careful fear and dead devotion

The air is thick with ghosts.

And feed him the foods that crusty dawg (Sheepstealer) brings.

HOUSE OF THE DRAGON Season 3 Episode 4, "Tumbleton"

Alicent turquoise/blue gown with gold embroidery and flower pattern.

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#Design #Mobilier #Sculpture #ArtDesign #2tout2rien

‘ALL FILMS ARE PERSONAL’: AN ORAL HISTORY OF STAR WARS: EPISODE I THE PHANTOM MENACE [x] Queen Amidala’s Throne Room Gown: Iain McCaig: First of all, we were only going to have one costume, and I just kept drawing all these costumes. George finally came up and said, “Well, why don’t we do this. We’ll have her change costumes every time we see her.” And then later, “Oh, my God, I’m making a costume drama!” He was shocked himself to realize that. I remember the only through line I had from the previous films for Padmé was that her mom had that wacky cinnamon-roll hairstyle, which ended up not being so wacky, now that I know it’s from the Hopi Indians, and with a bamboo figure of eight it’s made in a very specific way that they didn’t know when they made the Princess Leia ones, and that’s why it came out looking like cinnamon rolls. I thought, “Okay, well, if this is her mom, maybe her mom’s hair was even crazier.” Right? And that just made a mark on Princess Leia. Of course, I didn’t know that she wouldn’t have remembered her mom. But that was my through line. Every time I would start with Natalie Portman, because I had seen her in The Professional. I counted the years from that to this and realized she was exactly the right age for the queen, and I just kept drawing and drawing and drawing her because I loved her face. George came up to me at one point and said, “Do you know this girl?” And I said, “No, sir, but she’s your queen.” And lo and behold, she was cast shortly after! The one and only time I actually got a casting choice put through. But that face is so strong and so beautiful and so innocent and so powerful, it can support any amount of crazy stuff going on around it. So I would dig through history and different cultures, and I would look for crazy hairstyles that I could jump off of. I think there was a fan one that comes from ancient Egypt, there were all kinds of crazy things. This one, I do remember there was a very powerful upside-down heart shape, and I needed something powerful at the bottom. This design happened right as the idea of “Space Nouveau” took hold. I remember we were searching for that through line for an earlier Star Wars, and I thought, “Well, yeah, it’s handmade, it’s artist-made, so it must be a kind of Space Nouveau.” [Art] Nouveau, as we all know, is inspired by nature and plant forms, and stuff. I used to lie down on the grass at Skywalker Ranch, and draw all the vegetation and come back and turn it into Star Wars costumes. So fresh off of that epiphany, I was doing this costume, and I thought, “Oh, my God, she should have plant forms!” So I put all these seed pods down at the bottom of her costume and colored them up, left them bright for some reason. When George was looking at it, he goes, “Iain, what are those?” You think on your feet, and I went, “Oh, they’re lights, George!” He said, “Oh. Won’t that be kind of heavy, down there at the bottom of the dress?” “Oh, no, they’re very light lights, George!” I quickly called ILM and went, “Help! There are these lights down at the bottom and they’ve gotta be really light and I don’t know how to do this!” Bless their heart, they made one. Trisha Biggar: The throne room [gown] was probably the most complex of the Episode I costumes for the queen. It looks quite simple in terms of shape; in terms of construction it was quite a complex dress to make. It started off being built onto a frame with sort of a canvas undergarment. The whole thing was almost like an upside-down ice cream cone in shape, with lots of panels being reinforced with a thing called crinoline steel, which kept the shape quite rigid. Originally, I was making the dress in velvet. I changed from that and used a red silk. I think it was between 20 and 30 panels, and it took about two months to make. It was quite a long process, because it had to be really precise. There were hanging panels, and the collar — there was a Chinese Imperial feel. The other big influence was Art Nouveau, and you can mix influences. It was a favorite of mine. Now there would be lots of different ways to light it, but then there were less. So it had a great big battery, but you can’t see that, so that was good. [Laughs]

The royal palace of Theed, the capital of Naboo, utilizes a combination of Byzantine exteriors and Baroque/Rococo interiors, informed by the naturalistic style of American architect Frank Lloyd Wright, particularly his design of the Marin County Civic Center with its blue domed and scalloped roofs. The buildings of Naboo were also inspired by the Hagia Sophia Mosque and the Sultan Ahmet Mosque in Instanbul, Turkey. Further inspiration was also drawn from the Palace of Fine Arts in San Francisco, which is built in the neoclassic style with Corinthian columns, domes, and water. (x)

The creatures were designed by Aaron McBride and Pablo Hidalgo came up with their name from the Latin word for fox, and the name of the fox genus, vulpes and vertices (singular: vertex), or the corners of any polyhedron, a shape assimilated with crystals.