Broad and High

S8 E26 | CLIP

Paramount Costume Collection

Hollywood has always been a major influencer in American fashion, and Paramount Pictures has been at the forefront of defining style in motion pictures and television. A new exhibit at the Decorative Arts Center of Ohio celebrates studio-created costumes as well as purchased fashions used on-camera.

AIRED: July 29, 2021 | 0:09:05
ABOUT THE PROGRAM
TRANSCRIPT

[ MUSIC ]

[ MUSIC ]

>> THIS COLLECTION IS SOMETHING

I'VE NEVER PUT TOGETHER BEFORE.

[ MUSIC ]

THERE'S 75 COSTUMES IN THIS

PIECE, AND IT IS BASICALLY A

SHOWCASE FOR COSTUMES THAT WERE

PURCHASED AND USED ON CAMERA AND

COSTUMES THAT WERE CREATED IN A

WORK ROOM.

AND A LOT OF TIMES -- MUSEUMS,

THEY DON'T EXHIBIT COSTUMES THAT

ARE PURCHASED, BUT I THINK

THEY'RE JUST AS IMPORTANT AS

TO -- THE DESIGNERS SENSE OF

STYLE AND WHAT THEY WANTED TO

CHOOSE TO REPRESENT THE ACTOR OR

REPRESENT THE CHARACTER IN THE

FILM OR TELEVISION SHOW.

BECAUSE WE DO HAVE TELEVISION

PIECES HERE.

[ MUSIC ]

THIS GALLERY HAS ALL OF OUR

BLACK MOTIFS.

SO, WHEN YOU FIRST STEP IN HERE

WE HAVE JOAN COLLINS, FROM

"DYNASTY."

THIS WAS ONE OF THE FESTIVAL

COSTUMES THAT SHE WORE AS

QUEEN ELIZABETH.

IT IS A BIT TALLER THAN

JOAN COLLINS, BUT YOU STILL GET

THE DRAMA.

WHAT I LOVE ABOUT THIS IS ALL OF

THESE PEARLS ARE HAND SEWN ON.

THIS IS NOT FABRIC THAT WAS

ALREADY MADE.

ALL HAND SEWN.

[ MUSIC ]

COSTUMES ARE THE CLOSEST THING

THE MOVIE GOING PUBLIC IS GOING

TO COME TO THEIR FAVORITE STAR,

FOR ONE THING.

IT'S ALSO AMERICANA.

IT'S FEMORA.

I MEAN, THE MOTION PICTURE

INDUSTRY REALLY IS A GREAT

AMERICAN ART, AND THE COSTUMES

ARE PART OF THAT ART, AND THE

COSTUMES ARE TANGIBLE.

PUBLIC REALLY -- JUST HAS THIS

GREAT CONNECTION.

COSTUMES DRAW PEOPLE IN.

I -- CAN'T EXPLAIN IT 100% BUT

THAT'S WHY THE PARAMOUNT

COLLECTION WE'RE VERY PROUD OF

KEEPING EVERYTHING VERY PRISTINE

IN THE ARCHIVE, AND WE HAVE A

VERY GOOD REPUTATION WITH

MUSEUMS ALL OVER THE WORLD.

[ MUSIC ]

[ MUSIC ]

>> THIS GALLERY IS WHERE WE HAVE

OUR SOLIDS.

THIS DRESS WAS DESIGNED BY

NAEEM KAHN, AND WAS WORN BY

BEYONCE IN THE FILM,

"DREAMGIRLS."

THE COSTUME DESIGNER FOR

"DREAMGIRLS" WAS SHAREN DAVIS,

AND SHAREN DID A REMARKABLE JOB

ON THE COSTUMES.

BUT THIS DRESS WAS WORN IN THE

VERY FINAL SCENES OF THE FILM.

[ MUSIC ]

THIS EXHIBIT TOOK ME

APPROXIMATELY A YEAR AND A HALF

TO REALLY ASSEMBLE BECAUSE I

ADDED, I SUBTRACTED, I ADDED

AGAIN, I SUBTRACTED MORE.

AND I WAS HEAVILY INFLUENCED BY

THE BILL CUNNINGHAM COFFEE TABLE

BOOK WHICH DOCUMENTS FROM

THE 1960s THROUGH THE 2000s, AND

BILL CUNNINGHAM, IF YOU'RE NOT

FAMILIAR WITH HIM, RODE HIS

BICYCLE AROUND EITHER NEW YORK

OR PARIS TAKING CANDID

PHOTOGRAPHS.

AND IN DOING SO, OF PEOPLE JUST

IN THEIR WARDROBE.

I MEAN -- I LOOKED THROUGH GOING

PAGE BY PAGE GOING, "WOW,

THERE'S AN EXHIBIT HERE."

