as many of you know has just finished the fourth season of Game of Throne! Honestly I've never seen but most of my friends yes so I decided to find out a little .... First I found a wonderful photo gallery of costumes and even there only an interesting interview with Michele Clapton costume designer of the highly acclaimed TV series! Enjoy it! ( The interview will be posted tonight or tomorrow :) )
XOXO
There
is a type of pleasure I feel that I can’t quite define. I could do so,
taking a cue from Ben Schott’s Schottenfreude: German Words for the
Human Condition, and make up a word that would mean, more or less, "the
pleasure of observing an almost manic obsession for details and beauty
for beauty's sake". I’m referring to the kind of fixation that led Steve
Jobs to drive the engineers working on the first Macintosh crazy, by
uttering phrases like “the circuit board is ugly”. He justified it by
saying that "when you're a carpenter making a beautiful chest of
drawers, you're not going to use a piece of plywood on the back, even
though it faces the wall and nobody will ever see it. You'll know it's
there, so you're going to use a beautiful piece of wood on the back. For
you to sleep well at night, the aesthetic, the quality, has to be
carried all the way through." - See more at:
http://www.vogue.it/en/people-are-talking-about/vogue-arts/2014/06/game-of-thrones-costumes#ad-image
There
is a type of pleasure I feel that I can’t quite define. I could do so,
taking a cue from Ben Schott’s Schottenfreude: German Words for the
Human Condition, and make up a word that would mean, more or less, "the
pleasure of observing an almost manic obsession for details and beauty
for beauty's sake". I’m referring to the kind of fixation that led Steve
Jobs to drive the engineers working on the first Macintosh crazy, by
uttering phrases like “the circuit board is ugly”. He justified it by
saying that "when you're a carpenter making a beautiful chest of
drawers, you're not going to use a piece of plywood on the back, even
though it faces the wall and nobody will ever see it. You'll know it's
there, so you're going to use a beautiful piece of wood on the back. For
you to sleep well at night, the aesthetic, the quality, has to be
carried all the way through." - See more at:
http://www.vogue.it/en/people-are-talking-about/vogue-arts/2014/06/game-of-thrones-costumes#ad-image
There
is a type of pleasure I feel that I can’t quite define. I could do so,
taking a cue from Ben Schott’s Schottenfreude: German Words for the
Human Condition, and make up a word that would mean, more or less, "the
pleasure of observing an almost manic obsession for details and beauty
for beauty's sake". I’m referring to the kind of fixation that led Steve
Jobs to drive the engineers working on the first Macintosh crazy, by
uttering phrases like “the circuit board is ugly”. He justified it by
saying that "when you're a carpenter making a beautiful chest of
drawers, you're not going to use a piece of plywood on the back, even
though it faces the wall and nobody will ever see it. You'll know it's
there, so you're going to use a beautiful piece of wood on the back. For
you to sleep well at night, the aesthetic, the quality, has to be
carried all the way through." - See more at:
http://www.vogue.it/en/people-are-talking-about/vogue-arts/2014/06/game-of-thrones-costumes#ad-image
There
is a type of pleasure I feel that I can’t quite define. I could do so,
taking a cue from Ben Schott’s Schottenfreude: German Words for the
Human Condition, and make up a word that would mean, more or less, "the
pleasure of observing an almost manic obsession for details and beauty
for beauty's sake". I’m referring to the kind of fixation that led Steve
Jobs to drive the engineers working on the first Macintosh crazy, by
uttering phrases like “the circuit board is ugly”. He justified it by
saying that "when you're a carpenter making a beautiful chest of
drawers, you're not going to use a piece of plywood on the back, even
though it faces the wall and nobody will ever see it. You'll know it's
there, so you're going to use a beautiful piece of wood on the back. For
you to sleep well at night, the aesthetic, the quality, has to be
carried all the way through." - See more at:
http://www.vogue.it/en/people-are-talking-about/vogue-arts/2014/06/game-of-thrones-costumes#ad-image
There
is a type of pleasure I feel that I can’t quite define. I could do so,
taking a cue from Ben Schott’s Schottenfreude: German Words for the
Human Condition, and make up a word that would mean, more or less, "the
pleasure of observing an almost manic obsession for details and beauty
for beauty's sake". I’m referring to the kind of fixation that led Steve
Jobs to drive the engineers working on the first Macintosh crazy, by
uttering phrases like “the circuit board is ugly”. He justified it by
saying that "when you're a carpenter making a beautiful chest of
drawers, you're not going to use a piece of plywood on the back, even
though it faces the wall and nobody will ever see it. You'll know it's
there, so you're going to use a beautiful piece of wood on the back. For
you to sleep well at night, the aesthetic, the quality, has to be
carried all the way through." - See more at:
http://www.vogue.it/en/people-are-talking-about/vogue-arts/2014/06/game-of-thrones-costumes#ad-imag
There
is a type of pleasure I feel that I can’t quite define. I could do so,
taking a cue from Ben Schott’s Schottenfreude: German Words for the
Human Condition, and make up a word that would mean, more or less, "the
pleasure of observing an almost manic obsession for details and beauty
for beauty's sake". I’m referring to the kind of fixation that led Steve
Jobs to drive the engineers working on the first Macintosh crazy, by
uttering phrases like “the circuit board is ugly”. He justified it by
saying that "when you're a carpenter making a beautiful chest of
drawers, you're not going to use a piece of plywood on the back, even
though it faces the wall and nobody will ever see it. You'll know it's
there, so you're going to use a beautiful piece of wood on the back. For
you to sleep well at night, the aesthetic, the quality, has to be
carried all the way through." - See more at:
http://www.vogue.it/en/people-are-talking-about/vogue-arts/2014/06/game-of-thrones-costumes#ad-image
There is a type of pleasure I feel that I can’t quite define. I could do so, taking a cue from Ben Schott’s Schottenfreude: German Words for the Human Condition, and make up a word that would mean, more or less, "the pleasure of observing an almost manic obsession for details and beauty for beauty's sake".
