How To Draw Leather Texture The Headless Horseman Sleepy Hollow Costume

Tim Burton's movies are always extravagant and accept a certain, very unique atmosphere. The same we can say well-nigh the phase costumes of these films. Accept, for example, a classic horror movie "Sleepy Hollow". Information technology dips yous into the late 1700s. And all of the characters' costumes are brilliant and rather menstruum-right. Sleepy Hollow has a few surprises up its sleeves regarding the set costumes and props. Did you lot know that this movie was near entirely shot with a bluish filter, so for the blood to appear ruddy, the liquid had to be bright orange?

This article is based on the video from a YouTube channel "Costume CO".

In this episode, nosotros volition analyze the costumes of "Sleepy Hollow", a 1999 American Gothic supernatural horror moving-picture show directed by Tim Burton and starring Johnny Depp and Christina Ricci. Sleepy Hollow is based on the Washington Irving brusque story "The Legend of Sleepy Hollow".

According to the production notes on the movie'southward 1799 setting, "The film's fairytale-like images are enhanced through [DOP Emmanuel] Lubezki's highly stylized lighting and a tightly controlled color palette that permeates everything from set designed to costumes. Lubezki said, 'We wanted an almost black-and-white experience, very monochromatic with a lot of contrast. The wardrobe provides accents of color".

Critically-acclaimed costume designer Colleen Atwood has 12 Academy Award nominations for best costume pattern, with a total of iv wins under her belt. She remembers "Sleepy Hollow" with some nostalgia. She said, "I had such a squeamish time making all of those costumes. I did a lot of painting and things I hadn't done before while costuming, for that movie".

For "Sleepy Hollow", Atwood's inquiry focused on period paintings and visual descriptions of costumes from books.

On the left: James Peale "Artist & His Family", 1795. On the right: Edward Brutal "The George Washington Family", 1789

Colleen Atwood said, "There were no existing photographs, but since this film is not a history lesson, the work becomes very impressionistic".

Constable'southward uniform

In the flick'due south opening scene, Johnny Depp wears a lawman'due south uniform, which Colleen Atwood describes every bit incredibly chic. "Uniforms of the flow were beautifully made", she said. "They weren't the polyester nosotros have today".

But according to IMDB, "The New York Police force Section of which Ichabod Crane is a constable, was not founded until 1844, and the night blue uniform was not issued until 1853".

Here's an illustration of the NYPD uniform, which is fashioned after London'southward Metropolitan Constabulary Service's navy blue uniform, that came into effect in 1854. While police wore a badge, they were non required to vesture a regulation uniform before this fourth dimension.

Ichabod Crane's stage costumes

Once Ichabod travels to Sleepy Hollow, he substantially wears one costume in varying stages "– a long black waistcoat with hand-sewn gold trimming and a hand-printed silk lining that kicks back light when he moves".

Colleen Atwood explains that "People didn't have a lot of vesture unless they were incredibly wealthy. The idea with Ichabod's costume was to make it very minimal, sleek and long in feeling, a sort of shadowy feeling of his character".

According to IMDB, "Johnny Depp offered to add together prosthetics to his face up to make himself look ugly, merely Managing director Tim Burton wanted to base the graphic symbol on Crane's more unattractive personality traits, his reported squeamishness and eccentricity".

It's likely that multiple costumes were required considering of the various blood splatter furnishings and overall dirty conditions on the "Sleepy Hollow" set.

Fun fact! The "Sleepy Hollow" movie was about entirely shot with a blue filter, and then for the claret to appear red, the liquid had to exist brilliant orange.

As a reference, here'due south an case of a men's silk & linen three-piece ensemble from The Met. This suit is French in origin and it dates from about 1790. And, like Ichabod Crane's, this ensemble features a stand-upwardly collar on both the waistcoat and the coat.

Here's another example. This is an American velvet frock coat and waistcoat and it'south from a collection at the Museum of Fine Arts in Boston. It dates between 1775 to 1800.

Here is a still of actor Johnny Depp in his costume and then, pictured on the correct, is from an showroom. And a nice particular is the green stoppers on his otherwise black riding boots.

Here's an example of some French early on-19th-century leather presentation riding boots from the Los Angeles County Museum of Art.

In this scene, you can encounter the beautiful pleats on Ichabod Crane'southward poet's shirt and likewise a close-upwards of his signet ring.