AND I THINK GIVEN ALL OF THE

ITEMS THAT I HAVE IN THE

COLLECTION, AND WHAT'S AVAILABLE

WITH FEATURE PRODUCTION FROM OUR

OPEN STOCK, IT'S LIKE, "I THINK

I CAN PUT SOMETHING TOGETHER

THAT, THAT WOULD MAKE SENSE."

[ MUSIC ]

THIS COAT IS ONE OF MY FAVORITE

PIECES IN THE COLLECTION.

THIS WAS DESIGNED BY EDITH HEAD

FOR JOANNE WOODWORD IN THE FILM,

"A NEW KIND OF LOVE."

THIS IS A FOX FUR TRIM, AND A

BOUCLE WOOL.

NOW, IT ALSO HAS AN ATTACHED

HOOD WHICH IS VERY LARGE, AND

THAT WAS BECAUSE IT HAD TO

ACCOMMODATE JOANNE WOODWARD'S

TALL BOUFFANT HAIRDO IN THE

FILM.

WHICH ACTUALLY, SHE'S IN

DISGUISE.

I HAVE 18 EDITH HEAD RELATED

PIECES IN THIS PARTICULAR

EXHIBITION.

THE WOMAN WHO HAD THE LONGEST

CAREER OF ANY WOMAN

IN HOLLYWOOD.

NOMINATED 35 TIMES FOR

THE OSCAR, AND SHE WON 8 OF

THOSE.

THE REASON THEY'RE HERE IS TO

SORT OF BRIDGE THE GAP FROM THE

PAST TO THE PRESENT.

AND, YOU CAN SEE THE INFLUENCE

IN SOME OF EDITH'S PIECES WITH

SOME OF THESE NEWER DESIGNS.

SO HERE WE ARE IN THE "BLACK AND

WHITE ROOM."

AND OF COURSE, THE CENTERPIECE

OF THIS GALLERY IS THE

ALEXANDER McQUEEN PIECE THAT WAS

WORN BY KRISTEN WIIG IN THE

FILM, "ZOOLANDER 2."

IT'S SO BOLD AND SO MEMORABLE,

AND SO MANY DIFFERENT PATTERNS

ALL PUT TOGETHER.

THERE IS ACTUALLY WIRE IN ALL OF

THESE, SO YOU COULD TWEAK THEM

AND ADJUST THEM TO WHATEVER

SHAPE YOU WANTED THEM TO BE.

[ MUSIC ]

THIS GALLERY FEATURES A LOT OF

WHITES, AND SLIGHTLY OFF-WHITE

PIECES.

THE CENTERPIECE -- IS ONE OF MY

FAVORITE COSTUMES.

IT WAS DESIGNED BY

JEFFERY KURLAND FOR THE FILM,

"MISSION IMPOSSIBLE: FALLOUT."

AND IT WAS WORN BY VANESSA KIRBY

WHO PLAYS THE "WHITE WIDOW."

THIS IS SO EVOCATIVE AND SO

REMINISCENT OF THE 1930s, EVEN

THOUGH THE FILM IS A

CONTEMPORARY FILM.

BUT YOU LOOK AT THE BODICE-CUT

GOWN, AND THEN THE

PEARL-ENCRUSTED ROBE -- WHICH,

YOU KNOW, LOOKING AT IT FROM

BEHIND, IT JUST SPARKLES.

IT'S TERRIFIC.

AND THAT IS VERY REMINISCENT OF

DESIGNS THAT WERE DONE IN

THE 1920s.

[ MUSIC ]

[ MUSIC ]

DURING THE STUDIO SYSTEM, WHICH

OLD HOLLYWOOD WAS ALL PART OF

THE STUDIO SYSTEM, EVERY STUDIO

HAD A COSTUME WARDROBE

DEPARTMENT WITH A TEAM OF

TAILORS, DRAPERS, SEAMSTRESSES,

BEADERS, SHOEMAKERS --

-- IN SOME CASES, LIKE

PARAMOUNT, THERE WAS A JEWELER

ON STAFF.

SO THE WORK ROOMS WERE ALWAYS

CONTAINED WITHIN THE STUDIO ON

THE LOT.

AFTER 1967-1970, THAT STARTED TO

DISINTEGRATE.

[ MUSIC ]

WHAT CHANGED WAS THE WAY FILMS

WERE BEING DIRECTED, PRODUCED --

REALITY STARTED TO SET IN.

WE REALLY DIDN'T NEED COSTUME

DESIGNERS.

YOU NEEDED A MEN'S COSTUMER AND

A WOMEN'S COSTUMER, AND MAYBE,

YEAH -- IN SOME CASES A COSTUME

DESIGNER WAS BROUGHT ON TO

OVERSEE THAT OR COME UP WITH THE

OVERALL LOOK.

AND ALSO, YOU HAVE THE EMERGENCE

OF DESIGNER NAMES.

SO, STARTING IN THE '70s, YOU

HAVE THE EMERGENCE OF

RALPH LAUREN.

THEN, IN THE '80s YOU HAVE

GIORGIO ARMANI, NORMA KAMALI.

