tv Doc Film - Marlene Dietrichs Last Dress Deutsche Welle December 31, 2017 7:02am-7:31am CET
thing is the effect we've got to find a way to make the dress light up. all my love and kisses to everyone malina. marlena detest got just about everything she wanted in life except for a dress that would light up even though she so dearly wanted it for a major appearance in las vegas. neil overlooked those. turning a one c. . early. to look. at it. with. her. q.
. is of course the star big stars like marlena were like fixed stars in the night sky a shining light in a dark tunnel one that. i know if you were a small figure moved closer but it was like some kind of movie effect where you couldn't see that she was actually moving and then on stage she said in a breathy voice hey boys are. my limited knew precisely how to seduce a crowd in the one nine hundred fifty s. she began her second career as an entertainer in las vegas for shows in the congo room at the sahara hotel where a smash hit even though she was on stage for just twenty minutes
a night. with marlena everything was perfect every gesture the way she positioned her fingers. she was an ultra glamorous figure. but it was more than that she was radiant like a supernova that suddenly appeared that is her legacy it's like mice in porcelain or ten carat cut diamond this is not the amount. that. some of the more breathtaking costume designs are stored here at the marlena detention archive in berlin.
the church was now in her early fifty's to her hollywood glory days were over but she still long to play to an audience in one nine hundred fifty three the sahara hotel made her an offer she couldn't refuse thirty thousand dollars a week for three weeks. the most lucrative contract in las vegas and more than she had ever earned before and return plan to offer her audience something really special. she'd set new performance standards maximum glamour and minimal costumes. not everyone was happy. with. the headline reads london doesn't want to see this this photo underscores the fact that this costume was intended to convey the impression of unabashed nudity so this piece was
a reaction to her one nine hundred fifty three shows in las vegas before the london show in one thousand nine hundred fifty four the german press was sharply critical . they even referred to her as a grandmother and she didn't like that at all. but . it was a secretive person and disciplined as well she tried to circumvent the process of aging to break the power of aging action by anyone who told us they got in and she wasn't a great singer and she knew it so she used racy customs to enhance her performances as a woman think she was past fifty and was wearing these nearly nude outfits. that was really rather provocative that's who. the designer behind those costumes was john we in the one nine hundred fifty four letter to him i adore you.
want is on the way to work for her but he was under exclusive contract with columbia pictures still she managed to work out a deal with the studio john ruiz designs were. legendary rita hayworth in the one nine hundred forty six film gilda. wore the gallon worn by marilyn monroe at a one nine hundred sixty two birthday celebration for president john f. kennedy. money that the cons milan had very clear ideas and she knew that john we understood her it was pretty amazing as she wasn't easy to work with she knew exactly what she wanted her performance to look like that in school and that's about as well i would have liked to have met my lena but as an artist i think she made life extremely difficult for designers and others who worked with her design that it's a start. but john no we made each fish part of the creative
process and together they designed costumes that made her an icon. to trash would provide the designer with some preliminary concepts like this one for a full length coat made of swan down. then detach proposed a project that was close to her heart a costume that would light up she wrote about it to john the way in great detail. december six nine hundred fifty eight. dearest joan i could have shown you what i want on that old sketch that you made with the white flowers. the pink sketches actually closer to what i want but how can we hide the cable and the light bulbs under the flop petals on the dress. and the guns us to the problem i think the coat will get in the way perhaps we could use an office cat and the
gollum's would reach up to the blouse. as easy. as she wanted something that would glittering glow from top to bottom. as the sets but now that i've read her instructions again it's very hard to imagine especially of. finish. think of the technology back then the electrical cables and the light bulbs and the ball fittings she definitely have to carry around a lot of stuff i mean to go up and that's all stuff. but perhaps today's technology could be used to create such a costume. for lin designer lisa lange is the founder and c.e.o. of electro quit or a company that creates high tech fashion. also organizes the fashion tech awards in berlin.
the age of wearable technology has begun at laying studio her team creates designs that combine contemporary fashion and smart devices. were. laying loves a challenge and as a fan of marlena detach she agreed to create a fashion tech dress fit for the diva. that's out of the us look this was my first jacket with lights we've come away since then the l.e.d.s. were a little bigger then that was three years ago but this jacket was already interactive then it has its own sim card so it's even got its own phone number you can send a text and alter the sequence. the technology has become more sophisticated in distress designed by on your dog on the l e d's are simply sewn into the fabric.
the most. is the effect we've got to find a way to make the dress light up. almost sixty years after melina details came up with the idea lees and started working out a high tech costume that might meet the star specifications. for inspiration they visit the archive of the marlena de trash collection in berlin. if. it is on the district here's a very unusual item from columbia studios we have to handle it quite carefully. melinda had a fairly short torso and very long legs she was about one meter sixty seven tall or
one sixty eight. centimeter. looks different than the manikins. hips a bigger. source yeah yeah this shape is. very strong on the waist the super small. always stood with a bit of a hollow back leaning back a little. some of the fabric was removed so that the length would work. in the back sides very flat and yeah. this is the wind. it's composed of many layers of extremely sheer. fabric. when she worked she used a wind machine machine.
