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The Art and Craft of the Costume Designer MASTER COURSE - THE ART AND CRAFT OF THE COSTUME DESIGNER
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M Master Course (1st degree level) The Art and Craft of the Costume Designer (1500 hours, 60 Credits) Program Leader, Andrea Viotti http://it.wikipedia.org/wiki/Andrea_Viotti http://www.imdb.com/name/nm0899259
In partnership with: Carlo POMPEI
Ditta Rancati
MASTER COURSE - THE ART AND CRAFT OF THE COSTUME DESIGNER
M The importance of the role of the costume designer in the production and the outcome of a film or a theater performance appears evident throughout the history of performing arts. The costume is the link between the character and his/her role and place, his/her personality and expression. The costume designer is the artist who knows the history, traditions, anthropological origins, psychological
interpretations,
emotional
suggestions and the craftsmanship of the costume. The costume designer is a contemporary creative talent, a master of craftsmanship and dexterity and masters design. From theater to television, from cinema to music, to opera, the costume designer must be prepared to understand and solve successfully the technical and creative aspects of the production of costumes for all genres of stage and performing pieces.
MASTER COURSE - THE ART AND CRAFT OF THE COSTUME DESIGNER
objectives
& goals
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The Master Course (Ist degree level) The Art and Craft of the Costume Designer (60 Credits) aims at offering a cultural and professional training in the field of costume manufacturing, from design to implementation. It is meant to be an intensive theoretical and practical path of studies, with scientific research and hands-on laboratories offering tools for the design, modeling and application of costume-making by means of tailoring techniques focusing on costumes and their accessories, wigs, make-up, masks and jewelry, footwear, headgear. This is all offered in laboratories using practical techniques and applications, seeking to achieve organizational, design and operational skills of fashion design. The Master Course includes a training project simulating a pictorial research and layout of the design, up to the factual implementation of the costume. The course introduces the history of the costumes and their transformation for the performing arts, providing the basic tools for the comprehension and the analysis of the different trends across time. The Master Course, in fact, goes through the different periods in time. This is meant to prompt students in their research activity and become a blueprint for costume proposals related to the texts analyzed. Readings and interpretations of drama texts will be broached, together with an analysis of the character and its representation through costumes. The Master Course includes laboratories to develop design and graphic projects, fabric sampling, textile experimentation, elaboration of materials, aging techniques, to the factual tailoring. The course envisages also experiential meetings with costume designers, set designers, dancers, actors, directors. Guided tours to costume shop, theaters, museums and art galleries will be organized. The aim is that of training future professionals to meet the needs of cinema, theater and television productions. Moreover, these professionals are meant to network with specialized costume shops. The course includes meetings, testimonials offering their experiences, interdisciplinary projects and guided tours.
MASTER COURSE - THE ART AND CRAFT OF THE COSTUME DESIGNER
who is the course directed to
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The Master Program is directed to individuals who have completed their undergraduate programs (bachelor degrees or any international equivalent), undergraduates and senior students of the Accademia di Belle Arti, Schools of Architecture, DAMS, Scienze della Comunicazione degree course undergraduates, or individuals holding equivalent degrees, or to whoever aims at completing and / or specializing in the cultural and professional aspects of the costume industry, from design to implementation. The applicants will undergo an examination to test their technical and artistic aptitudes before admission to the Master Course.
MASTER COURSE - THE ART AND CRAFT OF THE COSTUME DESIGNER
professional profile
The profile achieved at the end of the Course is that of a professional capable of :
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Analyzing and interpreting creatively a theme suggested by a script or drama text.
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Carrying out a historic research on the documentation on the film or drama script.
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Carrying out costume sketches for the characters of the cinema or theater script,
with the relevant samples of the fabrics required.
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Direct and supervise the costume tailoring.
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Design accessories, make-up and wigs needed for the production of the cinema,
theater or TV story.
