Crimson Peak Costumes (Edith Cushing, Thomas Sharpe, Lucille Sharpe)

welcome back to another episode of costumes cinematographic Oh in this episode I do an in-depth study of the costumes of three main characters from crimson peak I'd like to thank one of my subscribers of recommending this phone to Annalise as usual this study will include many spoilers from the entire film crimson peak is a 2015 American Gothic horror romance film by Mexican film director Guillermo del Toro del Toro who is known for the gothic horror film Pan's Labyrinth and the Hellboy movies co-wrote the script with Matthew Robbins it begins in 1887 Buffalo New York and then flashes forward to 1901 and it was shot in my hometown of Toronto Canada the film's protagonist is Edith Cushing an American heiress and she's played by Australian actor mia wasikowska Edith's given name is derived from Edith Wharton Pulitzer prize-winning author of age of innocence and health House of Mirth her surname comes from British actor Peter Cushing who was made famous by his acting in Gothic Hammer horror films but you might also know him as commander grand moff tarkin from Star Wars you might not recognize this Alberni blondie haired acting do and they're full costumes Tom Hiddleston and Jessica Chastain in their roles as a sibling antagonist Sir Thomas Sharpe and English baronet and his sister Lucille are almost unrecognizable in their wardrobe hair and makeup and while tom is naturally fair he's always in something good when his dot when he dies his locks dark the stunning costumes were designed by New Zealand veteran theatre and opera designer Kate Holly Holly met Guillermo de haro when he was about to direct the Hobbit when he was replaced by Peter Jackson and brought her on board to design the costumes for Pacific Rim of her relationship with del Toro Holly says it's always such a Walz rather than a walk with Guillermo the way he structures his pieces it's always like a piece of music they are almost defined by acts I treat the visual beats like music when I listen to gear Moe's notes because I think that's the poetry he offers in his work her work quickly caught on as she'd go on to design blockbusters edge of tomorrow and Suicide Squad Holly used a variety of fabric manipulation techniques in the construction of the costumes and including and assortment of pleating applications and trimming we will look at these techniques more closely as I examine each costume other costumes Holly says the silhouette was true to the period but we did take allowances because the colors and details were more based on themes and the character arc we took liberties it wasn't exactly an innings some people said oh it looks very real and I think actually when you see the reality it's not we kept to the silhouette and things like that but in some moments you want to exaggerate a feeling so you need three extra meters of fabric to create a movement given her work in theater in Opera it's natural that she might compare the process to working in a theatrical setting saying I can't say this strong enough that crimson peak felt like an opera or a piece of music in that there's almost two acts you have the world of Buffalo and the world of Allerdale and there are two seasons and colors and themes on what inspired Holly's eventual design she stated in an interview for Elle Australia yes well I looked at history I love to paintings at contemporary slash stuff especially color so I worked was over quite a broad range in over different periods there like a map and all that stuff distills itself once you've found that part of the language you want it becomes a rule for everything Holly even made mood boards visual storyboards to represent character arcs I've done a whole lot of mood boards in response to ideas that Guillermo and I had talked about even in the workroom the team maintained an inspiration board like the one seen here with images and costume bits [Music] of her design process while coming up with the key characters concepts for crimson peak Holly says I never do a costume drawing it's all about the character but with Guillermo I always sit down and read the script and you always see the motifs that he brings back in this drawing you can see how Holly incorporated gothic architectural elements into her design in an interview with the muse Holly says the house really dictated how to approach the costumes from a sculptural point of view to give them an extra depth to give them a painterly quality I didn't want to get myself caught up in detail that didn't feel like it meant anything like generic lace or decoration so all the details we made and they all came from the symbolism of the characters or the house itself while the men's costumes are machine sewn with hand finishing Lucille's costumes like the ones seen here are all hand sewn Holly argues that you can really see the difference in how the costume sits against the body based upon the silhouette of Lucille's downs and in stark contrast to ITA's contemporary look for the time it would put her costumes in around between 1877 and 1883 this period of time was referred to as the natural form era a time when the bustle virtually disappeared the bodices were longer and higher hero heels became very fashionable it would make sense that lucile's gowns while still exquisite would be decades