I’m referring to the kind of fixation that led Steve Jobs to drive the
engineers working on the first Macintosh crazy, by uttering phrases like
“the circuit board is ugly”. He justified it by saying that "when
you're a carpenter making a beautiful chest of drawers, you're not going
to use a piece of plywood on the back, even though it faces the wall
and nobody will ever see it. You'll know it's there, so you're going to
use a beautiful piece of wood on the back. For you to sleep well at night, the aesthetic, the quality, has to be carried all the way through."
I experienced this type of undefinable pleasure when I discovered that, in order to develop the Dothraki language created by George R. R. Martin in his books, HBO hired David J. Pearson, "professional language creator" and "alien language and culture consultant". For this fictional nomadic population, Pearson created a congruent grammar and constantly expanding vocabulary, and provided the actors with phonetic guidelines and mp3s in which he had recorded the correct pronunciation of each of their lines. One may wonder why they would go to such trouble, but I’d like to think that the producers of Game of Thrones also want to sleep peacefully at night.
Equally, I experienced the same pleasure when, reading the blog of a Russian prop stylist, I found a post in which she talked, with almost religious devotion, about the incredible details that are featured on the show's costumes: details that required months of work and that, in most cases, might be so specific as to not even be noticed by the viewers. Indeed, finding out that, as the plot unfolds and the series proceeds, Daenerys Targaryen’s garments become increasingly more covered with tiny foldings that mimic the scales of a dragon and that the Stark-Lannister war continues across Sansa’s wedding gown, where embroidered direwolves fight and eventually are beaten by a lion, which stands, menacing, on the head, well, devotion seems like a justifiable feeling.
Each film, each TV series creates a small self-sufficient universe and a level of authenticity and coherence, down to the tiniest detail, becomes vital both for the director, and for the cast, in order to truly become part of that universe. Consequently, just as it was absolutely necessary to have a conlang (Constructed language) to bring the Dothraki to life, all the costumes, from the Unsullied's uniforms to the airy garments worn by the prostitute Shae, needed to display the highest degree of detailing in order to look, and feel, plausible and authentic. Even if few viewers would notice, the director and the cast know that those details are there, and are one of the many components that, added to the rest, contribute to achieve the perfect aesthetic quality.
- See more at: http://www.vogue.it/en/people-are-talking-about/vogue-arts/2014/06/game-of-thrones-costumes#ad-image
I experienced this type of undefinable pleasure when I discovered that, in order to develop the Dothraki language created by George R. R. Martin in his books, HBO hired David J. Pearson, "professional language creator" and "alien language and culture consultant". For this fictional nomadic population, Pearson created a congruent grammar and constantly expanding vocabulary, and provided the actors with phonetic guidelines and mp3s in which he had recorded the correct pronunciation of each of their lines. One may wonder why they would go to such trouble, but I’d like to think that the producers of Game of Thrones also want to sleep peacefully at night.
Equally, I experienced the same pleasure when, reading the blog of a Russian prop stylist, I found a post in which she talked, with almost religious devotion, about the incredible details that are featured on the show's costumes: details that required months of work and that, in most cases, might be so specific as to not even be noticed by the viewers. Indeed, finding out that, as the plot unfolds and the series proceeds, Daenerys Targaryen’s garments become increasingly more covered with tiny foldings that mimic the scales of a dragon and that the Stark-Lannister war continues across Sansa’s wedding gown, where embroidered direwolves fight and eventually are beaten by a lion, which stands, menacing, on the head, well, devotion seems like a justifiable feeling.