MASTER COURSE - THE ART AND CRAFT OF THE COSTUME DESIGNER
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duration
& attendance
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Duration and organization of training The Master Program will start on monday the 24th of November 2014 for a total of one whole year, or 1500 hours, subdivided into lectures, workshops, self-study, complementary activities and traineeship. The Master Course has a restricted number of vacancies, but to no less than 10 participants. Should the number of ten participants not be reached, the start of the Program will be postponed. Attendance Attendance to the Master Course is compulsory for at least two thirds of the lessons delivered. The lessons will take place according to the schedule below:
Thursday
3 p.m. – 7 p.m. (4 hours)
Friday
3 p.m. – 7 p.m. (4 hours)
Saturday
9 a.m. – 1 p.m. and 2 p.m. – 6 p.m. (8 hours)
Fees Registration Participation fee (it is possible to pay it in two installments)
MASTER COURSE - THE ART AND CRAFT OF THE COSTUME DESIGNER
admission, achievement of the diploma degree
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Admission Applicants must send the application form with a certified copy of their degree certificate, their CV and a copy of their ID card, and a portfolio of projects. The selection process will be based on the CVs and an interview on the applicant’s skills, in the premises of the Accademia di Costume e di Moda (Via della Rondinella, 2 – Roma) or for special needs via Skype. In order to make the appointment for the interview please send and email to our Information and Orientation Office at info@accademiacostumeemoda.it. Achievement of the Diploma degree To be awarded the Academic Diploma for the 1st degree level Master Course on The Art and Craft of the Costume Designer, students must have acquired the number of credits deliberated by the regulations of the course, including the traineeship and the final examination grade. The Diploma certificate is awarded by the Accademia di Costume e di Moda, with 60 credits, as of deliberations of the Italian Ministry of Education, University and Research (Ministero dell’Istruzione, dell’Università e della Ricerca - Alta Formazione Artistica, Musicale e Coreutica).
MASTER COURSE - THE ART AND CRAFT OF THE COSTUME DESIGNER
syllabus
- lectures
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Technical-Theoretical Area (9 Credits) Subject matter
Specifications
Educator
Image, Shape and Color
The great styles in Arts and Photography. Their Alessandra Ponente influence and usage in the design of the theater and cinema sketches. Every cinema or theater project is inspired by arts (paintings, photographs or sculptures). Knowledge and possible usage as an interpretative form.
Evolution of fashion throughout the centuries
History of costumes and their evolution throu- Andra Ferrero ghout the centuries. Analysis of the changes and evolutions of fashion as a subject of study and research to be applied to a theater and cinema project work.
Reinterpretation of costumes for cinema and the theater
History of the evolution of the interpretation of Andra Ferrero costumes from the late 19 th century to date (from Pisanello to Caramba and Piero Tosi).
TOT. 110 hours The profiles of the professors directly involved in cinema, theatre and television, may be found on the imdb (international movies database) on the web.
MASTER COURSE - THE ART AND CRAFT OF THE COSTUME DESIGNER
syllabus
- lectures
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Technical – Scientific Area (21 Credits) Subject matter
Specifications
Educator
Analysis and Design
Method of analysis of the costume requirements for a Marina Maruccia cinema , theater or TV story and subsequent design. Experiential teaching based on professional realia. No text assigned.
Research and Documentation
Method of Research and Documentation through Arts Andrea Viotti and Photography, according to the requirements of the Alessandra Intini cinema or theater story. Experiential teaching based on professional realia. No text assigned.
Illustration and Design
Illustrating and pitching a fashion plate. Drawing course Andrea Viotti with specific techniques, i.e. illustration, coloring, Alessandra Intini pose, according to the relevant historic documentation collected.
Character Sociology and Psychology
Understanding of the psychology of a character according to the parameters of a cinema script or theater text, and relevant designation of a color or atmosphere.
Jewels: design and creation
History of jewels from the Egyptians to the 1930s. Selection and design of period jewelry.
Footwear
History of Footwear and application to cinema, theater, Carlo Pompei operas and ballet, through Rome-based company L.C.P. (L.C.P. Pompei) Pompei.
Sectorial product studies
Sampling of fabrics and selection of textile materials, Lina Cardone according to the period and the fashion plate selected. (Director of Sartoria Farani) Visits to textile companies are included.
Make-up and hair-styling
Make-up: history and application to costumes. Special make-up styles.
Carlo Poggioli
Enrico Iacoponi Luigi Rocchetti
Hair-styling: history and application to costumes.
