set-design

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Milly Advertising Rebrand by Sagmeister & Walsh

“MILLY (by Michelle Smith) wanted to rebrand their advertising and communications to reflect the attributes of their new collections: edgy, irreverent, bold and colorful. When Michelle established the MILLY brand it gained fast recognition for its retro & vintage inspired looks merging American silhouettes with French atelier style. While Michelle has kept emphasis on impeccable details and high-end custom fabrics, the style has shifted towards bolder and more fashion forward looks. We worked closely with MILLY on a rebrand campaign that reflected this evolution. We kept the existing logo mark but evolved it through animation and placement. Whether the logo grows flowers, freezes over in ice, or is painted onto a woman’s body; each application can reflect the themes and inspirations of the most recent seasons clothing line and patterns.”

Sagmeister & Walsh is a NYC based design firm that creates identities, commercials, websites, apps, films, books and objects for clients, audiences and themselves. 

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The beautiful garden in Bram Stoker’s Dracula (1992, directed by Francis Ford Coppola). Winona Ryder as Mina; Sadie Frost as Lucy. The garden was created on an MGM studio soundstage, the same one with the giant swimming pool where Esther Williams did many of her water extravaganzas. [Screenshots via http://screenmusings.org/, altered a bit by me to reveal background details.]

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The Interiors of Wes Anderson’ in the latest issue of Apartamento #13

“You could compare Wes Anderson to an interior decorator,”says  Apartamento’s Editor-in-Chief Marco Velardi of today’s enchanting series, taken from the bi-annual title’s latest issue. With the director and screenwriter’s private house strictly off limits, the magazine traces the meticulously considered art of set design in his filmography: miniature brownstone apartments, nostalgic color schemes and embroidered and elaborate costumes. “I always say that a picture of someone’s home tells you a lot more about that person than any portrait possibly can,” muses Nacho Alegre, director and co-founder of Apartamento. “I imagine in a movie the time you have to describe a character is limited, so using the interiors to do so probably becomes something of a necessity.” An intricate visual language has become Anderson’s trademark; in his hands, set design becomes both a storytelling device and character trope, from his shot-on-a-shoestring debut, Bottle Rocket, to his latest saccharine fantasia, The Grand Budapest Hotel. Velardi adds: “Ultimately, if you look at his work there are a lot of interiors, with very peculiar and very precise work on the spaces and what people wear; Wes is passionate about every single detail, and that’s why it’s fascinating for us.”  

h/t nowness

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Handcrafting Fictional Universes for Film with @annieatkins

For more behind-the-scenes photos from life on set, follow @annieatkins. For more Golden Globes-nominated films and the talent behind them, follow @goldenglobes on Instagram and explore the #goldenglobes hashtag.

Graphic designer Annie Atkins (@annieatkins) helps turn fantastical, imaginary settings into intricate realities on screen. Most recently, as the lead graphic designer on the 2014 film The Grand Budapest Hotel, she was involved in creating almost every object in director Wes Anderson’s stylized world. The story takes place in a fictional Eastern European country, set between the First and Second World Wars.

“We looked at all kinds of references from 1930s Eastern Europe: telegrams, notebooks, antique newspapers,” she says. “I combed thrift stores and flea markets looking for old packaging and love letters, so I could get the style of everything from the handwriting to the postage stamps right.”

Originally from a tiny village in North Wales, Annie now lives in Dublin, but her film work draws her to diverse locations—and historical periods.

“I’ve never actually worked on a film or TV show set in the present,” she says. “The graphics I make for film are all for different times in history. I could be making calligraphic scrolls for medieval times or on-screen digital data for a spaceship 2000 light years away.”

Annie also worked on her first animated feature earlier this year, The Boxtrolls, where she texturized a world of misunderstood creatures who live underground and wear cardboard packaging for clothes.

“It was fun designing the graphics for their outfits. We had to create the entire town,” she says. “It’s fun working within a world where absolutely everything has to be invented from scratch.”