Sleepy Hollow villagers

The more elaborate costumes were worn by the villagers of Sleepy Hollow, each one intricately crafted from specially chosen fabrics.

Colleen Atwood said of this, "They're sort of similar land folk that are five or six years behind the minute, simply with the maximum amount of trim and gear to show their money on the outside".

The costume designer has established each character by way of their costumes, and hair and makeup have helped in this regard as well, in a way to convey their occupation and station inside the hamlet.

According to IMDB, "The costumes worn by Katrina and Lady Van Tassel were from an earlier decade, circa 1785. Colleen Atwood… wanted the costumes to reflect the period 1794 [despite the setting of 1799]. Past 1794, women'due south dresses reflected the beginning of the Regency period: closer to the body with a higher waist and much less elaborate than those displayed in the picture".

Katrina Van Tassel's stage costumes

Different Ichabod Crane and some of the town's folk, this Sleepy Hollow'southward aunjanue has multiple costume changes. Her male parent Baltus Van Tassel is the wealthiest human being in Sleepy Hollow and she dresses the part of his only girl and heir.

Colleen Atwood stated that, at the time, thespian Christina Ricci had the perfect body for catamenia costumes because she is tiny yet curvaceous.

Here's the two-piece gown on display. Subsequently product was airtight, many of the Sleepy Hollow costumes like this one were sold through an online auction. And this is sometimes done equally a fashion to compensate some money, but it's a bit unfortunate because audiences often want to run into the costumes and props from their favorite movies.

In these two late-18th-century neoclassical paintings on display from The Met, we see examples of a tucker, featured along the neckline of the bodice.

On the left: "Cocky-Portrait with Ii Pupils", Adelaide Labille-Guiard, 1785. On the correct: "Portrait de Anne-Felicite Gresille", Adelaide Labille-Guiard, 1785

According to the Age of Antiquity Historical Costuming blog, "A tucker is a ruffle of either lace or fine textile (cotton mull or silk gauze) that is ruffled onto a record and and so sewn to the inside of a gown'southward neckline so that it shows on the outside, Through most of the 18th century tuckers were relatively narrow and stuck straight up, partially filling in the low neckline".

And yous can see the tucker featured on many of Katrina'due south bodices. This type of bodice she's wearing here closely resembles a French caraco, meaning "camisole".

Here'southward an example of a belatedly-18th-century (1790-1800) skirt and matching caraco from the City of Paris Way Museum.

This type of jacket is sometimes referred to as a pierrot jacket – a French discussion for "sparrow". So the pierrot jacket, like this ane from the Kyoto Costume Institute Collection, is a short fitted jacket with short tails, which is probably why it's referred to as a sparrow. And it was popular from the mid-1780s through to the 1790s.

This muted bluish velvet striped bodice with a center-front closure is matched beautifully with this pleated taffeta skirt. The bodice has a wide open neckline, which is trimmed with a gently gathered tucker once more, and it's fastened at the center front most probable with hooks and eyes.

The delicate paneled apron on the front of the skirt. It was actually a pop fashion item in the late 1700s.

This blazon of gown, as seen in this painted portrait on brandish at the Palace of Versailles, was fabricated popular in France by Queen Marie Antoinette. The shepherdess gown, as it was called, was straight inspired by the attire worn by countrywomen.

Elizabeth of France, Versailles, Madame Le Brun, 1782

Here'due south the costume looking much worse for habiliment before it was sold through an online auction. We see that without the original foundation garments that give the costumes their construction and shape, it loses some of its Hollywood magic.

Here's a close-up detail of both the lovely embroidery on the linen frock, which y'all can see is really crushed, and the died machine-embroidered boots on the right.

This frock sort of blends into the masonry of the chimney and the misty landscape of Sleepy Hollow. So, the gown looks a bit like a riding habit with the overskirt drawn up at the back.

Here's a proficient expect at the fullness of the skirt.

This mode of costume is called a "robe a l'Anglaise" or "English gown".

On the left: "A Portrait of Marie Antoinette", Jean-Baptiste Andre Gautier-Dagoty, 1780. On the right: "Self-Portrait with a Harp", Rose Adelaide Ducreux, 1791, The Met

Co-ordinate to the Palace of Versailles where the portrait on the left is on brandish, it was characterized by the rejection of panniers which were replaced past a frame that was padded using horsehair. And this type of gown was inspired past the redingote worn by men during the same period. This redingote gown was fairly versatile – ever close-fitting at the waist, information technology was often more open at the front only also could close using large metal buttons.