Each film, each TV series creates a small self-sufficient universe and a level of authenticity and coherence, down to the tiniest detail, becomes vital both for the director, and for the cast, in order to truly become part of that universe. Consequently, just as it was absolutely necessary to have a conlang (Constructed language) to bring the Dothraki to life, all the costumes, from the Unsullied's uniforms to the airy garments worn by the prostitute Shae, needed to display the highest degree of detailing in order to look, and feel, plausible and authentic. Even if few viewers would notice, the director and the cast know that those details are there, and are one of the many components that, added to the rest, contribute to achieve the perfect aesthetic quality.
- See more at: http://www.vogue.it/en/people-are-talking-about/vogue-arts/2014/06/game-of-thrones-costumes#ad-image
There is a type of pleasure I feel that I can’t quite define. I could do so, taking a cue from Ben Schott’s Schottenfreude: German Words for the Human Condition, and make up a word that would mean, more or less, "the pleasure of observing an almost manic obsession for details and beauty for beauty's sake".
I’m referring to the kind of fixation that led Steve Jobs to drive the
engineers working on the first Macintosh crazy, by uttering phrases like
“the circuit board is ugly”. He justified it by saying that "when
you're a carpenter making a beautiful chest of drawers, you're not going
to use a piece of plywood on the back, even though it faces the wall
and nobody will ever see it. You'll know it's there, so you're going to
use a beautiful piece of wood on the back. For you to sleep well at night, the aesthetic, the quality, has to be carried all the way through."
I experienced this type of undefinable pleasure when I discovered that, in order to develop the Dothraki language created by George R. R. Martin in his books, HBO hired David J. Pearson, "professional language creator" and "alien language and culture consultant". For this fictional nomadic population, Pearson created a congruent grammar and constantly expanding vocabulary, and provided the actors with phonetic guidelines and mp3s in which he had recorded the correct pronunciation of each of their lines. One may wonder why they would go to such trouble, but I’d like to think that the producers of Game of Thrones also want to sleep peacefully at night.
Equally, I experienced the same pleasure when, reading the blog of a Russian prop stylist, I found a post in which she talked, with almost religious devotion, about the incredible details that are featured on the show's costumes: details that required months of work and that, in most cases, might be so specific as to not even be noticed by the viewers. Indeed, finding out that, as the plot unfolds and the series proceeds, Daenerys Targaryen’s garments become increasingly more covered with tiny foldings that mimic the scales of a dragon and that the Stark-Lannister war continues across Sansa’s wedding gown, where embroidered direwolves fight and eventually are beaten by a lion, which stands, menacing, on the head, well, devotion seems like a justifiable feeling.
Each film, each TV series creates a small self-sufficient universe and a level of authenticity and coherence, down to the tiniest detail, becomes vital both for the director, and for the cast, in order to truly become part of that universe. Consequently, just as it was absolutely necessary to have a conlang (Constructed language) to bring the Dothraki to life, all the costumes, from the Unsullied's uniforms to the airy garments worn by the prostitute Shae, needed to display the highest degree of detailing in order to look, and feel, plausible and authentic. Even if few viewers would notice, the director and the cast know that those details are there, and are one of the many components that, added to the rest, contribute to achieve the perfect aesthetic quality.
- See more at: http://www.vogue.it/en/people-are-talking-about/vogue-arts/2014/06/game-of-thrones-costumes#ad-image
I experienced this type of undefinable pleasure when I discovered that, in order to develop the Dothraki language created by George R. R. Martin in his books, HBO hired David J. Pearson, "professional language creator" and "alien language and culture consultant". For this fictional nomadic population, Pearson created a congruent grammar and constantly expanding vocabulary, and provided the actors with phonetic guidelines and mp3s in which he had recorded the correct pronunciation of each of their lines. One may wonder why they would go to such trouble, but I’d like to think that the producers of Game of Thrones also want to sleep peacefully at night.
Equally, I experienced the same pleasure when, reading the blog of a Russian prop stylist, I found a post in which she talked, with almost religious devotion, about the incredible details that are featured on the show's costumes: details that required months of work and that, in most cases, might be so specific as to not even be noticed by the viewers. Indeed, finding out that, as the plot unfolds and the series proceeds, Daenerys Targaryen’s garments become increasingly more covered with tiny foldings that mimic the scales of a dragon and that the Stark-Lannister war continues across Sansa’s wedding gown, where embroidered direwolves fight and eventually are beaten by a lion, which stands, menacing, on the head, well, devotion seems like a justifiable feeling.
Each film, each TV series creates a small self-sufficient universe and a level of authenticity and coherence, down to the tiniest detail, becomes vital both for the director, and for the cast, in order to truly become part of that universe. Consequently, just as it was absolutely necessary to have a conlang (Constructed language) to bring the Dothraki to life, all the costumes, from the Unsullied's uniforms to the airy garments worn by the prostitute Shae, needed to display the highest degree of detailing in order to look, and feel, plausible and authentic. Even if few viewers would notice, the director and the cast know that those details are there, and are one of the many components that, added to the rest, contribute to achieve the perfect aesthetic quality.