old since the sharps are virtually penniless and she would not have the money to purchase a new frock this 1880s silver dinner gown is an example of the silhouette from the natural form era the leaf motif seen here that ornament Lucille's bodice Innova skirt took a team of eight stitchers several weeks to make the motifs a type of passementerie are used again on Lucille's blue velvet gown and Allerdale according to an interview with The Telegraph Holly explains we justify that on one level because got a lot of scream time but really we couldn't start doing ten versions of that so we used a technique where it was lightly stitched on and we took the whole thing off and transferred it to the next dress suit ash braid and passementerie appliques were a common decoration used in the Victorian era the word passementerie originates from the French word pal small meaning lace and is the art of making elaborate trimmings or edgings of applied braids on the left is a midnight blue Victorian dress circa 1880 to 85 with passementerie cord detailed trimming covering the entire bodice on the right this Victorian coat from 1895 is decorated with black cotton passementerie braid on the front lapels around the collar edge and down the center front here are two past monetary samples from the late 19th or early 20th century on the left is a French applique in antique gold metallic or leaf motif and on the right of French gold metallic cord and lace applique her collar and cuffs are trimmed in ecru bobbin lace here is an example of 19th century handmade English Bedfordshire maltese bobbin lace trim similar to the one used on Lucille's bodice other forms of passementerie include these Victorian tassels that we see hanging from the leaf motifs here are two examples of vintage passementerie on the left is an antique French bronze metal tassels made in the 20s and the Victorian tassels on the right like the ones on Lucille's gown are inspired by nature a continuing with the architectural theme you'll see that Lucille's hat looks like the face of a gargoyle you have to look closely at the final result to see it here is a Victorian woman's silk wide brim hat from the 1890s this hat is constructed from black ribbon and it's decorated with jet beads here is Kate Holly's visual storyboard for loose seals red gown Holly explains that the red dress was a last-minute addition that was a pretty full-on dress one of the last ones we did she says Guillermo and Jessica decided that we needed another dress and we had like two weeks it was trying to get the right Reds and the detail the lacing was about trying to feel like her spine I was looking at pictures of starvation in the world of Allerdale and Jessica is a beautifully curvy woman if you see her in person she's actually quite voluptuous in a petite way but I wanted to get that sense of bone so we did that with colors we wanted to bring in the Jacobean tragedy world of the house two costumes in a close-up look of the back on the left you can see that the way the bodice is laced up the back gives the illusion of the spine on the right is a picture of one of the get the ghost creatures from Crimson Tide in which Holly took inspiration according to Holly the Train is supposed to represent a pool of blood with the rows of red silk taffeta pleated with the tree bark pleat I will get into the use of pleating later in the video in this image we get a good look at the front of the bodice and the multiple seams that create the silhouette the sleeves feature an unusual pleat detail down the arms in a close-up we see the detail of the collar similar to an Elizabethan rough complete with hanging beads here is a Spanish Renaissance painting of inventing Isabel Clara Eugenia by Alonzo Sanchez koel from 1579 the model wears a similar ruff an item that was designed to keep the gowns clean as the starched rough could be laundered in between wearing on the right is a close-up and you can see that the rough is formed by pleading the lace in a figure 8 formation the technique is called cartridge pleating and was a popular technique during the Elizabethan period here is a diagram that shows how the pleating is done and then how it is attached to the band this is also a technique for attaching full skirts to a narrow waistband modern bodies which are very different from the period body Kate explains adding that for Jessica Chastain the weight of her wig plus the constriction of her corset actually caused her a lot of pain we're in these things for hours every day and a heavy wig pressing on your forehead can cause headaches we try to relieve the pressure of course but Jessica was amazing she used that discomfort for her performance in the character as well here is the original artwork for Lucille's midnight blue gown pictured on the left the gown on the right was never used here is what a cake Holly's own images of the creation of the past mentoring motif following a gothic pattern the motifs in Holly's original concept art scene on the right but I don't think it ever made it to the final gown perhaps because it would have been so time-consuming to make about 4 to 40 of these appliques in all here is Holly's mood board for Lucille's midnight blue costume you can see both the historical and contemporary influences the gown took six weeks to make after prototyping the