Here's the costume from the online sale firm once again, before it was sold. Without the foundation garments that gave this brim its fullness. And the skirts of the overgown are fatigued upwardly in a polonaise with the help of cords and and so looped onto buttons at the waist.

1 of the most striking costumes is this stunning soft light-green hooded cloak with a reddish rose motif on the silk lining.

It appears to be made of panne velvet or a very low pile fur and and so lined with silk or matte satin. The striking feature are those red rose embellishments. It's hard to tell whether they are hand-painted or embroidered or fifty-fifty both. It might possibly be the appliques because, depending on the frame, at times, they appear to be iii-dimensional.

This is what Katrina is wearing underneath the cloak. The bodice is, again, that sort of shepherdess gown.

Some aspects of the silhouette, like the cuffs of the sleeves, even harken back to the mid-18th century.

This black and white striped gown is called a "robe a la Polonaise".

According to The Met Museum, information technology was a style of gown with a close-fitting bodice and the back of the skirt gathered upwardly into three separate puff sections to reveal the petticoat below. Almost often, the dress had rows of little rings sewn inside the skirt – like with this costume – through which a cord ran from hem to waist.

However, in some instances, the skirt was held in place by simple cord sewn to the inner waist of a dress and looped over buttons attached to the outside waistline, like we saw on her previous costume.

Hither's a stunning example of a woman's gown with a similar likeness, dating 1785 to 1790. This gown is cut in the English fashion, without a sack dorsum, and this tulle dress is of French origin from a collection at the Los Angeles County Museum of Art.

Here'due south an case of a robe a la Polonaise from The Met. This French silk gown dates nearly 1780.

Beth Killian'southward stage costumes

I of the villagers in Sleepy Hollow is the midwife Beth Killian.

Here, she'due south dressed in a hand-embroidered linen bodice and brim with a beautiful bobbin lace tucker.

The neckband, cuffs, and hem are also trimmed with the pretty scalloped lace. The bodice features this exaggerated conical shape that drops deeply in the forepart but is softened past these pretty flounces at the side waist. And then, the bodice is closed at the front with these crochet-lace-covered buttons.

Here's the costume on display before information technology was sold to a private collector. While information technology looks as though there is a congenital-in crinoline, the costume lacks the stays and bum roll that give a costume like this its silhouette.

Lady Mary Van Tassel

Next to Katrina, Lady Mary Van Tassel has some of the near stunning costumes in Sleepy Hollow.

Colleen Atwood said, "She's definitely ruling the roost. When a graphic symbol aspires to something greater than what they've had, they accept information technology to a whole different level".

This gown'southward a complicated bit of business. The dress is made from the sunny-yellow silk jacquard with this sheer internet overlay, featuring this black swirled detail. It appears that the swirls are created with strips of black taffeta that were pleated or ruched on both sides so tacked down into position. This is a commonly used decorative technique washed in women'southward 18th and 19th-century gowns.

Here'due south an example of the ruching technique taken from the Antique Sewist blog. Its purpose is twofold – firstly, it creates a beautifully decorative trim, while at the same fourth dimension, the gathers or the pleats make it easier for the trim to get around curves like we meet here.

This English-style taffeta gown would typically be fastened with pins at the front, only instead, it appears that the stomacher is split and closed at the eye front end with hooks and eyes.

Here's an instance of a silken metal robe a l'Anglaise, 1770-1775.

According to The Met where this beauty is on display, the robe a l'Anglaise developed with a fitted back later the way of dress worn in England. The silhouette is composed of a funnel-shaped bosom feeding into wide rectangular skirts, which were often opened at the front to expose a highly-decorated underskirt.

During this scene, lady Mary has removed her overgown revealing this stunning set of stays underneath. The bone channels here are embellished with this pretty embroidery stitch. A linen shift would always be worn under the stays just for the purpose of this scene and perhaps to give the graphic symbol a more seductive await, the shift was omitted.

Here's an instance of a set up of stays from a slightly before time period. These silk-covered stays of Italian origin are from the 1770s and, according to The Met, whalebone was replaced past steel boning, which only increased the strength of corsets and aided the ability to draw in the laces even tighter.

In this less formal scene, lady Mary dons a caraco, which is a long-length jacket with a fitted back.