TOT. 254 hours The profiles of the professors directly involved in cinema, theatre and television, may be found on the imdb (international movies database) on the web.
MASTER COURSE - THE ART AND CRAFT OF THE COSTUME DESIGNER
syllabus
- lectures
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Technical – Scientific Area (13 Credits) Subject matter
Specifications
Educator
Workshops: Workshops: cutting and assembling costumes; selection Sartoria Farani applications, research of fabrics according to the fashion plate and costume Giuti Piccolo and invention designed. Lina Cardone Salvo Romeo Evolution of cutting across the centuries
Characteristics and methods of cutting costumes across the centuries. How to cut a period costume according to historic references to get the fashion plate designed.
Sartoria Farani Giuti Piccolo Lina Cardone Salvo Romeo
Budgeting and organizing the sector
Management and budgeting. Gianni Saragò Daily schedules, work plans, organization in the sector, Hr planning according to he projects. Relations with the production and the organization.
Tailoring Budget and Personnel selection
Modalities of selection of professional tailors in relation Sartoria Annamode to different projects. Simone Bessi
Working with the production
Working with the directors. Comparing creations with Maurizio Sciarra the director’s creativity,according to cinema, theater and opera singing requirements. Working with cinema photographers. The colors of Maurizio Sciarra one’s creativity in connection to the film’s photography in progress. Working with theater lighting experts.
Maurizio Sciarra
Working with set designers. Comparing one’s creations Alessandro Camera with set designer’s shapes and colors in a cinema, theater or opera setting. The Character and the Actor. working with the Actor, attore professionista the Opera Singer or the Dancer and the character they will play and wear the costume: moving, dancing, singing, acting.
TOT. 182 hours The profiles of the professors directly involved in cinema, theatre and television, may be found on the imdb (international movies database) on the web.
Lectures tot. 546 hours (43 credits)
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extra activities
Meetings with testimonial costume designers, set designers, dancers, actors, directors. Guided tours to theater costume shops, museums, art collections and galleries, cinema studios
(30 hours, 2 credits)
Namely: Carlo Pompei - http://en.wikipedia.org/wiki/L.C.P._di_Pompei Costumi d’Arte Peruzzi - www.costumidarte.com Ditta Rancati (per gli accessori: armature, spade, pistole e fucili per il cinema e per l’opera) - www.erancati.com Laboratorio Pieroni - www.laboratoriopieroni.it Rocchetti & Rocchetti - www.rocchetti-rocchetti.com Sartoria AnnaMode - www.annamodecostumes.com Sartoria Farani - www.farani.it Sartoria Tirelli - www.tirelli-costumi.com Jewelshouse - www.jewelhouse.it Project Work (249 hours, 5 credits) Study and analysis of two dramas (script, texts, screenplay) and staging.
PROJECT WORK
Specifications
Hours
Credits
Simulation of a cinema project
83 hours
Gianna Gissi
Simulation of a theater project
83 hours
Andrea Viotti
83 hours
Marina Maruccia
(drama or poetry) Simulation of a TV project
TOT. 249 hours INTERNSHIPS (230 hours, 10 credits) Professional internships (230 hours) at costume shops.
MASTER COURSE - THE ART AND CRAFT OF THE COSTUME DESIGNER
cost
& campus
The cost of the Master Program “The Art and Craft of the Costume Designer” is 20.000,00 Euros of which Admission Fee: Euro 2.000,00 Frequency Fee (payable in two instalments): Euro 18.000,00 CAMPUS Accademia Costume & Moda via della Rondinella 2 – Roma
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for informations
& interview appointments
Inf.Or.Ma. Accademia Costume & Moda Opening Hours: Mon-Fri 9.00-18.30 Via della Rondinella 2 00186 Roma T +39 06 6864132/06 6868169 F +39 06 6874867 info@accademiacostumeemoda.it www.accademiacostumeemoda.it
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partners
Costumi d’Arte Peruzzi
L.C.P. di Pompei, often known as Ditta Pompei simply as Pompei, is an Italian manufacturer of shoes, and other costume items, for film productions. Founded in 1932, it has primarily served Cinecittà film productions. In the 1960s, it manufactured classical foot gear for the numerous sword and sandal epics being made at Cinecittà. Since the 1970s, it has also been employed on large international film projects. Based in Rome, Pompei also has branches in Paris and London. In thirty years of activity it has created 40.000 pair of shoes that now constitute the heritage and archive of the company. This satisfies the requests of all the theatres of the world. The attention to detail, the artisinal work, the materials attentively selected, allow Pompei’s products to be unique and exclusive.