bodice apron and train are constructed from a sumptuous blue velvet salt fabric the under skirt is silk taffeta and the pleated hem collar and cuffs are made from dupioni silk a highly lustrous fabric with irregular slabs or bumps notice that the place on the hem look crisper on the left in this promo shot for the film while the pleats on the right have fallen out in this exhibit image this is because silk is a natural fiber and unless the pleats are chemically treated the pleats on such a wide piece of fabric will come undone over time here is the same gown but without the apron and bustle as you can see the taffeta under skirt is smooth in the front with tiered layers of ruffles to support the weight of the silk over skirt the taffeta has a two-tone effect in a weaving technique known as shot where two different colors of threads are woven as wept and work to create the iridescent Paris it's hard to tell but it looks like the hem was pleated in an irregular pleat like the tree bark pleading of her red gown you might recognize the elaborate braid motif from Chastain's black velvet gown the black trim winding upper body like a withered vine here's a close-up of Lucille's pleated collar and cuffs the pleating looks like tree bark pleading but it could also be accordion pleating to Holly's team constructed the corded vine trim Holly sang all the details we made and they all came from the symbolism of the characters or the house itself the leaves on Lucille's dress were constructed by hand with a single piece of hoarding the image on the left makes the leaves look like dark gold but they are actually closer to the image on the right the leaves had been distressed to show some light damage which would be understandable given the estimated age of the gown here is a good look at the amount of appliques that trim not only the center front and sleeves but also most of the center back section of Louie Lucille's bodice in these set images we get a glimpse of Lucille's foundation garments as actor Jessica Chastain walks to set she wears a pretty sheer camisole underneath here is a great shot of Chastain from the extras reel a bit that didn't make it into the final cut this longer style course it has a front bust closure and is grommeted and laced up the back the underskirt is flat in the front with ruffles in the back reflecting the silhouette of her gowns in this close-up you can see the many bone channels in the corset in what gives the hourglass silhouette the corset has been broken down the fabric faded soiled and stretched from years of use an important note the corset would always have been worn over a chemise to keep it clean Lucille style the corset is similar to the silhouette from 1875 when the course have changed from the earlier crinoline silhouette to a longer sleeker shape this new corset shape helped to flatten the stomach and smooth the hips in the painting nana from 1877 by Edouard Manet we see this style of corset on the model on the right is an exquisite French corset from the 1880s made from blue silk satin a steel busk and boning in another of Holly's costume boards you can see that Lucille's nightgown played out almost exactly as how Holly had envisioned it the gown is made from yards and yards of what looks like silk chiffon and it's trimmed with scalloped Bob and lace trim around the shoulders the silk over rope is made from hand dyed paper silk and low seal has fastened it into place with a scarlet ribbon upon close inspection you can see that the edges of the robe are pinked and tacked on by hand with a running stitch the top of the Nikon is smoked a decorative means of gathering a wide piece of material into a required measurement on the left is a close-up of Lucille's gown and on the right is a sample of the smocking technique these are Holly's original concept renderings for Edith here are some fabric samples and flowers used in her costumes including etus closed hand waist embellishment in our first glimpse of Edith we see her wearing this gold walking outfit Holliday explains that Edith's gold palette also shows her to be a canary in a coal mine her characters warning of the coming danger EDA school color palette also shows the American heiresses wealth here are two examples of late 1880s ladies walking suits with a similar silhouette the afternoon ensemble on the left in the same golden tones the cedis walking suit consists of a bodice of skirt by American designer H and s poco from between 1896 to 1897 it's constructed with silks sequins and metallic thread while the suit on the right is from 1895 it was made by Parisian designer Jacques Doucet this suit is linen with the collar and cuffs embroidered with silk cord elastic stays are attached to the inside of the skirt to control the the exaggerated puff sleeves on eatest jacket resemble the wings of a butterfly a symbol for Edith as Holley explains it on the right is a close-up of the sculpin used to fasten her tie according to Holley the puff sleeves on Edith's costumes are enormous but not much bigger than that which is historically accurate she says we actually had a very beautiful piece given to us they had an original 1890s late 1890s gown with a bodice and we actually analyzed the slave action going on it was 3.5 meters of fabric per sleeve so the dresses we did for Mia were the same just on