Four eighteenth-century dresses made from historical paper patterns, corsets and panniers: training for cinema also included cutting and tailoring work in the course which ends today at the Terina Foundation in Lamezia Terme. Fourteen participants resident in Calabria, selected through an announcement, followed 220 free hours dedicated to tailoring and costumes for cinema and audiovisual.
The process, which started on 28 September, was promoted by the ANICA Academy ETS Foundation and the Calabria Film Commission Foundation, with the patronage of ASC – Italian Association of Set Designers, Costume Designers and Decorators.
The final day was attended by Anton Giulio Grande and Giampaolo Calabrese, respectively president and director of the Calabria Film Commission, and Sergio Del Prete, director of ANICA Academy ETS.
From the script to the making of the clothes
The program alternated theory and laboratory. Producer Andrea Stucovitz introduced the functioning of the set and the reading of the script, while the costume designer Isabelle Caillaud addressed the organization and budget of the costume department, historical research and knowledge of fabrics.
In the cutting workshop led by Esther Kowalski, each student made her own corset and pannier. The class, divided into four groups, then created four eighteenth-century dresses. With Sabrina Beretta, the history of costume was explored in depth through painting, aging and dyeing techniques, embroidery and the construction of collections of period visual references.
The masterclass with Nicoletta Taranta
On November 3rd the course hosted Nicoletta Taranta, costume designer of “Criminal Novel”, “The Incredible Story of Rose Island” and “5 is the perfect number”. Welcomed by Anton Giulio Grande, she recounted her journey through stage photographs, drawings and film sequences, illustrating the research behind the creation of the costumes.
During the meeting the students presented the works created in the cutting lessons. Questions and practical exercises, with the contribution of Sabrina Beretta, allowed us to delve deeper into the collaboration between tailoring and costume designer and the dynamics of working on set.