Unknown Speaker It's okay. Joanna, thank you very, very much for joining me on from Taylor's with love. Unknown Speaker Thank you for inviting me. Unknown Speaker It's a great pleasure. And for those who may not be so familiar with your work, would you mind giving us a quick thumbnail sketch of who you are? Unknown Speaker Well, I direct the London Spanish film festival and fashion and cinema, which is a series of events, exploring the relationship between fashion and cinema as well as the work of the costume design. Unknown Speaker Thank you very much. And that film and cinema has been going for about 10 years. Is that right? Unknown Speaker Yes, on last year, we celebrated our 10th anniversary. Unknown Speaker Congratulations, congratulations. And it is a fascinating topic, film and fashion. We Can I ask what first led you to this topic? Unknown Speaker Well, I am. I think that being a big film fan, and being involved in the production of film events, and watching many films, then the seed was for fashion and cinema was there for a long time. And then, at some point, I started formalizing how fashion and cinema had always intertwined since the very beginning, and how films had influenced and communicated fashions and styles. And so at some point, I thought it would be worth exploring this and bringing it more in a more explicit way to light now, think of just how some will go doing in 1931, he proposed he signed a contract with Coco Chanel to create costumes for the film's for Metro Goldwyn Meyers films. And that was just the tool that Samuel golden was trying to use to for audiences sending a message that they were going to get Paris fashions through their movies. So yes, and well, there are so many more examples of how fashion and cinema have related now think of, of the film The women from 1931, there were, Adrian, the custom designer created these huge shoulder pads for John crow for now, it was just conceived to compensate a large head with a tiny thin body. And it set the trend for the, for those iconic shoulder pads of the 40s. That and beyond because even in the 80s they were drawing back to to those fashions. And and well there are so many more examples like later and the whole Woody Allen film where Diane Keaton wears this showcases this masculine wardrobe with vests and ties and sets a huge trend and many more. So I am I wanted to, to create a series of events with film screenings and and talks and conversations where these could be explored. Also, how fashion designers had collaborated for films, how they have created costumes for fans no like take its turn around where he created the costumes for Catherine gonna vote for Lucy new as well, as you know, on so many more. That was I was discovering more and more. And that was like, maybe, I don't know 1214 years ago. And And yes, that that that was the original idea to showcase how this relationship has always been there, how we may have not formalized it, but it was influencing that the way we were dressing Unknown Speaker the intersection between the real world fashion influencing what people wear on screen in the screen influencing what people wear in real life. Unknown Speaker Exactly. And take James Bond films, which I know you're you're a big fan of No, it's they have their iconic that they have created this iconic, tailored image. No. And there have been a huge influence. Unknown Speaker Yes, yes, very much. So. Do you find it that is a deliberate move sometimes that the filmmakers want to promote a fashion or the costume designer wants to have that influence or do you think is something that happens more organically? Unknown Speaker No, I think it's more organically I think when costume designers create or costumes or create the image of, of a character, they're just thinking, or they're working with the whole team, with the actor with the director with a hairstylist with makeup designer, to create a coherent character. And so they're looking at, at sending a message about the character about the story. They're contributing to create this whole story through image through the visuals. And they are trying to send this message in a, in a very efficient way. Like when the character appears on the screen, through the clothes, the way the character is dressed, the way his hair is put his makeup or whatever, you know who that character is. So that's what the costume designer aims at. Unknown Speaker It is part of the storytelling. Unknown Speaker Yes, yes. Unknown Speaker When you're looking at cinema from around the world, do you find that there are different conceptions of how to do that and how to approach costumes or signals? Unknown Speaker Um, well, we are all more familiar with the way of communicating of Hollywood movies, American films, films made in the US and they have influenced so much other cultures. I think nowadays, yes, there may be differences, but they're not so pronunciate as as they were before, like, for example, take Spanish cinema, Spanish cinema, because it was also for many decades under dictatorship. With a very strong censorship, that the statics that the costumes in the films were very, very different. Also, because mostly in the 40s, and 50s, those there was a wish by the authorities to create a sense of unity and to stimulate nationalism. Then, those films were showcasing costumes that were very Spanish, they were also drawing very much from the traditional costumes, like shows, lays