CDG - The Costume Designer

Spring 2019

Issue link: http://digital.copcomm.com/i/1124767

Contents of this Issue

Navigation

Page 36 of 67

Spring 2019 The Costume Designer 37 By the Editors Contemporary Costume Design is more than cloth- ing, the way a Ferrari is more than a car. Modern costumes look effortless—that is the danger, as if the actors rifled through their closet, tossed on a look, winked at themselves in the mir- ror, and wandered onto set. "Everyone dresses themselves … most people have a sense of style … and it's really all about expensive clothes any- way," are common fallacies which undermine the exquisite knowledge which informs every design choice in a modern television show or film. Costume Design paints a picture of a person through clothing for the moment in time they are experiencing in the narrative. It subtly underscores the action, becoming a vital shorthand, when a story has to be told in a few minutes. Unlike futuristic or period design, modern costume doesn't have the benefit of an unfamiliar environment to transport the viewer. Also, because the language of garments is so rich, specific, and widely understood, audiences know immediately if a character's look rings true—from location to socioeconomic status, personality to mood, and from ego to age. All of these nuances are established in contemporary costumes. When a look is so precise that it strikes a chord in the audience, it can move them to participate and to emulate. Never has this genre been more powerful, since social media has given this conversation mon- etary value. We spoke with two Emmy-nominated members, Michelle Cole and Allyson Fanger, about their approach. Both designers have altered the visual landscape. Cole uses audacious color and injects energy and fun into her design for Black-ish and Grown-ish while still staying true to character. Fanger of Grace and Frankie has changed the way the middle-aged people look onscreen. By focus- ing the dialogue on personal style instead of age, she is captivating and influencing a broad demographic. What is unseen by viewers are years of study, both academic and personal, which inform the depiction of people and their varied and rich personalities in clothing. A Ferrari captures the imagination in a heartbeat as it skims past on Sunset Boulevard. Like the rarified vehicle, contemporary Costume Design may resonate and inspire, but it does so because it encapsulates so much thought, passion, and intention.

Articles in this issue

Archives of this issue

view archives of CDG - The Costume Designer - Spring 2019