The Costumi d’Arte was born in 1815 with a different name, (Casa d’Arte) from an initiative of Angelo Pignotti, who in Florence started a small business of antiques. Following the requests of many painters, Pignotti decided to not limit his business only to lending his works but to organise a proper activity. At the time there were many parties in costume, and these allowed the business to grow, not only in lending but also in tailoring new costumes. The business grew and Pignotti started collaborating with acting companies in Tuscany finally landing on the most important entertainment sector of the time, the Opera. We are talking about the 1920’s and a very important costume archive is already completing a precious heritage. When the new cinema plants in Tirrenia were born, the Art Hours (Casa d’Arte) started working also for new film productions. In 1947 Giuseppe Peruzzi decided to open an office in Rome, starting a long collaboration with Luchino Visconti. From 1995 Giusepper Peruzzi continuws the activities of his predessors, working for the theatre and cinema, strong of an important family tradition and experience who has lasted for more than 100 years.
http://en.wikipedia.org/wiki/L.C.P._di_Pompei
www.costumidarte.com
Carlo Pompei calzature
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partners
Ditta Rancati
Laboratorio Pieroni
The origin of our firm dates back to the second half of nineteenth century. In Milan Pietro Zaffaroni and his wife Giulia Sormani own a workshop which furnishes the Scala Theatre and other theatres all over Italy. In 1864 Giulia Sormani inherits her husband’s business. Afterwards she gets married to the sculptor Edoardo Rancati, teacher in Fine Arts Brera Accademy in Milan. Then Giulia’s brothers, Angelo and Giuseppe begin to work in the firm too. So E. Rancati & C. is established. In 1875 Angelo Sormani opens the branch in Rome. In 1892 E. Rancati & C. is awarded at the Chicago World Exhibition. The firm grows and begins to have international success. In 1912 Romolo Sormani, son of Angelo, gets acquainted and collaborates with the greatest theatre and arts masters: Puccini, Mascagni, Toscanini, Savinio, De Chirico, Prampolini, Sironi and his brotherly friend Nicola Benois. During the thirties and the fourties the E. Rancati & C. begin a long collaboration for the cinema; Romolo supplies furnitures for the most important movies productions. After the war Romolo Sormani’s sons Angelo, Anna and Giuseppe, greatly develope the business, having the name “Rancati” known trough the most important theatre and cinematographic productions. Now Cristina and Romolo Sormani (the fourth generation) are the owners of E.Rancati s.r.l. based in Milan and Rome.
Hats, armour and breastplates for cinema and theatre Pieroni is the biggest Italian handcraft company, world renowned in the production and renting of hats, armour and breastplates for cinema and theatre. The business started during the 1940’s and fastly grew thanks to collaborations with the historical Roman theatre and film costume makers and close affiliations with respected costume designers. The precious and well-respected work of the Pieroni company has hugely contributed to the growth of Cinecittà. With their first big international productions, Pieroni became internationally recognized and has since received many awards for their achievements, including Oscars. The relationship between Hollywood and Pieroni has become, in the course of the years, consistently more solid and productive, such that in almost every single film with historical costumes, Italian or international, you’ll find a hat or a piece of armour made by Pieroni. Nowadays, Pieroni is the landmark for the motion-picture handmade quality products. The products are always made by hand, after deep historical research and faithful reconstruction. Therein is the secret of not having any rivals in the business in terms of quality, customization, personalization and sustainability. Only the hands, patience and attention or top-notch expert designers can guarantee an excellent result. The raw materials used are mostly made in Italy and always selected of first choice and top quality. Pieroni hats or armour play a vital role in adding to the authenticity of any film.