- See more at: http://www.vogue.it/en/people-are-talking-about/vogue-arts/2014/06/game-of-thrones-costumes#ad-image
There is a type of pleasure I feel that I can’t quite define. I could do so, taking a cue from Ben Schott’s Schottenfreude: German Words for the Human Condition, and make up a word that would mean, more or less, "the pleasure of observing an almost manic obsession for details and beauty for beauty's sake".
I’m referring to the kind of fixation that led Steve Jobs to drive the
engineers working on the first Macintosh crazy, by uttering phrases like
“the circuit board is ugly”. He justified it by saying that "when
you're a carpenter making a beautiful chest of drawers, you're not going
to use a piece of plywood on the back, even though it faces the wall
and nobody will ever see it. You'll know it's there, so you're going to
use a beautiful piece of wood on the back. For you to sleep well at night, the aesthetic, the quality, has to be carried all the way through."
I experienced this type of undefinable pleasure when I discovered that, in order to develop the Dothraki language created by George R. R. Martin in his books, HBO hired David J. Pearson, "professional language creator" and "alien language and culture consultant". For this fictional nomadic population, Pearson created a congruent grammar and constantly expanding vocabulary, and provided the actors with phonetic guidelines and mp3s in which he had recorded the correct pronunciation of each of their lines. One may wonder why they would go to such trouble, but I’d like to think that the producers of Game of Thrones also want to sleep peacefully at night.
Equally, I experienced the same pleasure when, reading the blog of a Russian prop stylist, I found a post in which she talked, with almost religious devotion, about the incredible details that are featured on the show's costumes: details that required months of work and that, in most cases, might be so specific as to not even be noticed by the viewers. Indeed, finding out that, as the plot unfolds and the series proceeds, Daenerys Targaryen’s garments become increasingly more covered with tiny foldings that mimic the scales of a dragon and that the Stark-Lannister war continues across Sansa’s wedding gown, where embroidered direwolves fight and eventually are beaten by a lion, which stands, menacing, on the head, well, devotion seems like a justifiable feeling.
Each film, each TV series creates a small self-sufficient universe and a level of authenticity and coherence, down to the tiniest detail, becomes vital both for the director, and for the cast, in order to truly become part of that universe. Consequently, just as it was absolutely necessary to have a conlang (Constructed language) to bring the Dothraki to life, all the costumes, from the Unsullied's uniforms to the airy garments worn by the prostitute Shae, needed to display the highest degree of detailing in order to look, and feel, plausible and authentic. Even if few viewers would notice, the director and the cast know that those details are there, and are one of the many components that, added to the rest, contribute to achieve the perfect aesthetic quality.
- See more at: http://www.vogue.it/en/people-are-talking-about/vogue-arts/2014/06/game-of-thrones-costumes#ad-image
I experienced this type of undefinable pleasure when I discovered that, in order to develop the Dothraki language created by George R. R. Martin in his books, HBO hired David J. Pearson, "professional language creator" and "alien language and culture consultant". For this fictional nomadic population, Pearson created a congruent grammar and constantly expanding vocabulary, and provided the actors with phonetic guidelines and mp3s in which he had recorded the correct pronunciation of each of their lines. One may wonder why they would go to such trouble, but I’d like to think that the producers of Game of Thrones also want to sleep peacefully at night.
Equally, I experienced the same pleasure when, reading the blog of a Russian prop stylist, I found a post in which she talked, with almost religious devotion, about the incredible details that are featured on the show's costumes: details that required months of work and that, in most cases, might be so specific as to not even be noticed by the viewers. Indeed, finding out that, as the plot unfolds and the series proceeds, Daenerys Targaryen’s garments become increasingly more covered with tiny foldings that mimic the scales of a dragon and that the Stark-Lannister war continues across Sansa’s wedding gown, where embroidered direwolves fight and eventually are beaten by a lion, which stands, menacing, on the head, well, devotion seems like a justifiable feeling.
Each film, each TV series creates a small self-sufficient universe and a level of authenticity and coherence, down to the tiniest detail, becomes vital both for the director, and for the cast, in order to truly become part of that universe. Consequently, just as it was absolutely necessary to have a conlang (Constructed language) to bring the Dothraki to life, all the costumes, from the Unsullied's uniforms to the airy garments worn by the prostitute Shae, needed to display the highest degree of detailing in order to look, and feel, plausible and authentic. Even if few viewers would notice, the director and the cast know that those details are there, and are one of the many components that, added to the rest, contribute to achieve the perfect aesthetic quality.
- See more at: http://www.vogue.it/en/people-are-talking-about/vogue-arts/2014/06/game-of-thrones-costumes#ad-image
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