the sleeve alone there are quite structural and complex that original gown came for an old couture house in Paris this American tailored jacket from 1895 is a close approximation to etus luckiness jacket is double-breasted with an oversized buttons and legoman sleeves this outfit is the Victorian equivalent of a sporting outfit in this case used for cycling the Hat Edith wares is a ladies sailor hat with birdcage netting and it's trimmed with a golden-brown silk velvet ribbon a sailor hat like the one seen here by the two women in the back row from the early 1900s photograph is a brimmed straw hat similar to those historically worn by 19th century sailors before the sailor cap became standard it is very close in appearance to the masculine straw boater seen on the man sitting down it's normally made of still of stiff senate straw and has a stiff black crown and brim here are two samples of ladies sailor hats from the period from the Metropolitan Museum of Art the straw boater on the right is straw with a silk band and dates between 1890 and 1900 here there are some additional early concept costume renderings for Edith the costume in the center is the outfit ia's wears when she first encounters Thomas here is the final look from the movie it is blouse and like many of eatest garments is pleated with the tree bark necked technique a type of wrinkled pleating I can't confirm but all of the pleading for the film is most likely done by cement plating just outside of London England and the Pleader for Game of Thrones and other British television series tree bark pleating a scene in this chemically treated sample from cement pleating is an irregular pattern pleat but the end result is still very much a neat uniform pleat tree bark pleating is similar to broomstick pleating a type of hand pleading before the advent of commercial pleating all pleading was done by hand dating back to the Egyptians and the Greeks when I study costume and while working on a Grecian play I had one experience with wrinkled pleating and what my instructor referred to as antique pleating wrinkled pleats are irregular ridges and grooves set by bunching and scrunching damp fabric securing it tightly and letting it dry the process is less than ideal for because the process only works on natural fibers like cotton or silk and the process is not permanent when unwrapped the wrinkled folds in muslin as seen on the left with broomstick pleating are one directional while the wrinkled Foles is seen on the right with contortion pleating our malt directional this processes temporary however because washing will remove the pleats cleaning became a fashionable fabric manipulation during the early 20th century on the left is a beautifully hand pleated silk jersey gown from 1937 by madame grace she became famous for elegantly draped Grecian goddess gowns these dresses could take anywhere up to 300 hours to complete with each pleat being done by hand draping the cloth so the body shaped the dress also reviving the Grecian silhouette in the early 1900's was Spanish born artist and designer mariano fortuny he established a textile wash workshop and a commercial slope printing fabric in Italy where he perfected a fine heatset pleating and silk which was created by a process never exactly duplicated pictured on the right is a portrait of Miss Muriel Gore in a Fortuna dress from 1919 painted by sir Oswald Hornby Joseph Burley what's astounding is that the Fortuny gowns on exhibit in museums still hold their pleading to this day Edith attends a ball with Thomas in this sophisticated yet understated silk gown with a train and a style similar to the fashions of high society women in turn-of-the-century America the long bodice is softly draped in silk and decorated with strands of pearls there is no cradle and except for what looks like a soft tulle petticoat peeking out from under the Train of course you might make the argument that this color is suitable for EAA's considering her youth and innocence but this light cream color was fashionable for even married women the gallon features a matching cloak with an outstanding pleated stand-up collar the cloak is pleated into a yoke neckline and fastened at the neck here are some samples of the style and various portraits of high society women from the late 1800s and early 1900s by Italian painter Giovanni Boldini here is a portrait of American socialite and author Elizabeth Wharton Drexel from 1905 I can't determine who painted the portrait of the lady on the right but it looks like it's from the late 1800s here are three other paintings bald Boldini essential painting is a portrait of Ava Lister Berrien s Ribblesdale while the painting on the right is a portrait of the countess de both from 1905 on the left is a fabulous painting that features the fashionable Gibson girl hairstyle of the day the hairstyle was made famous by illustrator Charles Dana Gibson and actresses of the day like Emil Clifford the pompadour style hairstyle was also highly coveted by the most fashionable of society ladies you can see that Edith's hair has been swept up in a similar fashion and embellished by a beautiful rhinestone hairpin here is Kate Hawley sketch for Edith's picnic dress the final outcome is a very 'it is a variation of her original concept this skirt looks like the same one from her gold