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When you were little, you could almost see the characters and the sets of the stories you were told. You imagined the monsters, the prince, the forests, the palaces and the costumes. Let’s stop at the costumes.
photo japancoolture.com
Seeing the movies for which Eiko Ishioka made the costumes you feel as if she didn’t spare anything. The materials, the dimensions, the colours, it’s all there, as if a fantasy came true.
When nothing stands in front of one’s deepest fantasies while creating costumes for a movie, then you know it’s a Ishioka.
Apparently, Francis Ford Coppola wanted her and only her to work as a costume designer for Bran Stoker’s Dracula. Saying that “The costumes are the sets”, the director put a pressure, thus understanding that they would be enough to create the necessary atmosphere. And indeed she did, and this was noticed by the jury of the Academy Awards which brought her an Oscar.
A long-term collaboration between Tarsem Singh and Ishioka started with his movie The Cell, which is today remembered mainly for the costumes. Reminding of sculptures, the costumes followed the body shape, creating a claustrophobic atmosphere. The Fall came after, and the designer created a spectacular world, where the costumes could make the spectator immerse better in the fantasy.
The Fall
photo trouvaillesdujour.blogspot.com
As for Immortals –it’s so powerful in image because the director’s vision and the designer’s costumes melt so well, creating a unitary product on this level.
photo designenvy.aiga.org
Ishioka was close to winning a second Oscar for Mirror, Mirror, where the costumes look as if a fairy made them with her wand, directly on the characters’ bodies.
Copyright © 2011 Independent
Copyright © 2011 Independent
The first obituary for Ishioka was written over a year ago, and people are still intrigued by her powerful drive- be it as a graphic or costume designer or art director.
The Fall
photo theeyestheysee.tumblr.com
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