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tv   Novosti  1TV  February 16, 2024 3:00am-3:06am MSK

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rich foreign life, some cool and foreign things, and after that we see a lot in the movies - these - negative but very attractive sexy beautiful heroines in white, the same thing in the film ivan vasilyevich changes his profession, there are two heroines , there is the main character, who is always so red and white, and there is the director’s girlfriend, she generally wears not just white, but incredibly white. a top with feathers that you can easily wear today and no one will notice that these are things from the beginning seventies. the images of natalia selezneva in the film ivan vasilyevich changes his profession created a real sensation among soviet fashionistas, and not surprisingly, selezneva’s outfits in this film were designed by fashion designer vyacheslav zaitsev. now, if we talk about how fashion is connected to cinema, then there weren’t many moteliers, but vyacheslav zaitsev worked on this film. and here you can also see
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that these are silhouettes from ivsanlar and silhouettes from pierre cardin, everything is a little later, in general this is soviet fashion, it was always a little late, but still very much, expensive, beautiful, impressive, yes, who else among the famous designers of that time collaborated with cinema, there was a house of models in which these models were generally developed, here is vyacheslav zaitsev, i think. that this is the most famous name, of course, there were many fashion designers, many designers, but somehow fashion and cinema at that time were separated, and costume designers came either from the theater, or there were artists, stage managers and costume designers, so on the same carnival night, so interesting, the production designer there, uh, in my opinion, konstantin his name was efimov, he was also the costume designer in the film volga-volga, and in some other films with... lyubov orlova, that is
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, these are the same people who could make costumes, sets, and they worked, workshops, a whole sewing workshop worked at musfilm, they found these fabrics with difficulty, they found patterns somewhere, in magazines, somehow these magazines came from abroad, then they were processed for many years, that is, it was all very complicated, painstaking work, because well, there is a period of shortage, just go to the store to buy no... it wasn't even clothes, not even fabric. how much easier is it to work in cinema today? and it’s simpler and more difficult, well, let’s just say, it’s very interesting to work on historical projects, because it’s a whole hunt, a hunt in vintage shops, a search for some authentic things, sometimes one thing can create the image of a whole heroine, it’s like from some found one suit, you can start and imagine a whole life in the office...
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that is, this is the kind of thing that no actress would want to wear, you just you dress, rather gloomily, without polish, hmm, i didn’t notice, but there was an actor who put it on himself, do you remember this story 2 years ago, when brad pitt came out dressed as lyudmila prokofievna, no, on the red carpet, i know what it is they always compare it to all sorts of prada outings and brown suits.
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but it seems to me that it’s great to first show a person in something so shapeless and huge. we were once talking about images in films in the studio, and they told me a story that it turns out that we have female actresses who are forbidden to bring mass market items, that is, they must be expensive brands, have you encountered this in your work? no, i think that this is more the work of stylists, not costume designers, because in the movies... well, you
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can’t dress everyone in couture clothes, because to begin with, the heroines are different, if this girl always plays the wives of oligarchs , then it’s possible, but... then she very much limits herself to the possibilities of roles, but i heard that this was not dictated by the role, but by the personal role of the actress, that even if she's playing some modest schoolteacher, it should still be a prada costume, well, no, thank god i haven't encountered anything like that, i think it's a little crazy, you know, if we go back to your question about working with soviet divas cinema, i encountered them a little. there, at the beginning of my career, one of my first films was shot there by irina muravyova and irina kubchenko, for example, i was terribly worried about how i would encounter such superstars with them, both lighter and more open to i didn’t see experimental actresses for a very long time.

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