walking outfit on the left you see that Holly and her team played with the fabric on the dress makers form before actually constructing it of etus memorable belt Holly says this has this to say people plaited the hair and braids of their loved ones that had passed away and there were little ivory earrings and things I took these little earrings these little ivory hands and we scale them up so it was almost like a mother's hands claps to round her waist here is Holly's idea board for a Victorian mourning jewelry made from human hair you can see that this gold bracelet with hands clasped was Holly's inspiration for Edith's belt while hair from deceased loved ones was frequently used in mourning pieces more often the hair of the living was worked into sentimental keepsakes given as everlasting tokens of friendship remembrance or romantic love on the left is a gold and enamel mourning ring with hair of the deceased under glass from Sir Pitt 1855 on the right is a Victorian watch chain of human hair with gold clasped hand detail similar to the one from Holly's idea board the hens were sculpted in wax and then cast to look like ivory like the image on the left here is the final belt on exhibit this is Holly's move board for eatest picnic dress you have the world of the moon and black and Lucile being the mosses Holly and Edith being the butterfly EDA stresses and nightgowns are adorned with flowers Cano ting fertility Holly says the silhouette of the slaves becomes fuller and the flowers start growing on a dress I look at it like the Magic Flute and its Sun and Moon night and day winter and summer polar opposites here is a close-up of ITA's hat adorned with silk poppies and feathers and ribbons and ribbon trim shaped like butterflies on the Left we have a French hat from 1902 made of cotton and silk that is very similar to etus and on the right we have a French hat circa 1898 made from silk metal rhinestones both of these hats are from an exhibit at the Met pictured on the right are eatest boots from crimson peak an almost exact reproduction of the Victorian boots on the left that come from 1870 this dress is my second favorite dress for Edith and it's known by Holly as the heartbreak dress it made its made from multiple layers of dyed and pleated silk fabric I suppose that the gown gets his name because Edith discovers that her beloved father has died while she is wearing it the collar and cuffs are trimmed in what I think is some sort of applique and embroidery technique that I'm not aware of although it looks similar to suit Ashe trim only finer the decoration serves two purposes it holds the narrow pleats in place and it creates a beautiful focal point to the neck sadly we get to see very little of this gorgeous morning outfit it's difficult to tell but it looks like she's wearing a black velvet coat with large puff sleeves and a wide-brimmed felt hat with large black ostrich plumes that are anchored with a jet beaded broach ITA's face is covered with a black netting that's trimmed with fine cord ivy this wedding cloak and hat Holly says with things like flowers and fruits we had violets when she arrives at Allerdale Hall to enhance the symbolism of this luscious living thing in contrast to the Baroness of Allerdale the color in the cloak k-palette are also decorated with black soot ash court we see that the cloak and hats are embellished with violets pictured on a work table in the crimson peak wardrobe the violets are sorted by color before being tacked on to the costume but Holly adds when Edith travels to England with the Sharpe's she says the glasses come off you see the decay and the reality of their world and how unromantic it is all of the silk violets are stripped from the cloak even the pretty violet sash replaced with a more sombre teal one in keeping with the blue tones of Allerdale Hall in a moment of vulnerability when Edith arrives at Allerdale Hall we get a rare glimpse at Edith's under set things including her corset and petticoat she wears a French shawl jacket of source as she runs her bath the robe appears to be a woven silk and it's trimmed in a wide crochet and fringe border there is a single button fastener at the front the robe is similar to the styles of cloaks fashioned from large shawls that were popular with the late Victorian period from until the 1920s on the left from a private collection is a Chinese silk cape from the 1880s the cape is made from embroidered cream silk featuring a fitted back with a large knotted and tasseled medallion and it's edged with knotted French silk on the right is a similar hand embroidered silk cloak from about 1890 to 1908 the cape is also bordered all around with hand knotted silk French of the undergarments like corsets and petticoats Holly states that all of these items had to be handcrafted from scratch saying things like the types of courses we chose the underpinnings which would define the outer structure they are all true to the period luckily for us we get a little bit of a glimpse of Edith chemise and corset as pictured here the corset is golden silk satin and in keeping with her other costumes the chemise worn under the corset is finely pleated lightweight silk Edith might have worn a one-piece slip like the one pictured on the left circa 1900s from the United States Museum of Fine Arts in Boston it's