo to move the story along.

It just so happened that I was sifting through some old photos from Halloween 2015 when I opened the first photo in this set. I started laughing because I remembered having to stand still while the wind blew my skirts around for this shot while my partner laughed as I blew up as balloon would so to speak, and continued shooting. This soon led me the contemplating the actuality of the hazards of wind during periods where even a little more leg shown than what was deemed acceptable by society and subsequently reminded me of the discussion about such an issue all that time ago.

For reference, my dress is made out of over 10m of a heavy cotton sateen. I am wearing no less than three layers of cotton petticoats plus drawers and stockings underneath. The wind was strong however, there were no wind warnings in place that day. However, the wind still managed to get under my skirt and pouf it out to where it was lifting up off my legs.

Thus, I seem to have conducted and proven an experiment without even being aware of it at the time.

The conclusion I have drawn is there does not have to be gale force winds in order to cause quite a ruckus should a young lady be out walking in such weather.

Cosette | Photography

local-person  asked:

Hello it's me again XD I was just curious if there was a reason why Grantaire likes/wears green? Was it something from the book or was it just a costume designer thing that just sort of stuck?

Oh, it’s totally a costume design thing! Largely based on the stage/movie costumes. As far as I’ve been able to track, it went like this: 

Enjolras, in the stage musical, wears red. A good dramatic color for the stage, something easy to see and track, and , of course, symbolically linked with revolution for a long time! 
(Book Canon Enjolras, severe and reserved, would probably have worn a red  waistcoat approximately never. It’s actually associated with Bahorel in brick canon for a lot of reasons, one of them being to stress just how extremely outspoken and borderline reckless he is. But stage costuming of course needs its own rules and design, and I for one love the xylophone , so I am not protesting!) 

-I don’t know when exactly Grantaire started wearing green, or mostly green– though SOME green is definitely there by the 25th anniversary concert, on Hadley Fraser’s outfit (his undershirt, though, more than his waistcoat, which seems odd, but again: the stage costume historical accuracy is pretty Whatever, you know?).  If anyone can give a definite First Appearance of Grantaire in Green that would be appreciated!

- Les Mis 2012 put Grantaire in green for sure. 

The interesting thing to me is that I think this is based on the canon association of Grantaire and Enjolras with complementary colors (”a skeptic adhering to a believer is as simple as the law of complementary colors”). Green is of course a complementary color to red; so by assigning Enjolras a (non-book) color association, it led the way for Grantaire to get his own (non-book-specified) color association *in keeping with the book description*. Interesting! And pretty cool, I think. 

Also, it cracks me up, because the one time we ARE given specific info about Grantaire’s clothes (in Enjolras and His Lieutenants), it’s because Grantaire’s gone and gotten his Robespierre waistcoat…which he says in Enjolras’ ear is red, as part of evidence of how totally SRS he is about the Barriere du Maine mission. Which is amusing because it turns the musical colors on their head, of course, but more importantly

Grantaire apparently thinks dressing like Bahorel will impress Enjolras  and just 

Grantaire no 

 and I am sure that is way more info and speculation than you wanted for a question I could have answered with “no, it’s a stage thing” and I am sorry! But please take a moment to consider Grantaire trying to win over Enjolras with a Bahorel cosplay and boggle with me.