For veteran Australian director Jocelyn Moorhouse, black comedy “The Dressmaker” was like “Unforgiven” with a sewing machine. In the movie, a Paris fashion designer (Kate Winslet) returns to her dusty, hateful outback town in the early ’50 to exact revenge with haute couture style.
For the film’s two costume designers, Margo Wilson (who focused on Winslet) and Marion Boyce (who handled the rest of the wardrobe), “The Dressmaker” was like “Cinderella” meets “Pygmalion.” At first, Winslet transforms the shopkeeper’s dowdy daughter (Sarah Snook) into a princess. Then the other wicked women pay Winslet to use her sartorial magic on them.
“She had been working for many years as a dressmaker in exclusive Parisian fashion houses, so she needed to look different from the rest of the town,” Wilson told IndieWire. “Her mentor was Madeleine Vionnet, one of the leading designers [between the Wars]. Her wardrobe was very simple, rich, royal colors with no florals or patterns.
For the film’s two costume designers, Margo Wilson (who focused on Winslet) and Marion Boyce (who handled the rest of the wardrobe), “The Dressmaker” was like “Cinderella” meets “Pygmalion.” At first, Winslet transforms the shopkeeper’s dowdy daughter (Sarah Snook) into a princess. Then the other wicked women pay Winslet to use her sartorial magic on them.
“She had been working for many years as a dressmaker in exclusive Parisian fashion houses, so she needed to look different from the rest of the town,” Wilson told IndieWire. “Her mentor was Madeleine Vionnet, one of the leading designers [between the Wars]. Her wardrobe was very simple, rich, royal colors with no florals or patterns.
- 9/22/2016
- by Bill Desowitz
- Indiewire
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