YOU START HAVING NAMES THAT ARE

RECOGNIZABLE NAMES.

[ MUSIC ]

AND IT'S SO SAD IN A WAY BECAUSE

SOME OF THE COSTUME DESIGNERS

WERE DIMINISHED BECAUSE IT

BECAME MORE ABOUT THE FASHION

DESIGNER'S NAME THAN THE COSTUME

DESIGNER.

BUT THAT HAS CHANGED NOW.

THAT HAS -- I THINK THAT HAS

REALLY CHANGED.

THERE'S SOME VERY RECOGNIZABLE

NAMES NOW, AS COSTUME DESIGNERS

SUCH AS RUTH CARTER AND

COLLEEN ATWOOD, MICHAEL KAPLAN.

THESE ARE BIG NAMES, SO YOU

KNOW, YOU GET EXCITED ABOUT THE

COSTUME DESIGNER, MORE SO, THAN

THE FASHION DESIGNER.

IT'S KIND OF GONE BACK.

[ MUSIC ] BUT YEAH, THOSE ARE

LOUIS VUITTONS, AND THEN THAT'S

GUCCI.

>> I CAN SEE THE RED.

BUT YOU REALLY --

>> YEAH, BUT IT'S -- SEE IT'S

ALWAYS TO SEE THAT THE CURVED

HEEL IN THAT, WHICH IS REALLY

UNIQUE.

>> YEAH.

>> IT'S THE FIRST TIME I'VE EVER

MOUNTED ANYTHING LIKE THIS.

MY PREVIOUS EXHIBITS, WHICH HAVE

BEEN HERE AT THE DECORATIVE ARTS

CENTER OF OHIO HAVE CENTERED

AROUND EITHER EDITH HEAD OR

CONCEPTS.

THIS IS A LOT OF UNIQUE PIECES.

CAN YOU -- DO YOU WANT TO MAKE

SURE THIS IS STRAIGHT?

IF YOU LOOK OVER HERE, TO GET

THIS SMOOTH.

DOES THAT LOOK GOOD?

>> YEAH.

THAT -- THAT'S FLAT.

>> ALL RIGHT.

GOOD.

I LOVE WORKING HERE.

IT'S A VERY CONTAINED GALLERY.

IT'S NOT ENORMOUS.

YOU HAVE TO BE CREATIVE -- IS

HOW YOU PLACE THINGS AND -- AND

SHOW THEM OFF.

>> WELCOME TO THE LOWER LEVEL OF

THE DECORATIVE ARTS CENTER

OF OHIO.

AND DOWN HERE, WE HAVE A VERY

SMALL, BUT IMPORTANT EXHIBIT OF

ELEMENTS OF THE FILM,

"ROCKETMAN."

NOW, "ROCKETMAN", THE COSTUME

DESIGNER WAS JULIAN DAY.

AND OF COURSE, IF YOU DON'T

KNOW, IT'S ABOUT ELTON JOHN.

SO, WE'LL START WITH THIS PAIR

OF ANKLE BOOTS.

AND THESE WERE WORN BY TARON,

WHO PLAYED ELTON JOHN.

NOW, THERE IS A WHOLE STORY, AND

A WHOLE THOUGHT PROCESS BEHIND

THESE BOOTS.

HE WORE THESE BOOTS DURING THE

NUMBER "GOODBYE YELLOW BRICK

ROAD", WHICH, OF COURSE, IS

ABOUT "THE WIZARD OF OZ", SO HIS

BLUE SUIT REPRESENTED DOROTHY.

HIS SILVER SHIRT REPRESENTED

"THE TIN MAN."

HE WAS WEARING A FAUX FUR COAT

WHICH REPRESENTED "THE LION."

AND, HE WAS WEARING A STRAW

FEDORA, WHICH REPRESENTED "THE

SCARE CROW."

THESE SHOES ARE SWAROVSKI

CRYSTALS, ALL OF THEM.

AND THESE ARE BEAUTIFUL.

OF COURSE, THEY REPRESENT THE

RUBY RED SLIPPERS.

[ MUSIC ]

I WANT PEOPLE TO TAKE AWAY FROM

THIS, AN APPRECIATION FOR THE

WORK AND THOUGHT THAT GOES INTO

A COSTUMING A FILM.

NOT JUST THE WORK FROM THE WORK

ROOM, BUT EVEN ON THE PIECES

THAT GOES INTO PURCHASING THAT

PIECE, AND HOW THAT EXPRESSES

THE CHARACTER AND DEFINES THE

CHARACTER THAT THEY ARE BEING

WORN BY.

WHETHER IT'S A BIG PARTY SCENE,

AND IT'S A PARTY DRESS, OR

WHETHER IT'S A BLOUSE.

AND I THINK PEOPLE WILL GET THAT

GOING THROUGH HERE AND SEEING

THE WIDE VARIETY OF PIECES WE

HAVE IN THE EXHIBIT.

[ MUSIC ]

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