Thursday, April 17, 2014

louiselux asked: will you write that one scene i want? of will getting himself ready to go and see hannibal for their therapy date. making himself look nice. thank you <3

emungere:

Will was released from Chilton’s care on a Monday. His usual appointment with Hannibal  was, or had been, on Thursdays. Near enough to the end of the week that he had sometimes looked forward to it as if to the weekend. He’d been more likely to find temporary sanctuary in Hannibal’s office than he had on any so-called day of rest. 

On this particular Thursday, he left his house after lunch, got a haircut at the barbershop in Wolf Trap, and stopped outside afterward in the winter sun. Little things kept demanding his attention: the chill of the air, the piercing sparkle of light off grit embedded in the sidewalk, the smell of cooking food that hadn’t come out of an industrial sized can to be slopped onto a plastic tray. 

At some point, he’d find himself back at Hannibal’s table, but that was a problem for another time. 

For now, he got a slice of pizza and drove home to shower and wash away the tiny bits of hair that clung to his skin and, hopefully, some of the singing tension that settled into his spine when he thought about tonight. 

Clean and dry, he shaved down a bare minimum of stubble. To take it all off would be too obviously manipulative, like buying a new aftershave. He’d go without. This was compromise, not capitulation. Hannibal would believe compromise, would believe Will was prepared to meet him halfway. 

He’d let the man at the barber shop press some kind of styling goop on him, and he ran it through his hair. Hannibal would appreciate the attempt, and at least it would keep it out of his eyes. 

His clothes only needed to be clean, presentable, and probably not plaid, which left him with few enough choices to make the decision relatively simple. Faded red shirt, gray pants, and  the new coat and leather gloves he’d bought yesterday. Both were an intentional echo of Hannibal’s style, but obviously inferior, at once subservient and almost offensive. Just as good as you without trying half as hard.

Will looked himself over in the mirror. Everything he wanted to say was there, and Hannibal would see it. Even now, Hannibal was usually the only one who understood what he wanted to say. 

He pressed his hands briefly over his face, arranged his expression into something less telling, and left the house. 

Thursday, April 10, 2014

fashionsfromhistory:

Adam Ant Costume

1981

After starting his career in a punk rock band in the late 1970s, and acting in Derek Jarman’s punk film Jubilee, Ant’s musical and artistic direction changed after hiring Malcolm McLaren in 1980. McLaren’s assistance in redefining their image resulted in the piratical theme that became a hallmark of Adam and the Ants, despite McLaren subsequently persuading the rest of the Ants to leave and form a separate band, Bow Wow Wow. After regrouping with a new backing band, Adam and the Ants became one of the most successful British acts of the early 1980s; their image and style of music was at the forefront of the burgeoning New Romantic movement.

Ant advised in the design of all his own costumes, indebted to historical, military and tribal dress, working with stylists and costumiers. This one is perhaps the most widely known of all, having been used for the publicity photographs and promotional video for the single, Prince Charming, and later on tour. There are two shirts, two pairs of breeches, two wigs and two scarves, not identical but in similar styles, all worn in different combinations on tour. The gold and black striped shirt and the dark silver leather breeches were worn for the publicity photographs and in the video.

V&A

Wednesday, April 9, 2014
dorkmakesart:

*flails* It’s finished! I finished the Murder Tie!  I have to run some test prints and adjust, accordingly, but this should be available in my Red Bubble gallery by the end of the week. 

dorkmakesart:

*flails* It’s finished! I finished the Murder Tie!  I have to run some test prints and adjust, accordingly, but this should be available in my Red Bubble gallery by the end of the week. 

Sunday, April 6, 2014

recycledmoviecostumes:

Science fiction films and television shows have had a long history of reuse over the years with sets, props and costumes. These distinctive helmets and armor have been spotted several times.

First seen in 1997 in Starship Troopers, the pieces were used again in Power Rangers: The Lost Galaxy in 1999. Lastly, they were seen in 2002 in an episode of Firefly called The Train Job, where they appeared to have been painted purple. Their reuse is actually even noted in the DVD commentary of Firefly.   If you look closely, there are points in the episode where you can still see where some of the pieces of armor are still covered in “Bug Blood” from Starship Troopers.

Costume Credit: Ben, Dire-Canusdirus, Fenrah, Formalhall, Rodent, Shrewsbury Lasses, Sylvia

E-mail Submissions: submissions@recycledmoviecostumes.com

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Wednesday, April 2, 2014

"In Bella’s hospital room scene, the set design is far more important than costuming. Bella is shot like the serene corpse of a medieval saint or queen, lying in state or depicted as a marble statue on top of her final resting place. Meanwhile, Hannibal lurks in the shadows at the foot of her bed. Although Jack said in an earlier episode that Bella was trying to avoid their house looking like a hospital room with too many flowers, the colour scheme and potted plants in Bella’s real hospital room bear a startling resemblance to the Crawfords’ home decor.

