[Music]
today I want to tell you how one is born
costume and streets that can be
travel to make it happen
a show is an artistic association
between director set designer costume giver
lights and music
all these gears must
work in a harmonious way
because a show is a dream
made at the beginning of each production
establishes a very close relationship with the
costume designer together with his
sketches will express his idea and together
we will leave for a very long one
sampling is a very tiring job
because sampling means a
research the fabrics for the best materials
to realize the costumes often do not
find in the fabrics with the right colors and
not even the subjects
So what will you do will be some tests
color of the processing tests for
get as close to the subject to me
I want to give an example so maybe I’ll be
clearer for women jealous of Giorgio
sangati with the costumes of gianluca sbicca
This was the inspiration of the world
new tiepolo after the inspiration is
arrived the sketch there is this here
see is the sketch the white canvases
are the samples and colored canvases
it’s color proof because we did not have it
the subjects with the right color
once this step has been done
arrive at the costume as you can see there
harmony between everything and for this I want you
read a letter that has been written
in 1162 by giorgio strehler founder
of the peak of the small theater of Luciano
damiani set designer and costume designer who has
I often worked with him on this letter
he tells me that the function of the costume is
fundamental for the construction of the
character is born of a series of
chain reactions between costume and actor
between a gesture overwhelmed by people who are sorry
but the vate emotion is killing trustworthy
Thank you thank you, it comes from a series of
chain reactions between actor costumes between
gesture and detail of the costume one
too wide sleeve forced too much
long too short can take
the actor is a change of attitude
can modify the stage projection of the
character and then prepare to
support with me
once again the accusation of being a
perfectionist to move a button of
a few millimeters three times for
madness to consider one maniacally
scrap of cloth centimeters
to fight for a form to change it to
reason seen
two days later ours
perfecting our perfectionism
has a name and the spirit of research that
our Galilean has taught us for
get what you are writing
what explaining and you will do that pat
mind Damiani was a set designer to see
a costume designer and for him to get to the
costume was a passage I have done
see how they were made
finished costumes but before you get to
this
and it is what is written can also
in the letter you need one
cutting machine that is an element
fundamental that helps us to achieve i
costumes especially see a costume
which has one of a sketch and plate instead
a costume a form and then from
cutting machine brings out extra from the
design the costume see a shape and one
once we have learned once that
we have the fabrics we have models but
a formidable team of seamstresses happens
assemblies costumes assemblies costumes that
they are tested on the actor on the actor
because you must know something
as this letter writes, a costume
for an actor it’s like his second
skin and to propose to you this vi
I can say that for me it really was
lucky been truly immense
luck to become part of the small
Theater of Milan at a young age e
especially to be able to participate in the
be able to take part in the tests with
strehler was will be in the theater was emotion
it was magic, it came to us practically
taught because the character was supposed to
do it that way because the glosses do not
be so because the scenes the movements
it was a school it was a school of life is
a school of theater and above all all
they took part in the tests by the employee
to the stage technician as you have
saw the jump I’m wrong is not
just my job to talk in
public thanks too good mustache
look I had a huge fortune of
work with Luciano Damiani and do
many shows and practically in him
he taught us and passed on to us
matter the value of matter
he is truly the man he has managed to
let the matter fly the most
simple spectacular that could be
do what you see is ariel in the
storm race is narrated with this
show in the storm and orders
in the famous Tempesti george
strehler
it is said that the public like you in
hall at the beginning of the show now
the seasickness because there were
light impalpable paintings painted 11 by
Luciano Damiani who moved with gods
mini with lights and musicians in
hall and managed to recreate
perfectly the same storm
matter the same silk was used
also for the costume of arias and I want
show this thing a moment not
part defer the video does not start
[Music]
[Music]
you see you have seen so many
lightness and behind with lightness
I can assure you that there is trouble
study and hours and hours of research this
dress concealed a corset depends
where a plaque was applied
metal with a ring that ring
a rope was sung for eleven
meters dear rava giulia lazzarini and there was
a machinist who moved with wisdom
and with lightness Giulia and these vi
I can say that it was really harmony
in unison between technical costume actor
scenes and lights
everything was wonderful in the post
if you have the opportunity to go and see
the storm the video watch it and you can
really understand these words this
flight has been used so many
years later by giorgio strehler also
for the faust and the fabric with which it is
this was done this
show and more
even today it is called a storm veil
if you go from any supplier it is
