Clothes on Film: Clothes on Film were fortunate enough to be invited to a display of costumes from the latest adaptation of Murder on the Orient Express (2017), plus interview its costume designer Alexandra Byrne. An Oscar winner for Elizabeth: The Golden Age (2008), and well known for her period design work, since 2011 Byrne has become connected to the world of Marvel, her most recent project being Doctor Strange in 2016. Here she chats candidly about recreating the (mainly) glamorous side of the early 1930s and the challenges that faced her and her team.
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I’m in awe of film costume designers after Alexandra Byrne said that the camera picks up every seam and stitch.This might mean that it takes much longer for the work to be created because of the attention to detail that must be paid to the clothes. I wonder if the costume shops for film function any differently than from how a live theatre costume shop operates. Is there a process where the costumes are tested on screen before actors wear them. This also raises the question is there post-filming editing that can fix the colors so they can be washed less or hide the stitches better? It’s cool seeing the research method and how she does mood boards. I am always wondering how different people find research for assignments/find inspiration. Though it's not a new idea to me, I find it interesting how many people prefer making boards while there are others who create books or other people create interests online. Lastly, I see that special fabric was made for some of the costumes and I wonder if there was added thread/fabric to make the costumes stronger to deal with the constant washing and wear.
So, I love Agatha Christie, and Hercule Poirot is up there as one of my favorite fictional character in writing. When I heard that "Murder on the Orient Express" was being made into a commercial film, I admittedly was a bit worried. Book to film translations never exactly go as well as the fans would like...However, I do feel a bit better about the film knowing that at least one aspect of the production design is in good hands. These costumes are incredible and I look forward to seeing them on the screen. The article states:“How many times a person changed depended on the class and where they were from. In my research I found that American and European clothing etiquette is all completely different. Someone like Princess Dragomiroff (Judi Dench) would change several times in a day. She is a woman that has worn corsets all her life – she would dress for breakfast and then lunch and perhaps loosen her corset for a tea gown in the afternoon. This is why she has a maid with her all the time. There was not leisurewear back then either, no tracksuits. An English man for example would do his gardening in his worn out suit – that would be his leisurewear. Actually we used 23 hire houses on this film! Normally I’d use maybe 4 or 5.” And I love how much research was put into each costume.
The discussion about modern bodies was so exciting. I wish there was more of it! That is always a problem in dressing people for period pieces. People are generally larger. When we exercise, we emphasize different things; for example, men have larger shoulders and pectorals now because that is considered attractive. People have different postures which affects bodies and how clothes hang on the body.
I also appreciate how she thinks about the character’s backstory and how that relates to clothes. How wealthy are they? How does their personality speak in their clothing?
And her discussion on cheating things that won’t be seen or noticed or to make the actors more comfortable was really interesting. I liked that she didn’t need to get perfect shoes and blow most of her budget on that. And it makes sense that she might make different costumes that have padding or more movement when the actors have to do something specific like running or falling.
I have loved Agatha Christie since I was probably a little too young to be reading her books, and Murder On the Orient Express has always been one of my favorites of her novels (only behind And Then There Were None). I won't spoil it for anyone who hasn't read it, but the twist is very engaging and unexpected. Recently I saw a stage version of the book which I thought was a very creative adaption, and the set was a series of train cars that moved back and forth across the stage. Like Kelly I was a little nervous when I saw they were making a movie of it but seeing the dedication of this team all those nerves have faded away. The sheer amount of attention to detail put into every costume is staggering, and all of the clothes in this article look beautiful. I can't wait to go tothis movie and to see the world that these artists have created.
Period costumes are often times the most beautiful in my opinion. I really enjoy hearing about designers processes and how they come to their final choices. The part of Alexandra Byrne’s process that really caught my attention was that she talked about how she started with the characters’ backstories and moved to style the costumes after what that character would have thought to wear, as well as what they would have been able to get their hands on. The characters in this movie are more interesting than most because none of them are who they say they are. The mystery aspect makes the costumes more interesting because the designer has the option to add in clues that could hint to who the characters are. Ms. Byrne does a wonderful job of giving enough clues for you to go back after seeing the film and notice all the hints and tidbits, but they are not enough to give anything away while viewing the film for the first time.
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