Translation. Region: Russian Federal
Source: Moscow Government – Government of Moscow –
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Cult films and millions of viewers watching TV – Gorky Film Studio, the oldest in Moscow and Russia, is celebrating its 110th anniversary this year. Today, it is one of the most important sites of the Moscow film cluster: filming takes place here, young actors, directors and cameramen are trained, and costumes for movie characters are created here. The latter is the job of the masters of the sewing shop of the costume and props complex. They can bring almost any idea to life. In their hands, rolls of fabric are transformed into clothes of different eras and styles.
A mos.ru correspondent went to the workshops to find out how the costumes of movie characters are designed and created.
From a Russian fairy tale to a flight into space
The costume and props complex is located on the territory of the Gorky Film Studio on Sergei Eisenstein Street (8, building 4). It occupies a four-story building with large windows not far from the main building.
We go inside and go up to the third floor. At the entrance we are met by rows of mannequins in traditional Russian costumes, ball gowns, sheepskin coats and tunics – a real inspiration for tailoring masters. We pass into the workshop with a sign “Cutting”. Elena Gritskevich, the chief cutter of the costume and props complex of the Gorky Film Studio, works at a long table surrounded by sketches and fabrics.
“The production of a film costume is a step-by-step process. Here, in the cutting room, the foundations for future outfits are laid. When the group is preparing to shoot a film, a costume designer is appointed who plans how the characters will look and what they will wear. He comes up with an image, draws sketches and takes photographs, buys fabric and contacts us. Together with him, we discuss the image, the features of the cut and other details, and I get to work. First, I agree with the actor who will be involved in this film about a meeting. We take measurements so that the suit fits well. Based on the measurements, I create patterns – a pattern on craft paper, and then cut it on fabric,” says Elena Gritskevich.
Over almost 30 years of work at the film studio, she created hundreds of patterns for a variety of images. These included outfits for fairy-tale characters, ball gowns for the heroines of screen adaptations of classical works, and spacesuits for movie astronauts.
Elena Gritskevich is currently working on a 19th-century military uniform for a historical film. There are images, sketches and drawings on the table, and a mannequin is wearing a cut-out uniform with bright temporary stitches and French pins. The craftsman always works by hand: she makes marks on the pattern with a piece of tailor’s soap and cuts out the product with large tailor’s scissors. Another indispensable tool is a brush. It can be used to remove any remaining lint from the fabric.
“The main thing in the work of a cutter is not just to design a suit, but to give it the desired look. The fact is that modern fabric is different from that of past centuries. It is lighter, freer and, as a rule, stretches well. To give it shape, we use special linings, glue an additional layer from the inside, use interlining with horsehair. For example, this is how we create military uniforms,” adds Elena Gritskevich.
Once the base is ready, the master invites the actor to a fitting. In the next room, at a large mirror, the final touches are made to the pattern. Then it is transferred to the sewing shop.
Secrets of the sewing workshop
The sewing shop can be easily found by the clatter of sewing machines. We pass into a spacious room where four craftsmen work at tables opposite wide windows. In front of each is a sewing machine with a figured iron body and a rotating flywheel. Here, the pattern is transformed into clothing for the cinema.
All seams are made on industrial machines, and the edges are processed on an overlock. It simultaneously unwinds four spools and intertwines the threads, forming a line similar to a spider web. The result is neat seams. “Another useful machine is a semi-automatic looper. We put the fabric, press the pedal – and it makes a strong loop of threads itself. All we have to do is cut it in the middle so that we can fasten the button,” explains Elena Gritskevich.
Before assembly, the elements of the suit are necessarily subjected to heat treatment: they are ironed so that the material shrinks. This helps the finished product retain its shape and avoid deformation in the future. Irons in the sewing shop are heavy and do not have the functions that modern housewives are accustomed to.
“When creating historical costumes, it is important to preserve the sewing traditions that existed in past centuries. Hidden stitching, sloping shoulders, bends – such details contain historical truth. It helps create a picture on the screen that is close to the original. This way, an attentive viewer will be able to believe in what is happening,” adds the mos.ru interlocutor.
To create an accurate historical costume, the masters of the sewing workshop carefully study the chosen era. To do this, they store old books and magazines. On their pages are black and white images of a variety of outfits. If the information is insufficient, the specialists go to the capital’s museums. And you can also find inspiration in the costume and props complex itself. In the rooms adjacent to the sewing workshop, hundreds of costumes are stored – from fur coats and frock coats to lace dresses.
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Costumes – Legends of Cinema
The Gorky Film Studio also has a permanent exhibition. Costumes from legendary films, including those by the famous director Alexander Rou, are displayed on podiums under the light of lamps.
“In the last century, movie costumes were made from brocade, velvet, cloth, satin and other fabrics. Faux fur was used, and in rare cases, real fur. For example, Marfusha’s costume from Alexander Rowe’s film “Morozko” is trimmed with real fox tails. This decision was made not for beauty, but to keep warm – the filming took place in the winter in the Murmansk region,” says Maria Churkina, a tour guide at the Gorky Film Studio.
She points to a turquoise caftan with large wooden buttons. Inna Churikova played the role of the main character’s stepsister in the cult fairy tale. Here you can also see the clothes of other characters in the film – Ivan’s red caftan and Nastenka’s blue fur coat.
“They also used materials at hand to create costumes for the films. For example, the edge of the costume of Kartaus, the main antagonist from Gennady Vasiliev’s fairy tale “Finist the Bright Falcon” from 1975, is decorated with fangs. They look real, but they are fake. The fangs are made of plastic and covered with white paint,” says the mos.ru interlocutor.
Next to the costume of the villain Kartaus, another unusual outfit from the same fairy tale is presented – a watchman’s chainmail with round metal decorations on the sleeves and chest. They are made from tin cans. If you turn the leftmost circle over, you can see the inscription “Atlantic mackerel” on its inner part.
In glass stands you can see real legends of cinematography – outfits that are more than a hundred years old. For example, the brown dress of Madame de Renal from Sergei Gerasimov’s film “Red and Black” (1976) is noteworthy. The jacquard silk collar that adorns it was created around 1900.
Another old outfit is the ceremonial uniform of a chamberlain from the late 19th – early 20th century. It can be recognized by its large gold embroidery and buttons depicting the double-headed eagle of the Russian Empire. The costume was purchased by the Gorky Film Studio from the owner of an antique collection in 1954 for the filming of the movie “Anna on the Neck” by director Isidor Annensky and was intended for the famous actor Alexander Vertinsky – in the film he played the role of the prince.
You can learn about the history of the costume at thematic excursion on the film studio. Participants will also be told about the genres of cinematography and the technology used to shoot Soviet films. The history of costume will also be discussed during the excursion and master class “The Kingdom of Fairytale Costumes”.
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