Here's another case of a caraco from the Style Museum of the City of Paris. This style of jacket was often worn with a petticoat and open up in the front and with a stomacher or a decorative stays. And the sleeves were either full-length or 3/iv length but were always tightly fitted.

Here'south the costume on display from the online auction house. The jacket and brim are both fabricated from an embroidered silk taffeta. And and then in that location'southward a floral mesh overlay on part of the jacket and skirt. And so some of the floral motif has been cutting out of the overlay and applied directly onto the center-forepart opening and hem of the caraco jacket.

We only get a brief glimpse at this royal blue velvet gown. It has a flake of a Renaissance experience to it.

This might be the lady Mary's best costume. It's a brocade gown with a contrasting yellowish stand-upward collar and stomacher. And again, there'south a little bit of a Renaissance influence with the black lace partlet.

The collar and cuffs are trimmed with these embroidered daisy circles.

Here's a complete costume on the left, featuring this really unusual frock that's made from the same embroidered daisy circles. And then on the right, is how information technology looked in "Sleepy Hollow". And you can actually see how the petticoat and pannier fill out the underskirts and polonaise. And y'all might also discover that the yellow stomacher is positioned incorrectly on the display – it should actually exist directly under the laces.

And here'southward the costume on another display, again from the online auction house, but without the underskirt and apron. And in the center prototype, you tin can come across that the daisy circles are used to hold up the polonaise.

Colleen Atwood stated that this costume was the biggest claiming for her. "The biggest claiming was the black-and-white dress worn past Miranda Richardson when she goes into the Tree of the Dead, and I got the inspiration for it from a painting", she says. "In the cease, I made it my tribute to Adrian'southward black-and-white brawl scene in the [1939] vintage film Marie Antoinette".

And here's the clothes she is referring to. Although, that design looks more like her bumblebee yellowish dress we first see her in.

Colleen Atwood said, "Information technology was such a claiming to create, and the way Miranda Richardson wore the costume was fantastic. The original inspiration was that it reminded me of bawl in the woods. I wanted it to fit in the woods, but still be very grand and of her own world".

"Miranda really understood what the architecture of the wearing apparel was, that it went from light to nighttime. When she walked in information technology, she walked straight forward and so turned to the side, so you got the play of lite on the costume", the costume designer adds.

These are likely the paintings that inspired the architectural aspects of the clothes. The painting of the left, by English language creative person Sir Edward Coley Burne-Jones is a portrait of a fictional character named Sidonia von Bork, who is the cardinal figure in Gothic romance "Sidonia the Sorceress". The novel is set in 16th-century Pomerania and chronicles the crimes of the evil Sidonia, whose beauty captivates all who run into her. According to the Tate Gallery where the painting is displayed, the costumes really derived from the "Isabella d'Este", a portrait seen on the correct, and it's part of the Royal Drove in Windsor.

On the left: "Sidonia von Bork", 1560. On the right: "Portrait of Isabella d'Este", 1531

The Headless Horseman'southward costume

No Sleepy Hollow story would exist consummate without its Headless Horseman.

According to IMDB, this is the first adaptation of The Legend of Sleepy Hollow that doesn't involve the player playing the Headless Horseman having to conceal his head in the cloak. The caput of the actor was covered with a bluish mask that was deleted past means of computer graphics. The neckband was also created to friction match the catamenia of the robe.

And to give role player Christopher Walken a supernatural expect, he wore false teeth and water ice-blue contact lenses.

This costume looks like the doublet, which is seen in the center. Information technology is made of leather with an embossed leather plastron added on that features these mirroring fiery dragons. And the cloak is probably brocade, although it looks like it has been stiffened, and then it'southward lined with a dark-red taffeta. And the unabridged costume is heavily broken-down.

In this shot, nosotros can see the thigh-high side-laced boots fabricated of leather with a scarlet backing and featuring spurs, and and then gauntlets that feature some type of battle axe. And finally the cloak, which is in the movie on the correct, appears heavily distressed but information technology must be quite heavy because it'due south worn on the body with leather straps.

(c) https://www.youtube.com/watch?v=3r4r_7gE1pg

Source: http://nationalclothing.org/599-stage-costumes-in-sleepy-hollow-horror-movies-can-have-marvelous-historical-costumes.html

Posted by: rachelfloore.blogspot.com

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