called the storm veil you know it is
the veil of the strehler storm for
another great show always of
giorgio strehler and luciano damiani
we have worked in immense rooms
this is me
twenty years of the front three and these
rooms were covered
of figures and they were all in 1 1 scale
and they were way they were maniacally
even the only era was detailed
designed and was handmade instead for
this character who were the fishermen
the balconies you see were made in
wool felt used today
in industrial buildings they were spread
with a gray paste that still today that
today again
no not yet married today that came
used in the past to cover
charge the telephone cables of the old woman
telephone company of sip
in the end the master damiani gave some
degreased color using the
paint for body shops
today I can assure you that everything
this would be strictly outside the law
but at that time it was possible to do it
art for the first show I have
served as the chief dressmaker small theater is
was the holiday trilogy
with the co with the direction of servillo tones
and with the costumes of ortensia de francesco
to realize these seafarers
acer of the three protagonists there are
wanted the days and days of research or
we did not find the right matter or not
we found the right fabric or not
we found the right gloss we knew
as you can see in the picture that was
illuminated by a light from August light
desperate taken from despair there is
came the brilliant idea why not
call a dear friend of the child
theater
we called carlo bergère who has me
donated the right fabric that makes you
say yes it is she and above all that she has me
saved made me stay
in the budget because the important thing
today as today it is also for the theater for
the shows stop in the budget
this here is the third is the third marian
instead for we are there are multiple
ways to achieve lightness for
franca squarciapino oscar for the cinema
lightness is a research thing
continuous overlap of the
subject of color sample club
of embroideries of things in his repertoire
everything is light is often also in need of repair
pages to do to achieve these
morals
we have made an infinity of
sampling because working with her is
light because you can not impose the
time even if I as a seamstress I have
need to have the costumes cut and each one
so maybe I say frank we decide from e
because it is with her instead
you must have patience
time stops but you know how you see
in this photo that what will be in
scene will be light it will be amazing instead
for this show here for the saint
giovanna dei macelli with the direction of
luca ronconi and with the gianluca costumes
sbicca and the director gave us how
inspiration gave us this and
the American norman extractor
rockwell the show spoke of the
big crisis of 29 in america and the
the director’s directions were then of
get as close as possible to yours
drawings
but after days and days of painting
while meters of cloth to reach the
his drawings
we did not get it wrong we did not
it was the right way
and then in those cases that makes the changes
road changes road and what we have
championship of the soft fabrics of the
Cashmere fabrics and so we did
all the poor of the holy woman e
not only in armani cashmere
many years before it had already happened with
strehler and with another icon with sel e
his costume designer luisa spinatelli se
you want to make the poor remains there silk and
then also in that case of all the
shirts of the fans of the common people of the
out of mail made of noble fabrics silk
to dress poor in ten is this here
in fact it is the nobles and they are the poor
of santa giovanna cases instead for the
family addams of antonio marras that is
you know a stylist who is a
artist and who also has a costume designer there
he had costumes made using them
most unimaginable vinyl materials
classic incrustations lace
but above all he made us use
a tide of swarovski attacked
one by one it was a crazy job
we will have attacked more than 10,000
clearly it is not a joke and if there
I will really see more attacked than
10,000 1 1 and it was a crazy job
beautiful but maybe only crazy
how we could have done this to
countries go to the processing you see
all those verbs there are all swarovski
this is also this and the face of
gianluca the assistant of marras that me
asks for mercy
enough because I’m behind it I say no
move a little higher but maybe a little more
down maybe it’s better than there and asks me
really city now requires up
now we have talked about costumes
now I want to talk about another
one thing at the beginning I told you there
I said how important it is that it
show there is harmony
because a show is a chain
perfect because a show is a dream
realized
and then this show then
it represents harmony in my opinion
in unison and his sea of bogut
with the costumes of accepted sony
Look, there are no words
and nice you understood that for one
Theatrical tailoring is matter
fundamental and to make it unique and
sublime
we need to experiment we have
need to work to look is a
difficult path is a person course
along that it gives you so much satisfaction you
he also asks for a lot of sacrifice in return
it’s just a job you can do if you have
passion
otherwise it is better to let it go and I can
tell you something else
the most beautiful emotion for me and when you
learn it reopens everything works it is
perfect and you know you’ve made one
dream now come back here behind the scenes
thank you
thank you
roberta
sorry but the emotion really does
bad jokes, however, it is all said col
heart
thanks a lot roberta mangano big
attention flies away and flies away
today I want to tell you how one is born