embroidery. And then the sponsors, their censorship gets softer in the 60s, but still, it's very much more conservative than American or other countries. Aesthetics, and well, then there's the the end of the dictatorship, the story, and then with the end of the dictatorship, and the arrival of, of democracy. There's, there's an explosion of freedoms and creativity. There's a very big, there's a thirst to exercise all those freedoms that you have the movida, you have the film's by better amado bar and many others. No. Yeah. And then globalization slowly, the differences are getting more Unknown Speaker smooth. Yeah, that's Unknown Speaker my opinion. Unknown Speaker I see parallels with Chinese cinema when you start to have an influence of funding, but also a release of censorship. And you ended up with about a decade of really creative, interesting Chinese films with actually very traditional costumes as though doing a lot of period dramas. I know that you have discussed pair of dramas in the UK, for example. So I think Downton Abbey, you talked to the costume designers for for that film. Unknown Speaker Yes, yes. We had the pleasure of welcoming Anna Marie Scott Robins, the lead costume designer for the latest Downton film, Downton Abbey film, and and also when she was responsible for the customs for many of the of the series and the previous film. Unknown Speaker Yeah, so she talked about the weight of the previous existing kind of canon. The needs to be historically accurate, the need to convey something about the character, and then the details that'd be seen. So huge on screen. Unknown Speaker Yes, yes. But still, you would think that some of those dresses you could, you could work them now. Like, well, maybe not for for a meeting or something. But, I mean, some of them could be temporary also. Unknown Speaker Yes. And I talked to a costume designer recently he talked about how when she does period dramas that she wants it to be a contemporary take on history. And that can be really interesting. blurred. Do you find that relatively common that when we have theater dramas people want to put something of our own time into what we see on screen? Unknown Speaker I think so. Yes. I think for example of when there was the Anna Karenina film with Keira Knightley, there was so many influences, you could see some looks around that were sort of referencing that film. And even when out of Africa came out with a strip and Robert Redford, the customs were created by Milena, Kononenko and Ralph Lauren created a whole collection inspired by the film, Melina canyoneers designs for the film, and also science fiction of Avatar, when it came out, you could see references to the film to the aesthetics of the film, in many collections, including that of jumbo tin. So there are references and ideas that can be taken from period. And even from science fiction films. Unknown Speaker Yeah, that is interesting. Because many of our listeners will be familiar with the James Bond films there again, you have the weight of what he's worn before, over the last 60 years, and trying to interact with modern fashion and lots of people would take their cues from him understand you interviewed, the costume designer have no time to die. Can you tell me a little bit about that? Unknown Speaker Oh, it seems it was a long time ago. But yes, well, goodness, do you got it see, yes, there were certain. I mean, the costume designer didn't work on her own notes. And she was working with the producer, she had to do a lot of research about the previous Bond films, particularly the latest ones. So there was a coherence between the costumes for the film she worked in, and the period the previous Bond films. So there was a lot of research and I remember that some suits that Daniel Craig of war were, were created by buy some food. And then of course, as you know, there lots of was not loads, but there are some brands that get involved in the in the making of the Bond films. And they were part of the all the research on the, the the materials she had to work with. Unknown Speaker It was a collaborative process. Interesting image. The directors take a Cary Fukunaga is a stylish man. And also, that is a relatively recent film compared to what we're talking about. We're talking about, for example, films in the 30s films today. Fashion and cinema does cover a broad range of topics. Throughout you know, cinema history and answer to what's happening today could ask kind of how you select those topics. Do you do choose to do these things? Is it a costume designer comes to you because I say it's a very interesting range that you cover. Unknown Speaker But it depends there are different situations like for example, sometimes we come up with the ideas of exploring a specific subject know like, the allure of the rebel with we explored just three cases that were some more that we would have loved to, to explore too, but who knows maybe in the future. So we looked at Marlon Brando and Katharine Hepburn and Steve McQueen, so that was a subject that came from fashion and cinema. And then we have also worked sometimes around new releases, like the Downton Abbey film, and for we have been also interviewing working with some costume designers for many years now interviewing them. And now we have started last year with this series of onstage conversations with costume designers to talk about their careers because it was by talking with them