We went to see the new movie Inglourious Basterds on Saturday. It’s a good thing Mr. Fashion-Incubator keeps up on current events because I would have passed on this movie without a second thought for the duplicate sins of gratuitous profanity and for misspelling both words in the title. My stick in the mud credentials intact, I enjoyed it. That Quentin guy is just weird/quirky enough for me to think he’s funny.
QT fan or no, the costumes in this film were great. I am in love with this suit worn by actress Diane Kruger. Everything about it is great; I really miss yokes on women’s suits and blouses. How come we don’t do that anymore? Have we forgotten how to sew them? There’s no denying it can be tricky to sew a yoked style with a collar like this if the pattern isn’t made just so but it’s not insurmountable. It’s hard to beat the fit of a jacket that has yokes. Thus spake she who made western style suits forever.
The red dress worn by Shosanna, while not typical of the period (red? in war torn Paris?) was interesting from a construction standpoint. If you see the film, tell me, do you think the skirt was unattached except at the back where it met the zipper? Do tell, it seemed to be free flowing in the front. Maybe it was attached with a lining? Do note the close up of the sleeve finish, invisible coil zippers weren’t used at the time. It was a bit disconcerting to see another invisible zip at center back, more egregious in that the zipper pull was off the rack -as it were. Zipper pulls used to be closer to works of art. Speaking of, the vintage zipper at right looks more like a piece of jewelery (courtesy). Amazing.
The piece I liked best in the whole film though, was the blouse worn under the suit. You really can’t see it very well (scene in the vet’s office) but there’s a dart-like cut under the bust with shirring along the cut line. I don’t think this blouse was designed to be midriff skimming as was typical of the period but it is similar to this rendition I found in Erwin’s book (right).
I may make up this blouse as part of my series (pt.2) that I’ve yet to get around to, if I could figure out what to do with the neckline. I’m not fond of the neckline of the film blouse nor of the sketched version I’ve posted. In the case of the film blouse, it would annoy me to have doo-dah wadded up at the base of my neck. Erwin’s design…well, I’ve never been fond of shaped necklines riding up so high because they really need a heavier weight interfacing, maybe even a lightweight hair canvas to keep the edges from flipping or becoming misshapen and crispness like that around my neck would be bothersome. Also, call me crazy but I’ve always felt that high shaped necklines needed to be framed somehow, either as a band or treatment unto themselves but they just look odd at the top of a broad expanse of bodice unless there’s something else going on, like a ribbon or something to set them off.