more likely that she wore a separate camisole and petticoat on the right is a painting by Pierre Carriere be loose from 1893 titled young woman adjusting her corset the painting is a little early and the corset is a little high in the hips but the silhouette is similar to Edith's undergarments here is a period-correct corset from 1903 from a French fashion plate here is an example of a French trousseau corset from 1900 still in excellent condition by LaBelle Marsh a in Paris the corset is made from embroidered silk satin ribbon and lace keyhole ISA savita's costume rendering usually I draw from the front but everyone was going can you give us the back all about people disappearing down corridors so the back was quite important if you look at her nightdress as holly says we made many many night dresses sometimes the sleeves are big sometimes the sleeves are small we'd have to sit Mia in the chair and we'd work at the right size of sleeves to make her seem really small it's all about running around in night dresses through long corridors not also blended the fabric when Garin was said to me it's about a house that breeze that's why we chose the lightest fabric just a little thing to try and help the storytelling with the idea of the house Edith heavily pleated white nightgown is symbolic of a chrysalis as Edith begins to fade Holly says she's very fragile so the butterfly is dying and becoming this little husk Guillermo himself told me to add another 20% on because things always get reduced kate says there was a lot of costume experimentation and prototyping that went on Holly asked herself when does a sleeve get too big I've never done as many 90s as I've done on this film the team would ask can we get another night dress and I be thinking how many ways can I do a night dress I feel like I've done my nightdress quota for a while kate says dressing gowns or tea gowns were originally designed in the 1870s as easy comfortable garments appropriate for women to wear for tea with family and friends in the home but they became increasingly elaborate and fitted by the 1890s they could bind exotic fabrics and historical references and were worn for public appearances such as dinner parties here are two examples of dressing gowns from the period both from the house of worth on the left and on display at the Met is a silk and cotton tea gown from 1898 the sleeves and call of this tea-gown reference the early 17th century which was a common period for worth to draw from and on the right is a word pecan from 1894 from the Museum of the city of New York here is another example up an elaborate tea gown from 1900 from the house of roof the lace wrapper is made from generous amounts of Irish Limerick lace Holly researched Victorian art and work closely with hair and makeup to finalize a this gothic look she says I was looking at a lot of symbolist paintings at the time and I found this image of the bridesmaid a painting by Sir John Everett Millais from 1851 with all her hair out it's quite pre-raphaelite from all the research we did on Heron morning there are all these amazing morning photographs of women wearing their hair out so that image of Edith you're talking about came from malays painting it was about creating the atmosphere of the house of it as a living breathing thing we chose the lightest fabrics for the night dress so that everything responded to movement and accentuated the mood the loose box pleats which are a feature of the style of dressing gown are sometimes called Watteau pleats from their appearance in the paintings of Antoine Watteau which feature early examples of the 18th century sack back gowns the various weto terms such as watch oakley t' Watteau back and Watteau gown normally describe 19th and 20th century revivals of the sock back yet here are two paintings by jean-antoine Watteau on the left the halt during the chase circa 1718 to 1720 and on the right to cousins from 1716 both featuring Watteau pleats here are Kate Holly's renderings from various points of view in what the designer calls Edith Nancy Drew gown by far my favorite gown from crimson peak Kate Holly's mood board shows her historical and contemporary inspiration for the color and drape of the gown enos yellow silk gown is somewhere between a canary yellow and a mustard yellow Holly says we did lots of camera tests for that color too because it's quite a tricky color it definitely paid off because the gown looked amazing in both interior and exterior shots like this one for inspiration Holly says sometimes I'll go down this little rabbit holes and borrow from very contemporary things like in terms of color I found a photograph of a dead canary because I've gone down into coal mines and all of it felt like it was answering many things at once on the left the gown looks almost Mustard while on the right in an image that looks like a painting the gown Luminess is in the lighting the beautiful appliquéd flowers are featured prominently on the oversized sleeves during the initial construction phase you can see that Holly has attached color photocopies of the flowers to the lower slaves and bodice before finalizing their eventual placement and on the right the flower appliques are added to what will be the bodice waist band here is just one example of the labor-intensive handiwork by one of Holly's team