Dressed in hospital scrubs, Bella edges ever closer to the loss of dignity she feared after her first diagnosis, while Hannibal is back in control once again. As Dr Chilton said last season, sometimes saving a life is as arousing as taking one.”

Costuming and design in NBC’s Hannibal: Bella Crawford

Tuesday, April 1, 2014

Bella’s next outfit highlights the white dress from earlier, for reasons that don’t become apparent until we see her from another angle: white at the front, but black at the back. Black and white are both associated with death, although in this context I think the stark contrast uses white to represent the healthy “front” she shows to the world, with black representing the darkness of lung cancer that hides behind her facade. Either that, or it’s the shadow that will soon catch up with her, and has already overtaken some parts of her body that we don’t notice at first glance.

She is half in the world of the living and half in the world of the dead.

Costuming and design in NBC’s Hannibal: Bella Crawford

The only character in Hannibal who habitually wears black and white is Bella Crawford. In her first appearance in “Coquilles,” she’s wearing a pure white dress to a dinner party with Hannibal and her husband. One potential meaning of these white outfits is that she is already a “ghost” among the more colourful, healthy characters. (By this metric, Hannibal’s vibrant colour palette is the “healthiest” of all, which makes sense. Mads Mikkelsen loves to talk about how rather than being a “dark” character, Hannibal is almost always the happiest person in the show.)  

For obvious reasons, this show is riddled with imagery to do with death and the afterlife. However, while most of the time it’s something related to the viscerality of material death (i.e. the skulls and horns decorating Hannibal’s dinner table, or the crime scenes we see in every episode), Bella is the one character whose appearance uses symbolism associated with the more spiritual side of death: light and shadow, black and white. As someone who is mostly unconnected to the day-to-day events of the FBI and the world of serial killers, she is “pure,” and is also the only character who is poised for a natural death.

Costuming and design in NBC’s Hannibal: Bella Crawford

Monday, March 24, 2014

One thing I found interesting when rewatching these early episodes is that while the show makes an effort to characterise Abigail as Will and Hannibal’s “daughter,” she actually looks way more like Will and Alana's child, both physically and in terms of costuming. With her fair skin, dark hair and scarf/coat outfits, Abigail looks a lot like Alana, while her more outdoorsy outfits firmly put her in Will's camp. Will (an angler) and Garrett Jacob Hobbs (a hunter) both dress pretty similarly when they're not at work, with both wearing warm sweaters and pocketed gilets — a look we see on Abigail herself during flashback scenes, and in her brief appearance in Will's fishing dream in season 2.

"Potage" is really the only episode where Hannibal and Abigail look remotely similar, although Hannibal is approaching the hunter aesthetic from the English country gentleman end of the scale, while Abigail is the daughter of a typical American working-class hunting enthusiast. Still, it means that Hannibal actually changes his own style in a way that fits in with Will and Abigail’s more casual dress sense, which we never really see again for the rest of the series.

Costuming and design in NBC’s Hannibal: Abigail Hobbs.

Sunday, March 23, 2014

As ever, Hannibal’s costume is significant. Taken on its own, Hannibal’s sweater/jacket combination is already relatively unusual for him because it isn’t a true three-piece suit. Along with its complementary colour scheme to Abigail’s outfit, it has a couple of other possible meanings. First, the high-collared look is somewhat reminiscent of the kind of vampiric 18th/19th-century European aristocrat that Hannibal is partly modelled upon as a character. Secondly, the sweater/plaid jacket combination is basically a hunting outfit, which fits perfectly with his current role of stalking Abigail as potential prey.

When they revisit the Hobbs house later in the episode, Hannibal has changed into a brown/red version of his earlier outfit, which immediately gives him that demonic undertone we know and love. After Abigail stabs Nicholas Boyle, we get this brilliant shot of Hannibal’s blood-coloured sweater and brown hunting jacket perfectly complementing the brown interior of the Hobbs house — and the drying blood on Abigail’s hands. Meanwhile Abigail and her blue-green outfit stand out from the background for the first time in the episode.

Costuming and design in NBC’s Hannibal: Abigail Hobbs.

Like the adult characters, Abigail Hobbs has a very specific dress sense and colour palette, which in her case is very “outdoorsy”. Either she’s wearing sensible hunting clothes to spend time in the forest with her father, or she’s dressed in pale green and earth tones, often surrounded by natural imagery of plants and flowers. While Hannibal is a Francis Bacon painting and Will is an Edward Hopper, I think Abigail is a botanical illustration.

Abigail’s hospital room is very serene, with her butterfly-patterned nightdress matching the pale blue-green bed linen, furniture and patterned wallpaper. This delicate floral motif is directly at odds with Freddie Lounds, who shows up wearing a leopard print dress, a red-lined cape and gloves. Freddie looks practically Disney villainesque in her predatory role as Abigail’s unwelcome visitor, and is the one central character in the episode who isn’t wearing an outfit that fits in with Abigail’s colour palette.

Costuming and design in NBC’s Hannibal: Abigail Hobbs.