you your list, because it's not a career that has been like following a very specific path, nor will it die it was, we have found so many different experiences so many different career paths that we thought was interesting to explore these with. Also looking at the specific collaborations, like for example, Sandy pebble with Martin Scorsese, she they have been working together for at the very least seven films. And so yes, we started creating this series last year. The next one is on Sunday 26th This month, and we plan keep going on. And we, we get in touch with with a custom designers. And so far, it's been great because everybody has said yes. Unknown Speaker That's wonderful. Unknown Speaker That's also when they come for, for an interview about a new film. We already talked about the possibility of doing a live during this conversation with them. We've been very lucky, everybody has loved the idea. Unknown Speaker So it's wonderful. It was life journey is really interesting. Some of them I should say, for the audience are available to see on YouTube, so they can get caught up a bit. Unknown Speaker We have a new YouTube channel and you can find them there. Unknown Speaker And it's interesting, the range that cost some costume designers have so for example, I think you talked to the costume designer from Mad Max. And her started being on Merchant Ivory films. They're incredibly different. Unknown Speaker Yes, yes. Yes. Jenny Beavan. Yes, yes. It's very different. And she started that as set designer. We have to keep going with this conversations because the the, the career paths are, as I told you, very, very different. For example, Anna Marie Scott Robbins, who's coming on, on the 26th She started studying law in Scotland, and then from law. She ended up doing the customs for Downton Abbey. So we'll see. Unknown Speaker It's quite a journey. Unknown Speaker An interesting journey, I'm sure. Unknown Speaker Gonna ask about some of your personal favorites. Is there a movie that you love for its costumes and purely for its costumes? Unknown Speaker Oh, so many any movie that I laughter recently, that I have watched recently is a Lady Chatterley's Lover. Oh, that customers are. Amazing. Unknown Speaker The costume designer talk to you recently, who talked about trying to get a bit of a modern take on historical costs? Unknown Speaker Yes, so Well, I lost the textures development is always you could almost feel the texture of the fabrics. They're after costumes. And so that is one but I also love the costumes in wound care wise films like 2046 In the Mood for Love this of being wild. Because some customers I really love in that context. Unknown Speaker And could ask if you could, if you could take home any one costume that you've seen in a film, if you could pick it off the screen and just have it either to wear or just to Unknown Speaker have a oh, there's something of I don't know. I don't know. Maybe now because I just mentioned that Lady Chatterley's Lover, I would pick one of those sashes But Sasha I don't know, it would be very, very hard to make a decision. Unknown Speaker Fair enough. We've had a lot of costumes on film over the last 100 years. We clearly have a passion for the topic. And I say you've been organizing these and arranging them for 10 years now. And can I ask what was kind of the the initial reaction when you first when you first set up? These these events? How did people respond when you said I want to do this? Unknown Speaker Well, I had varied reactions, somewhere like various capitals. I could also see some salary looks I'm sorry. Yes. Oh my goodness, what a crazy idea did you have, but but then I got also some enthusiastic reactions like for example, the the first event that we had it was exploring the work of Chanel for the for the screen. And we I went with a proposal to the v&a. And within one month, we had the date that was a very enthusiastic welcome. Unknown Speaker Yeah. institution and I noticed that you have that connection with them. So they were they were responsive from the beginning. Unknown Speaker See, see. And also we worked with complicity of of Chanel, the house of Chanel. So that was also very encouraging. And we worked also with cinema, the cinema of the French Institute in South Kensington, and they also welcomed the the idea so starting with this support this Yes, with this support this such a positive reaction to this proposal, then that encouraged more and more features. The following events. Unknown Speaker Oh, that's fantastic. So success built upon success. And did some of them already know you from the Spanish film festival? Unknown Speaker At the time? Yes, yes. I had worked with cinema. Clora for the festival, yes. Okay. Unknown Speaker Okay. So you presented that we do this, but here's a new idea. That can be very energizing. Unknown Speaker See, this was just, Unknown Speaker I mean, you've you've, as I say, you have kept it going? Do you find it difficult to keep it fresh for yourself? Or is that always something new? Unknown Speaker Ah, no, no, no, I don't. I find there is always something new. And I have so many ideas on the drawers waiting for the right moment to come to check it out. Yes, yeah. So no, it's this is something that I really love about this job know that it's very stimulating, because there's always something new, new things coming up new approaches. So many custom designers doing some such amazing