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The People and Places of Costume Production

Clare M. Wilkinson-Weber

Source: Fashioning Bollywood. The Making and Meaning of Hindi Film Costume, 2014, Berg Fashion Library

Book chapter

Cultural fields are vulnerable to the effects of time in that no field can be expected to remain the same, even as its products and its rationale appear consistent. The essential framework of costume production in Mumbai has remained the same for nearly one hundred years, including its institutional figures (on-set costumers, or dressmen) and local economic contingencies (the vast number and versatility of tailors in the city). But any conversation with retired personnel brings to light the chang

Costume and Character: Wearing and Being

Clare M. Wilkinson-Weber

Source: Fashioning Bollywood. The Making and Meaning of Hindi Film Costume, 2014, Berg Fashion Library

Book chapter

My clothes may express the dressmaker, but they don’t express me.

Costume and the Body

Clare M. Wilkinson-Weber

Source: Fashioning Bollywood. The Making and Meaning of Hindi Film Costume, 2014, Berg Fashion Library

Book chapter

The difference between a costume designer and fashion designer? The boutiques, they can just provide you with a salwar kurta, but not a good fit. For a film you require to be perfect. If you have a defect on the shoulders, if you have a defect on your arm, if you have a defect on your waist or hips, it is the costume designer who has to work on that and see how you are looking. Whatever defect is there in your body has to be removed.

Fashion and Spectacle

Clare M. Wilkinson-Weber

Source: Fashioning Bollywood. The Making and Meaning of Hindi Film Costume, 2014, Berg Fashion Library

Book chapter

Fashion is not something that exists in dresses only. Fashion is in the sky, in the street, fashion has to do with ideas, the way we live, what is happening.

Dressing the Past

Clare M. Wilkinson-Weber

Source: Fashioning Bollywood. The Making and Meaning of Hindi Film Costume, 2014, Berg Fashion Library

Book chapter

The demands of costuming for period films are, in some ways, comparable to those for contemporary films. At the same time, they are distinctly different, since the clothes must evoke in viewers a sense of a past of which they typically have little or no direct experience.This is the “veridiction contract” (Calefato 2004, 92), which refers to the production of “truth” within constrained social and historical circumstances. In other words, not only must what is considered to be true conform to cert

Beyond the Screen

Clare M. Wilkinson-Weber

Source: Fashioning Bollywood. The Making and Meaning of Hindi Film Costume, 2014, Berg Fashion Library

Book chapter

Who ever saw his old clothes—his old coat, actually worn out, resolved into its primitive elements, so that it was not a deed of charity to bestow it on some poor boy…

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