broadwaybydesign
Broadway by Design
Zach's views on costumery, design, and trends on Broadway, brought to you by the author of What a Masquerade! Call it a family legacy if you want, but I've always enjoyed costumery and fabric design, and the same family who worked in textiles for years introduced me to my love of Broadway. This blog is dedicated to the costumes and designs of the Great White Way in all their glory, complete with your daily dose of snark when warranted. Suggestions and submissions always welcome! Follow-backs from @fancynewaddress.
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Musicals + Costumes: Once on This Island (2017 revival) by Clint Ramos
The whole unifying thought of the design was: How do we create divinity from the discarded?
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I’ll take a look at these when I get a moment, but honestly, I cannot more highly recommend taking a look at @christinealtomare‘s analysis of the costume designs for Madrid and Stuttgart!
I was wondering about your comment about the Spanish costumes. What made them the least impressive ones (in contrast to Broadway, the US National Tour, and Stuttgart)? I don't have a background in costume making or fashion in general, so I'm genuinely being curious (since I have an interest in production design in general). Thanks!
Since my other post answering this question got flagged, going to try again with this one! :)
So, disclaimer: I don’t have a background in costume design or fashion either haha. I’m just somebody who likes this show and tends to look at the costumes a lot and this is all super subjective! I’m not going to through every costume comparison because we would be here forever haha. Somebody seeing the show for the first time or even the second wouldn’t think the costumes are bad at all. However, as somebody who sees various images and videos of these costumes everyday, these are just the things I’ve noticed when comparing the Madrid costumes to the three other productions.
Keep reading
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In honor of Constantine Germanacos’ return to Anastasia, this time as Gleb, here’s the sumptuous and detailed costume from the previous role he played, Tsar Nicholas II.
The Uniform worn by Tsar Nicholas II of Russia in Anastasia The Musical. Designed by Tony Award Winner Linda Cho. Tumblr kills quality so click on the photos to see the beauty of this costume.
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musical theatre challenge → ¼ costumes | clint ramos (once on this island)
ramos’ design hinged on a gradual evolution of its characters from hurricane-ravaged islanders into the gods in the unfolding fable. because of the allusions to post-storm haiti, director michael arden challenged ramos to incorporate trash and found objects into his design. “the whole unifying thought of the design was: how do we create divinity from the discarded?”
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Do you by any chance have a photo of Satine's blue dress from Moulin Rouge? She wears it for a hot second in the love medley, on the eiffel tower. Thanks!
Sadly, I don’t. You might try checking @moulinrougestateofmind‘s blog, though; they have a lot more shots than I do. Most of mine are the production stills, which unfortunately never featured the dress from the end of Act I (which is a pity because I remember it as gorgeous).
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This is one of my favorite Frozen costumes. There haven’t been a lot I loved, but this really captured the “era” of the production.
her majesty queen iduna
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Look at this pastel perfection <3
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Catherine Zuber’s costume sketches from the Ambassador Lounge at the Emerson Colonial Theatre where Moulin Rouge! is playing through August 19th!
Concept art in the Ambassadors Lounge at Emerson Colonial Theatre
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That’s how you know a costume has an insane amount of detail work and adornment. Remember that this costume also has, at most, about 10 minutes of stage time.
Lauren Blackman + The Tsarina’s Gown
(Anastasia Broadway)
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You are the costume master. Am I crazy or have the sleeves on the Phantoms tux gotten way longer? Check out Ben Crawford’s latest photo set by Murphy Made. The tux looks ill fitting at best. I’ve noticed since at least Panaro, if not well before that. Michael Crawford made a point about the sleeves being SHORTENED. Now they seem to half way cover the hands. Am I crazy?
You are definitely not crazy. The Broadway taicoats are different from most others in that the fit is looser, and the sleeve cuffs and trousers are longer.
I classical Western menswear three main styles is usually brought up:
UK/English style: Structured, close-fitting, high-waisted and with a love for double-breasted jackets, but also for understatements (in the suit, accessories can be loco). Think Savile Row.
Italian/continental: Elegance, lighter fabrics, sharper angles. The finest wools, often also lighter colours. Can be super smooth, but also a bit excessive. Think Brioni, Caraceni, Kiton.
US/American: Looser“box” fit, rounded shoulders, wider and longer sleeves and trouser legs, usually dark colours. An actual expression here is “the sack suit”. Think Brooks Brothers and Ralph Lauren.
And with this as a backdrop, this tailoring does make more sense, no?
I certainly won’t call it ill-fitting, as it seems tailor-made for the actor and fitting him well in the torso. But I AM itching into make the sleeves a helluvalot shorter, as per the original instructions.
As you say, Michael Crawford and designer Maria Bjørnson aimed for the sleeves to be a bit shorter than usual. Reason was that this would emphasis the hands, make them large and visible. And Ben Crawford is definitely NOT getting that little push from his jacket. The cuffs are rather drowning out his hands. Which becomes more obvious when comparing the two Crawfords in MOTN:
I think this started in the days of Howard McGillin and/or in the late 1990s, but with some more extreme examples than others. With some Phantoms the shirt cuff and cuff links are visible, and with some 2/3 of the hand is covered. I don’t know if it comes down to preferences of the costume maker, costume supervisor or actor. But your observation is correct, the US Phantom jacket sleeves are notoriously longer than most other versions out there.
On the other hand, the tailoring of said cuffs is pretty neat, almost reminding of horse hoof cuffs. The European equivalents often has an additional velvet decoration on the cuffs, and can be a bit more rigid in shape and movement. Though there are nicely tailored ones here as well. Scott Davies in West End, for example:
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The beautiful and extravagant costumes of the servants of Anastasia the Musical. Designed by Tony Award Winner Linda Cho. Click on the photos to see the pretty fine details.
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These costumes make me swoon. Especially Aaron’s blue coat. Catherine Zuber’s outdone herself this time, and if I didn’t know they were her designs, I’m not sure I would have guessed it. So different for her, and yet with some of the sleek classical look that’s her hallmark.
First Look at Karen Olivo and Aaron Tveit in Moulin Rouge! in Boston
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Anna Leonowens // Kelli O’Hara’s costumes in The King and I
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MOULIN ROUGE
Believe you me, Anon, as soon as there are production stills or Instagram photos of enough of the costumes, I will--right now all we have is Satine’s dress!
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Laura Michelle Kelly in one of her costumes for The Royal Family of Broadway, designed by Alejo Vietti.
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Now that is one heck of a red dress. Can’t wait to see these on tour!
ewinterling: Big red convention in the fitting room! #anastasiabroadway#anastasianationaltour #lindacho#anastasia
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Check this out, y’all! Great to see Bob Mackie finally take a turn at designing for a Broadway show and audience.
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