costume and streets that can be
travel to make it happen
a show is an artistic association
between director set designer costume giver
lights and music
all these gears must
work in a harmonious way
because a show is a dream
made at the beginning of each production
establishes a very close relationship with the
costume designer together with his
sketches will express his idea and together
we will leave for a very long one
sampling is a very tiring job
because sampling means a
research the fabrics for the best materials
to realize the costumes often do not
find in the fabrics with the right colors and
not even the subjects
So what will you do will be some tests
color of the processing tests for
get as close to the subject to me
I want to give an example so maybe I’ll be
clearer for women jealous of Giorgio
sangati with the costumes of gianluca sbicca
This was the inspiration of the world
new tiepolo after the inspiration is
arrived the sketch there is this here
see is the sketch the white canvases
are the samples and colored canvases
it’s color proof because we did not have it
the subjects with the right color
once this step has been done
arrive at the costume as you can see there
harmony between everything and for this I want you
read a letter that has been written
in 1162 by giorgio strehler founder
of the peak of the small theater of Luciano
damiani set designer and costume designer who has
I often worked with him on this letter
he tells me that the function of the costume is
fundamental for the construction of the
character is born of a series of
chain reactions between costume and actor
between a gesture overwhelmed by people who are sorry
but the vate emotion is killing trustworthy
Thank you thank you, it comes from a series of
chain reactions between actor costumes between
gesture and detail of the costume one
too wide sleeve forced too much
long too short can take
the actor is a change of attitude
can modify the stage projection of the
character and then prepare to
support with me
once again the accusation of being a
perfectionist to move a button of
a few millimeters three times for
madness to consider one maniacally
scrap of cloth centimeters
to fight for a form to change it to
reason seen
two days later ours
perfecting our perfectionism
has a name and the spirit of research that
our Galilean has taught us for
get what you are writing
what explaining and you will do that pat
mind Damiani was a set designer to see
a costume designer and for him to get to the
costume was a passage I have done
see how they were made
finished costumes but before you get to
this
and it is what is written can also
in the letter you need one
cutting machine that is an element
fundamental that helps us to achieve i
costumes especially see a costume
which has one of a sketch and plate instead
a costume a form and then from
cutting machine brings out extra from the
design the costume see a shape and one
once we have learned once that
we have the fabrics we have models but
a formidable team of seamstresses happens
assemblies costumes assemblies costumes that
they are tested on the actor on the actor
because you must know something
as this letter writes, a costume
for an actor it’s like his second
skin and to propose to you this vi
I can say that for me it really was
lucky been truly immense
luck to become part of the small
Theater of Milan at a young age e
especially to be able to participate in the
be able to take part in the tests with
strehler was will be in the theater was emotion
it was magic, it came to us practically
taught because the character was supposed to
do it that way because the glosses do not
be so because the scenes the movements
it was a school it was a school of life is
a school of theater and above all all
they took part in the tests by the employee
to the stage technician as you have
saw the jump I’m wrong is not
just my job to talk in
public thanks too good mustache
look I had a huge fortune of
work with Luciano Damiani and do
many shows and practically in him
he taught us and passed on to us
matter the value of matter
he is truly the man he has managed to
let the matter fly the most
simple spectacular that could be
do what you see is ariel in the
storm race is narrated with this
show in the storm and orders
in the famous Tempesti george
strehler
it is said that the public like you in
hall at the beginning of the show now
the seasickness because there were
light impalpable paintings painted 11 by
Luciano Damiani who moved with gods
mini with lights and musicians in
hall and managed to recreate
perfectly the same storm
matter the same silk was used
also for the costume of arias and I want
show this thing a moment not
part defer the video does not start
[Music]
[Music]
you see you have seen so many
lightness and behind with lightness
I can assure you that there is trouble
study and hours and hours of research this
dress concealed a corset depends
where a plaque was applied
metal with a ring that ring
a rope was sung for eleven
meters dear rava giulia lazzarini and there was
a machinist who moved with wisdom
and with lightness Giulia and these vi
I can say that it was really harmony
in unison between technical costume actor
scenes and lights
everything was wonderful in the post
if you have the opportunity to go and see
the storm the video watch it and you can
really understand these words this
flight has been used so many
years later by giorgio strehler also
for the faust and the fabric with which it is
this was done this
show and more
even today it is called a storm veil
if you go from any supplier it is
called the storm veil you know it is
