I Could Go On Singing

Costume series ◆ Gone with the Wind

Adele performs at Etihad Stadium on March 18, 2017 in Melbourne, Australia.

❝Behaving like a princess is work. It’s not just about looking beautiful or wearing a crown. It’s more about how you are inside.❞ – Julie Andrews

Concept art for Mary Poppins

Sepia moments, The Wizard of Oz (1939)

Audrey Hepburn by Richard Avedon, 1959

Julie Andrews does her final curtain bows at play Victor Victoria in which she starred … Christopher Plummer surprised her at the end of her performance and joined the cast in singing her favorite song Edelweiss

Belle + Beast → requested by delirious-thoughts-n-gems

"All at once everything looks different, now that I see you."

photographer Walter Sanders

In film, when a character’s face or body is obscured by something - be it a prop or part of a set or costume - it often serves as an immediate, obvious physical allusion to their particular constraints. In Lady Tremaine’s case, she is confined by several things; her grief for her first husband, her ever-decreasing societal standing, her apparent emotional detachment from those surrounding her. These are all examined through various visual metaphors - the veil separates her from her second husband, just as he makes a reference to Cinderella’s mother, and the bars enforce a sense of finality regarding her relationship with Cinderella (effectively, in these last frames, she has been trapped by her own cruelty). The shadow is the most complex; initially, it creates an ominous sense of anonymity, but more than that, it highlights - literally - Lady Tremaine’s affiliation with light and dark and thus with good and evil.