If you are a fan of good films, especially those that tell true stories, deliver impeccable costumes and have a representative cast, you are sure to have your eye on The King Womana new film from Sony Pictures, which continues to lead the first place in several theaters around the world since its premiere in September.
the long of Gina Prince-Bythewood tells the extraordinary story of agojiean elite force of female warriors who protected the African Kingdom of Dahomey in the 19th century. The King Woman Follow runtperformed by Oscar winner Viola Davis, responsible for training the next generation of warriors and preparing them for battle against an enemy determined to destroy freedom and everything it stands for and stands for. In this matter, the WHIM tells you the main highlights of the plot when it comes to looks, curiosities and backstage!
For the production’s costumes, which also features Thuso Mbedu, Lashana Lynch, Sheila Atim, Hero Fiennes Tiffin and John Boyega in the cast, costume designer Gersha Phillips was based on African tradition and implemented a mixture of authentic and practical techniques to represent the Agojie.
During her research, she discovered that Agojie warriors in West Africa wore baggy pants during the historical period set in the film. Initially, she designed clothes in this style, but later incorporated envelope skirts, also seen in historical archives. In addition, Phillips had to consider the functionality of the parts – after all, everyone had to fight, and that says a lot about the physical preparation of the cast.
Physical preparation of actresses
In the 19th century, the western world was full of firearms in warfare, but the Agojie still dominated battles in hand-to-hand combat. To prepare for the high-intensity roles and scenes, all the actors underwent strict diets and training, which took around five hours or more every day, and then another three and a half hours of martial arts, to so that they would master the use of swords, punches and the assertive use of elbows. Just take a look at this process:
That said, all the outfits created were necessary to withstand extreme stunts and movement. “Immediately, we [equipe de figurino] we asked them to make the adjustments so that we had an idea of what their movements would be like when they were in the costumes”, said the costume designer to the The Credits.
“One of the things we ended up doing was turning the top of the shorts into spandex shorts. [material muito utilizado no desenvolvimento de uniformes de ginastas artísticas]so that they [o elenco] could fight. That would give them a lot more movement. That really helped a lot. I hope there’s nowhere on camera that we actually see this,” joked Gersha Philips.. “That was our little trick.”
Creation, development and dyeing of fabrics
To buy time and create thousands of costumes, Gersha’s team couldn’t devote time to craft building techniques, but they did buy and produce their fabrics using traditional methods as quickly as possible. In one of the scenes, you can even see a group of women weaving a fabric, as a reference to the handcrafting customs of the time, which are still alive today.. In fact, the beautiful prints on many fabrics in the film were the result of the use of customary African techniques.
Oh, and you know the fabric of the blue skirt? It went through a printing process. “Our skirt fabric was also authentic. It’s called ‘drum printing’. [Ele] it was made by a local producer in The Gambia who printed this. Even though we didn’t use authentic fabric (made from scratch), per se, we used authentic methods as much as we could. So we did a lot of this indigo wax printing method and stuff like that too,” explains the costume designer.
Knowing that the film is based on real events, you must have wondered to what extent the costumes and other elements were faithful to the time, right? Despite advances in technology since the Agojie were at the height of the struggle, Phillips worked to ensure the costume reflected the era. and, therefore, creatively evaluated what would be the viable and accessible methods to make the production pieces.
She and the team tried to make the clothes look handmade, without a lot of visually industrial finishes, you know? That’s why even the cuts and trim of the pieces are a little different and we don’t see very apparent seams. “We also try to hide our sewing as much as possible. When we made the shorts, we had to do blind hems and similar things because they would probably be raw. Since their fabric was so much narrower, you’d likely end up with a more natural hem that you didn’t have to worry about. This is probably the reality of her fabric, of the pieces of the period,” she says. As basic and natural as possible, but still very well crafted and elaborate.
Gersha’s Experience as a Costume Designer in the Movie Star Trek Discovery may seem very far from The King Woman, but the truth is that both projects have a common creative element. None of the characters would have used a sewing machine. For the space saga, Phillips imagined where technology would take us beyond sewing and zippers.
“It’s kind of the inverse of Star Trek, because, with Star Trek, you are also trying to hide all your techniques and your sewing construction because the idea is that things are printed”, he says. “I really don’t know what patterned clothes would look like. I’ve seen a few things, mainly the pieces by Iris van Herpen. Trying to imagine this was something I was doing in Star Trek, and now I was doing a different version of it. Similar but different because you are trying to make it look unbuilt and as simple as possible.”
CH Indicates: According to Sony Pictures, A Mulher Rei is, for the second consecutive week, the number 1 film in Brazil! And, if you haven’t seen this masterpiece yet, our tip is that you be sure to watch! It’s 2 hours and 14 minutes of many emotions. It is worth it every second, every twist, laugh, cry, sigh and shower of applause!