the veil of the strehler storm for
another great show always of
giorgio strehler and luciano damiani
we have worked in immense rooms
this is me
twenty years of the front three and these
rooms were covered
of figures and they were all in 1 1 scale
and they were way they were maniacally
even the only era was detailed
designed and was handmade instead for
this character who were the fishermen
the balconies you see were made in
wool felt used today
in industrial buildings they were spread
with a gray paste that still today that
today again
no not yet married today that came
used in the past to cover
charge the telephone cables of the old woman
telephone company of sip
in the end the master damiani gave some
degreased color using the
paint for body shops
today I can assure you that everything
this would be strictly outside the law
but at that time it was possible to do it
art for the first show I have
served as the chief dressmaker small theater is
was the holiday trilogy
with the co with the direction of servillo tones
and with the costumes of ortensia de francesco
to realize these seafarers
acer of the three protagonists there are
wanted the days and days of research or
we did not find the right matter or not
we found the right fabric or not
we found the right gloss we knew
as you can see in the picture that was
illuminated by a light from August light
desperate taken from despair there is
came the brilliant idea why not
call a dear friend of the child
theater
we called carlo bergère who has me
donated the right fabric that makes you
say yes it is she and above all that she has me
saved made me stay
in the budget because the important thing
today as today it is also for the theater for
the shows stop in the budget
this here is the third is the third marian
instead for we are there are multiple
ways to achieve lightness for
franca squarciapino oscar for the cinema
lightness is a research thing
continuous overlap of the
subject of color sample club
of embroideries of things in his repertoire
everything is light is often also in need of repair
pages to do to achieve these
morals
we have made an infinity of
sampling because working with her is
light because you can not impose the
time even if I as a seamstress I have
need to have the costumes cut and each one
so maybe I say frank we decide from e
because it is with her instead
you must have patience
time stops but you know how you see
in this photo that what will be in
scene will be light it will be amazing instead
for this show here for the saint
giovanna dei macelli with the direction of
luca ronconi and with the gianluca costumes
sbicca and the director gave us how
inspiration gave us this and
the American norman extractor
rockwell the show spoke of the
big crisis of 29 in america and the
the director’s directions were then of
get as close as possible to yours
drawings
but after days and days of painting
while meters of cloth to reach the
his drawings
we did not get it wrong we did not
it was the right way
and then in those cases that makes the changes
road changes road and what we have
championship of the soft fabrics of the
Cashmere fabrics and so we did
all the poor of the holy woman e
not only in armani cashmere
many years before it had already happened with
strehler and with another icon with sel e
his costume designer luisa spinatelli se
you want to make the poor remains there silk and
then also in that case of all the
shirts of the fans of the common people of the
out of mail made of noble fabrics silk
to dress poor in ten is this here
in fact it is the nobles and they are the poor
of santa giovanna cases instead for the
family addams of antonio marras that is
you know a stylist who is a
artist and who also has a costume designer there
he had costumes made using them
most unimaginable vinyl materials
classic incrustations lace
but above all he made us use
a tide of swarovski attacked
one by one it was a crazy job
we will have attacked more than 10,000
clearly it is not a joke and if there
I will really see more attacked than
10,000 1 1 and it was a crazy job
beautiful but maybe only crazy
how we could have done this to
countries go to the processing you see
all those verbs there are all swarovski
this is also this and the face of
gianluca the assistant of marras that me
asks for mercy
enough because I’m behind it I say no
move a little higher but maybe a little more
down maybe it’s better than there and asks me
really city now requires up
now we have talked about costumes
now I want to talk about another
one thing at the beginning I told you there
I said how important it is that it
show there is harmony
because a show is a chain
perfect because a show is a dream
realized
and then this show then
it represents harmony in my opinion
in unison and his sea of bogut
with the costumes of accepted sony
Look, there are no words
and nice you understood that for one
Theatrical tailoring is matter
fundamental and to make it unique and
sublime
we need to experiment we have
need to work to look is a
difficult path is a person course
along that it gives you so much satisfaction you
he also asks for a lot of sacrifice in return
it’s just a job you can do if you have
passion
otherwise it is better to let it go and I can
tell you something else
the most beautiful emotion for me and when you
learn it reopens everything works it is
perfect and you know you’ve made one
dream now come back here behind the scenes
thank you
thank you
roberta
sorry but the emotion really does
bad jokes, however, it is all said col
heart
thanks a lot roberta mangano big
attention flies away and flies away
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