www.erancati.com
www.laboratoriopieroni.it
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partners
Rocchetti e Rocchetti
Sartoria Annamode
In 1874, Giuseppe Rocchetti establishes Parrucche Rocchetti in Largo del Pozzo delle Cornacchie, in Rome. Work is mostly for theatre. In the early 1900s, his son Manlio, after perfecting his wig-making craftsmanship in Paris, becomes the head designer and make-up artist for Rome’s Regio Teatro dell’Opera, moving the studio to Via Monte della Farina, where he will work for the rest of his life. During WWII, Mrs. Vittoria (Manlio’s widow) takes on the helm of the company, aided by her workers, that are soon to become among the most successful and well-known wig-makers and hair stylists in the history of Italian cinema. In 1948, management of the studio is taken up by Silvano Rocchetti, Manlio’s third son; who with thanks to the untiring assistance of wife Fernanda, sister-in-law Luigina Centi, and sister Fiamma, give new impetus to the company. At this time, Goffredo, (make-up) and Mara, (hair) work continuously on films that attain world success. In 1970, an encounter with Rino Carboni gives birth to Rocchetti & Carboni, including an acquisition of the Maggi and Palombi wig-labs, making the company one of the industry’s most important contributors on an international level. In 1996, following Mr. Carboni’s death, the wig-lab returns to being managed solely by the Rocchetti family. In 2002, a larger headquarters is established in Via Gregorio VII Rome. It now features one of the largest collections of wigs in the entire world. Today with the help of brother Luigi, Manlio Rocchetti is at the helm of Rocchetti Parrucche, bringing with him over 40 years of experience on productions around the world. Rocchetti Parrucche has always enjoyed a close collaboration with great directors, hair stylists, costume designers and artists for over 130 years receiving a great number of awards and nominations, including an Academy Award (Oscar), an Emmy, Una Vita per il Cinema, La Chioma di Berenice, Nastro d’Argento and BAFTA. Manlio Rocchetti, Academy Award Winner is an alumni of the Accademia.
The atelier of the Allegri sisters was born in 1946 in an Italy emerging from the social, economic and human catastrophe of the second world war , thanks to the initiative of Anna Allegri, a twenty-five year old lady of the Florentine upper-class whose creations conquered first of all the Roman aristocracy followed by costume designers involved in the Neorealism of Italian cinema. With the arrival of younger sister Teresa in the early 1950’s Annamode became a centre of style and ideas combining two activities, one satisfying the ever-increasing demands for elegance from upper-class ladies caught up in the Italian economic boom, the other ready to respond to the ever more frequent demands for costumes on the part of Cinecittà. Evening dresses and costumes for the cinema were created in two separate but connecting workshops which inevitably passed ideas and solutions from one to the other. Among those frequenting the atelier were the greatest followers of the Sensani costume heritage, from Maria De Matteis to Piero Tosi who commissioned the costumes from Annamode for many of his films, including those worn by Maria Schell in “Le Notti Bianche” (1957) directed by Luchino Visconti, another habitué of the atelier. The first fashion show was organized at the beginning of the 60’s without professional mannequins. Models were shown by clients of the atelier, some of whom were actresses who had already been dressed for films or who were from the world of cinema, such as Giovanna Valeri, daughter of the poet Diego Valeri and wife as well as collaborator of Giuseppe De Santis, Anna Sallusti, wife of Massimo Sallusti, Goga Girotti, wife of Massimo Girotti, Flora Carabella, wife of Marcello Mastroianni, Lyla Rocco and many other actresses. In both the fashion and costume workshops the Allegri sisters experimented continually in the use of new materials. Even plastic was used in creating the capes worn by mannequins in the défilé beside the swimming pool in the Fellinian episode Toby Dammit of the collective film “Tre Passi nel Delirio” (1967), with designs by Tosi. The history of Annamode has followed the evolution of Italian cinema and society, sometimes anticipating tendencies and tastes, interpreting demands and humours, while great actresses took turns in using the fitting rooms, from Sophia Loren to Gina Lollobrigida, from Ingrid Bergman to Claudia Cardinale, from Charlotte Rampling to Liza Minnelli, a never-.ending list leading to stars of our time such as Maria Grazia Cucinotta and Scarlett Johansson, while one generation followed another both inside and outside the atelier. Annamode continues to be inspired by the lessons learned from the late lamented Anna and from the still spritely Teresa, lessons based on loving and careful attention to every detail and on the capacity to meet the demands of costume designers at a moment in time when resources available to period costume productions have profoundly changed.