works, and also exploring that the relationship between fashion between fashion designers and films, that's always very, it's something that keeps her going, that new things keep coming and that's very stimulating. Unknown Speaker That is interesting. And is there somebody that you you would love to have Is there still like somebody you'd love to bring on to your your fashion and cinema is there someone you really want Unknown Speaker to people all right, custom designer Milena Kononenko. She has made some of the most iconic customers for prints she walked out with a cookbook and she made an orange pork first famous a custom designer if I remember well, and then of course out of Africa and many more. And then I have a truly like to bring general warranty. Yes, he created some customs form. Some are better on other words, films, but also many others including others. Nagata, sorry John rubescens film and now I cannot remember the name Sorry. It's sorry. Unknown Speaker The sci fi film from Unknown Speaker Yes, the song The Fifth Element. Thank you. Unknown Speaker There was a very interesting costumes. They're really different from anything else. Unknown Speaker Example what Yeah. Okay. Unknown Speaker Okay. I hadn't realized that name was attached to that film. But wow. That does explain it. When I when I talk to people who are especially involved with say the arts, a lot of people are shaped by something that grabbed them as a child, as a child who saw something and they just wanted to do it. Maybe they read a book, they became a writer. Maybe they saw a film and wants to get into filmmaking. Do you share this did is there a childhood love of a film that Due to this Unknown Speaker there is a childhood love for films. When I was a child, I was watching so many films. And I was very lucky that at that moment, there were like, loads of classics, shown on TV. And I was so many classics from the Hollywood movies from the 50s, and 60s, and also film noir. And I remember that I was even sent to bed. And I was coming very carefully and watching from behind the sofa. Noticing Unknown Speaker you can see a bit more of a movie. It's wonderful. I do find interesting how these childhood experiences can can shape and and you're talking about that what they call the golden era believe of cinema. And those are largely American films. And you talked about the difference in American Spanish films. Unknown Speaker Yes, well, I was growing up in in the early 80s. Talking years, mostly about the early 80s. And well, American cinema was bringing a dream. There was much more glamour than in Spanish films. Were a bit more conservative. That, yeah, so this glamour and care for details. And these, those aesthetics were very much appreciated by me. Unknown Speaker And now, you know, you meet the people who help build some of that magic. Who put it put those drops of magic in? Do you find that it adds to the magic? Does it detract? Does it change? Does it change your relationship with film? Unknown Speaker No, no, I don't think so. Unknown Speaker It is still the same love. Unknown Speaker Yeah, this is still the same love. But then yes, there's a bit of an analysis going on while you watch the film that that is true. But the magic is still there. Unknown Speaker Good. Very happy to hear it. Some people find behind the curtain changes the experience, and for some people already improves it, I find interesting. I guess you appreciate as a child, you appreciate things in the way a child does. And as an adult, you appreciate the way as an adult. You as a you've had a very successful career with the Spanish film festival with the film and cinema. Do you have an idea for a future project? Is there a third thing, a third dream? Unknown Speaker At the moment, at the moment, I'm happy with these projects. And I will truly like to keep going on with them and take them even beyond and do more things. I think there's still much more that can be done. So at the moment, I'm focusing on this. Unknown Speaker And I'll be very happy to follow it. And we can follow up on your website, film, and cinema and we can follow it on your Instagram and follow on your YouTube and so on. Is anyone else you'd like to direct our listeners? Unknown Speaker Yes, that was our website, our mailing list and our Instagram account and on YouTube there you can be quite well updated about what is going on about the coming events. Unknown Speaker Of course, we must pay you a visit. Unknown Speaker Yes, I want to use it can absolutely be my guest. Unknown Speaker Thank you very much. Finally, just one more thing. Is there anything else you'd like to share with our listeners? Unknown Speaker I would really like to invite people to come to the events and then to see that conversations the q&a that we share on YouTube because they're really the conversations the q&a is very enlightening about the work of behind the films about how these dreams are created. These stories are communicated and they then some of them are quite unique because they have In access to these creative people and being able to ask questions directly, it's quite a treat. I cannot recommend it. Unknown Speaker Thank you very much. Normally you are the one asking the question. It's been a great pleasure to hear your story and your take on these things. Thank you very much for joining us. Unknown Speaker Thank you. Thank you. It was a pleasure. Transcribed by https://otter.ai