of stitchers in applying the flowers to the silk on the skirt train on the right with a flowers tacked to the sleeves final touches are added to the gown including the black more a taffeta sash placement to the collar and buttons to the sleeves in this close-up you can see just how lustrous the fabric is and how the details just pop here is the final gown on display here is the costume rendering of Thomas Sharpe by Kate Hawley the costume is almost completely black consisting of a black frock coat and pants a silk satin waistcoat and cravat black leather shoes and a white linen shirt with a stiff stand-up collar the frock coat was considered more formal than the sack suit often described as quite rigid the coat has a distinctive squared-off bottom front just above the knee in this photograph is an example of the Victorian frock coat and cravat worn by Austrian architect Adolph loose early in the crimson peak featurette Hiddleston says as soon as I put on the costume I knew who Thomas was every single contour of the tailoring has been fitted to my exact proportions and the waistcoat is very tight the double bow tie that's around a very stiff collar it feels very elegant there's something about the tailoring it's as if it was keeping my feet more firmly planted but it's also making me stand straighter and taller you wear the clothes and the clothes do all the work for you Kate Hawley explains why his costume felt so authentic we worked with a company which does a lot with period pieces and costumes in England and they did all of Tom Hiddleston's costumes by hand Edith makes a comment in the first act that while she notices that Thomas's clothes are well made but they are at least 10 years out-of-date and his clothes especially his shoes look worn Hiddleston says this of his costumes for the clothes that Jessica Chastain and I wear for example they reflect the idea that Thomas and Lucille Sharpe come from old money they used to have wealth but the money's running out so they arrive in 1901 Buffalo New York and their clothes are unbelievably elegant but 30 years old so there's a little where the lapels look like they've been broken down on the woolen frock coat sometimes to add additional wear the wardrobe department might spray down the coat with some water input in the pockets to give it a saggy appearance this jacket and cravat are more formal than his full suit you can see that the coat has more luster here is an image of the Victorian gentleman wearing an ensemble similar to Thomas Sharpe on the right is an image of what looks like an untied silk cravat this one from London circa 1870 Thomas Sharpe stop silk hat is similar to the one on the right from the VNA collection in London the British black silk top-hat was made by messieurs Chapman and Moore and dates between 1850 and 1870 we get a good shot of Tom Hiddleston and his white tie and Tails the most formal attire for men during this period the costume consists of a black tail suit not unlike modern tales except that this style is referred to as swallowtails there is no pocket and while the Coe collar is notched the lower portion of the collar isn't faced with satin like we see in modern versions Hiddleston wears a brocade scoop waistcoat and cream slip bowtie and white gloves as well d custom his high collar shirt is more formal with the pleated bib pictured on the left is a Victorian gentleman's formal suit from about 1885 to 1900 and on the right from a display at the Met is a cream brocade silk waistcoat with a scooped shawl collar similar to Thomas's formal vest this vest from the 1840s is probably american-made one of sharps most memorable looks from his marriage to Edith is this rich blue velvet over frock coat an over frock coat is a coat designed to be worn over a frock coat as an overcoat in cold weather you can see that the code has been broken down to indicate years of use here is the same sharps coat on display at the crimson peak exhibit I'm not sure where the rest of the costume is but the coat would not be worn alone like we see here on the right American jurist crit William Curtis Noyes is pictured wearing a single breasted over frock coat with a the collar and pointed lip house here is an example of a man's long dress frock overcoat from 1870 the american-made coat is midnight blue with a black velvet collar like Thomas sharps outer garment the coat is double-breasted with notched lapels each with a decorative buttonhole here is Hiddleston wearing an alternate waistcoat in black brocade with a high notched collar Hiddleston's final look as ghost thomas is a replica of his black trousers shirt and vest except and cream and heavily distressed the makeup and hair are exceptionally well done by the team thank you for watching this episode of costumes cinematographic Oh if you enjoyed what you saw please like and share my video you can also subscribe to my channel and see past and future caution videos as I tackle deconstructing all things costumes from many of

Channel: Costume CO

Views: 45,720

Rating: 4.9549437 out of 5

Keywords: Kate Hawley, Crimson Peak, Tom Hiddleston, Jessica Chastain, Mia Wasikowska, Guillermo del Toro, crimson peak costumes, Edith Cushing Costumes, Lucille Sharpe Costumes, Thomas Sharpe Costumes

Id: kvqb-UzBG04

Length: 42min 25sec (2545 seconds)

Published: Sat Jan 07 2017