www.rocchetti-rocchetti.com
www.annamodecostumes.com
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partners
Sartoria Tirelli
Sartoria Farani In early 50’s a young Piero Farani arrives in Rome full of enthusiasm and willing to work in the film industry after some lucky radio experiences for RAI in Turin. The years are charachteruzed by the economic boom and Italian Cinema is living a period never replicated afterwards up to nowadays. Many of the young cinema makers and workers of the time will become Paolo Poli, Giancarlo Cobelli, Franco Zeffirelli, Gianmaria Volontè and many many others. Piero from being a simple assistant at the Annamode Costume Shop, becomes Head of the tailoring department and after some years decide to open his own business. Supported by the many contracts of costume designer Danilo Donati and followed by the great pattern cutter Benito, in 1962 opens his own Shop. The years to come are characterized by the colloaborations of Danilo Donati for Pasolini, Federico Fellini (Academy Award winner Casanova 1976), Zeffirelli (Academy Award winner for Romeo and Juliet 1968). www.farani.it
The costumier Tirelli was established in 1964 and is responsible for the creation of costumes for films and well-known productions, including almost all of Luchino Visconti’s films (designed by Piero Tosi). It collaborated on the creation of costumes for Federico Fellini’s Casanova, with costume designer Danilo Donati winning an Academy Award for Best Costume Design in 1973/74; Chariots of Fire, with costume designer Milena Canonero winning an Academy Award in 1982; Milos Forman’s Amadeus, for which designer Teodor Pistek won an Academy Award in 1985; Cyrano de Bergerac, for which costume designer Franca Squarciapino won an Academy Award in 1991; the Age of Innocence, with costume designer Gabriella Pescucci winning an Academy Award in 1994 and Marie Antoinette, for which costume designer Milena Canonero won an Academy Award in 2007. In addition to the Academy Awards, it has also received numerous Oscar nominations and a great many other awards (both in Italy and abroad) have been won by costume designers for whom Tirelli provided a creative contribution. Following the death of its founder, Umberto Tirelli, its prestigious work has been carried on by friends and heirs with Dino Trappetti at the helm. Tirelli Costumi has created costumes for The English Patient, with costume designer Ann Roth winning an Academy Award in 1997; The Legend of 1900, for which costume designer Maurizio Millenotti won a “David di Donatello” as he did for The Passion of Christ and N.: Napoleon & Me. Costume design awards have also gone to Ann Roth for Cold Mountain, Gabriella Pescucci for The Brothers Grimm and Francesca Sartori for The Profession of Arms, as well as the costumes designed for The Golden Door by Mariano Tufano, Silk by Carlo Poggioli, Primo Carnera and Barbarossa by Massimo Cantini Parrini, The Viceroys (I Viceré) and The Wolfman by Milena Canonero. It has also collaborated on the films Titanic, for which costume designer Deborah Scott won an Academy Award in 1998; Elizabeth, with costume designer Alex Byrne; Baz Luhrman’s Moulin Rouge; Charlie and the Chocolate Factory with Gabriella Pescucci; The Duchess, with costumes by Michael O’Connor, who won an Academy Award in 2009; Robin Hood, with costumes by Janty Yates and Alice in Wonderland, with costumes by Coleen Atwood. Of equal significance are the theatrical pieces created by up-andcoming talents such as Massimo Gasparon and Stefano Poda. www.tirelli-costumi.com
MASTER COURSE - THE ART AND CRAFT OF THE COSTUME DESIGNER
partners
Jewelhouse Jewel House was founded in 2009 after having acquired the important and famous Lembo Company, founded in 1965. Jewel House has a large selection of costume jewellry for film, theatre and opera. A collection of more than 10.000 pieces that include the jewelry used for Medea (Pasolini, designed by Academy Award Winner Piero Tosi), Kind Oedipus (Pasolini, designed by Academy Award Winner Danilo Donati), Death in Venice (Luchino Visconti, designed by Academy Award Winner Piero Tosi) and many many others. www.jewelhouse.it
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