Exposure of the most important costume designer from the golden age of Argentine cinema, design dresses for Zully Moreno, Lolita Torres, Susana Gimenez, Tita Merello, Graciela Borges, Mirta Legrand and Libertad Lamarque, among other stars
Organza, Gathas and Crepes, more details on stones and feathers, dress salons at the National Museum of Contemporary Art from this Thursday until the end of August, Horace Lannes shares his show "Elegance and glamor in Argentine cinema."
The legendary director of costumes participate in a hundred national films by shining a large part of those who are now part of our culture.
Distributed by thematically-old Errazuriz Alvear residence some of the most important creations of Lannes are available to watch the dedication and detail of a line of excellence that marked national costume at the cinema since 1953 when dazzled with wit and elegance. With only 20 years he was chosen by Zully Moreno to work in "Women of the Camellias", the delicate ethereal figure stood Zully a stunning black dress with a train that occupies one of the preferred locations within the sample.
Born in the neighborhood of Flores, in conversation with ABCMundial recalls the beginning of his career -I started when I was 20, Zully Moreno makes me create a series of designs: day, evening, night and party. It is going to be filmed another movie and when he comes back he tells me again "already read the script?" When you say that, is that you gave the book to find the argument. With the dream job began a career of over 50 years of success, it can interpret tirelessly industrious in every dress, in every fold on the big screen language-one has to know whether the actress should go down a ladder into a car etc. Pay attention to the details of the scripts and stage directions beyond the dialogues. Continued and demonstrates the importance of knowing a bit of everything in the business - People are confused, are confused with all the current fashion. The current fashion is another thing. The fashion film may be the current fashion clothing a character but have to agree with a book, a psychology and that too according to the directors. There are those who understand Costume and some do not. Luis Cesar Amadeo told me "I talked to Zully, I have no idea." Instead Ernesto Arancibia, who was my first direct who did "Women of the Camellias", he knew the difference between a crepe romen, a Moroccan crepe, I knew why it had been a set designer.
Following the visit, through Madame's hall where Pink predominates and clothes stand out as the one used by Lolita Torres on "Young, widow and rancher (1970)", passing the Ballroom where you can see pieces that were used by Susana Gimenez, Tita Merello and Susana Traverso among other stars. Without dwelling on the Winter Garden where his most recent work shines the costumes for the film "Oh Johnny" (2004) for which he won a Condor silver arrived at the Dining Room which is crowned for the opportunity with a podium it helps to imagine a Graciela Borges strolling road to Cannes screening of the film in guest editing 1959 "La Zafra" with an exclusive Lannes design for the occasion. A Tita Merello in the "Circular Saturdays" (1970) program with a layer of silver monkey hair being in the center of attention and Mirta Legrand on "Saturday night, cinema" (1960), which clarifies - the dress that used Mirta Legrand on "Saturday night, cinema 'was light blue because at that time could not be used due to the brightness white facing the camera. A mistake they put everywhere is "Avoid white". Evita never wore white because there was no color in magazines. They wore blue, yellow. The orange was a nice gray color, like red; in a dramatic scene were going well. You have to know that, need to know texture and photography.
As I referred to the day of the premiere of his first film learned through the recognition of people and means that its work would be his life. For this passion is never so successful this phrase Edmundo Guibourg printing on the lapel of his book "fashion show": A country that remembers its artists, preserving their cultural identity.
traslation: Belén Zapata