The challenge of minors in contemporary fashion design

Last month, an interesting quote appeared on my Twitter feed. “Contemporary design is the most challenging. You haven’t finished designing until the producer’s wife has signed everything,” says Twitter fashion designer Kristin Burke. Award-winning fashion designer Paul Tazewell expressed his appreciation. She then followed the slogan of cooperation: “SOOOOO TRUUUUE !!!”

Admittedly, I am a costume nerd, he appreciates the nuances of an ugly vest, and a spectacular 60s haute couture dress, but I really need to open the offer – starting from the source. “Yes,” Tazewell smiled on the phone and confirmed that he was wearing the “Hamilton” costume that his Tony won. “Yes, I did [say].”

Our assumptions about the role of television and film in conventional modern clothing may be incorrect due to our deep-rooted perception and close relationship with our own wardrobe.

“There is such an idea that anyone can wear modern clothing. We shop for ourselves every day,” explains Broadway film and TV fashion designers. This year Tazewell was an Emmy winner because his modern days – (and Rick Owens and Ann Demeulemeester -) influenced the work of “Jesus Christ Superstar Life!” The audience – as well as the actors and industry participants involved – does not have much work in the design, procurement and production of modern clothing, which may be human.

“For us, if something has a contemporary silhouette, tailoring and style, then we may be underestimated,” said Hala Bahmet, who is the Emmy nomination for “This Is Us” in the contemporary category. people. “We want people to know, ‘Oh no, no, no. It’s very special. We spent a lot of time choosing the tie and the shirt.'”

There is also a historical background. From the establishment of Hollywood to the golden age, all the times of clothing – and a large number of off-the-shelf clothing – are customized. But with the rise of ready-to-wear and early-stage fast fashion in the 1960s and beyond, it’s easier (and more budget-friendly) to buy off-the-shelf clothing for ready-to-wear. Therefore, in contemporary television shows (and some movies, such as the first “Jurassic Park” in 1993), studios often hire clients who can shop and rent, but cannot design or build, according to union rules. Or they use the clothing supervisors who have been photographed to purchase ready-made works, rather than conceptualizing the fashion designer, designing and possibly customizing the wardrobe to fully support the script, story and characters.

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