to visit his stuff on and some of the material would be blown against her body and some would be blown behind her back when that happened she looked like a greek goddess. oh yes this was an ally he talks always underline those things that she considered important here is she wanted to know for example whether a tight skirt would cause problems. of course there wasn't any spandex back then maybe double softly soft schools. this is what the souffle weave looks like the work threads don't go all the way through their twisted and secured by a weft insertion. is a bit more flexible than say she fun but you really can't stretch it so the material would tear if she'd bend over too far for a boy or raise an arm too high. to
do this in my performances were quite static she just stand there and sing in close like this she could move much. as you could only do that by hand that's all hand crafted and yes climbing up thinner and thinner to possums as this material became more transparent as it rose upwards on. there was no embroidery over the bust it started from that point downwards to bruise and as far as i was it was supposed to create a new look with no visible seams or anything and since i'm rosita stone you can see that there was embroider recovering the bottom parts of the bust. not the top parts . wish to.
do most because if you are a stage performer you have to make yourself larger than life that's what makes you a star some star. these are swarovski crystals and here are some of the embroidery samples. marlena and the seamstresses used to send lots of samples back and forth marlena would inspect them and suggest improvements. but even feathery costumes like this with thousands of sequence were not enough for dietrich she demanded more elimination for maximum visual impact.
q. four. zero i've got goosebumps. looks like if the lights yeah right this is what it's for. and this time she wanted to work with light and play around with the. light was quite important to her for example the way her face was lit it all makes sense. with. the noise from. the stage lighting planes that we have here in the collection were very sophisticated. they outlined the various a. to be achieved with each song and each costume. with a smile. and all this there is
a list of things to pay particular attention to and things to avoid. and which song went with which lighting concept. that marilyn surrounded herself with the best staff possible so. here are some color filter tests everything was worked out in advance from the very first second of the show to the very last is something that's. so let's say quinn is all that's not true. she was trying to reinvent herself to create a new stage character and so she instinctively pushed the limits she says in effect . i'll just go out there with the lights on for the it's up commandant wouldn't.
just. it's a flower dress and there's a lot of details. that are that we thought about its while designing and decided to go for a combination like that inspiration actually comes a bit from this era but we will make a very modern because i think that's why it's she would want us well and now that we have the technology to make actually what she was us or the mindset is like my lena is our customer you know but what would she want and look would we do in two thousand and seventeen of course is the show piece it's a piece for h. so it has it can go a little bit here a z. and the death of the devil course that also means we're going to use all of the technology which we have in two thousand and seventeen which didn't exist nine hundred fifty eight and she would have wanted it i think she would have had so much fun with the laser cutter nifty printers being in there it will be also covered
it's photo ski and programmed by him and all so the interest will be also interactive. don't worry about the technical side on like the electrical contact with my forte the cable will run to a small plate on the sole of my shoe the contact plate on the stage floor will be powered from the mains. to the very good thirty that for the floor so something big wall and glowing. that way i can turn the lighting on and off at will this will puzzle people and that's good they won't know if they imagine the lights or not. she's going to step onto this kind of metal plate and she's going to short the secrets are going to look closer and this is good glow that's her idea but that's incredibly dangerous this is. because it's already and most of the
literally solution to everything there has to be like. robots because we would like to ensure that we are now working on the base stress that. we will create. and this will be the plaster on i os there are going to work on her not them brighter. this was space company foster home has been producing top quality embroidered material for the world's leading fashion houses since one thousand nine hundred four. these days they also weave conductive thread and l.e.d.s. into the delicate material to produce the same effects that marlaina dietz to achieve.
oh. this is. funny. ok. this is. what you. offer us to think you. yanks thank. you. and. also don't you know. if. you're not sorry to have you know. you can you see how thick no. can save a lot of problems they had back then like huge stress to hold all the flowers they knew them brighter because without it it would look cheap but if there was some dry
there is a quick fix to the heavy and now this we can make kind of a new pretty much transparent dress with embroidery with the embroidery. so there's actually a perfect solution for what she was asking. for in the year fifty eight. inches and it's one. that's for sure and i think it's also because from i think tricity engineering point dorries things to a perfect hives for the cables. and she's spent a lot of time educating us how far to the crystal tuning. it will be easy to run the cable along the fast and. the large flowers present a problem i know but the small ones look it's. because it's really it's really difficult to to understand what kind of style of
flowers she wants because i think it too small to like to see. now it's time to get to work on the details hundreds of flowers will be produced with a three d. printer and a laser cutter and also by hand. we can't use the plastic flowers which come with wiring. some of them not beautiful but the light bulbs in the middle to obvious. and back to the z. book he says she was good at figuring out worst case scenarios as. we as designers always have to consider both the worst and best case scenarios and the. same idea can look great. or off the orchids for. the night to work only if they replace the embroidery and the sparkle but they have to be hidden. we need lots of flowers and lights. a border alone would look like
a christmas tree. i'm sending you flowers from italy. i can get it by terry we need also in other colors . yes. it's true as where you will have flowers with lights. but the lied so you know. if everything is sparkling they'll take a while to work out where the globe is coming from. to. kids right now i'm marking the line well we'll probably put the organza. if we're
going to put more flowers and things on this delicate material we're going to have to reinforce it. because it is the new cutter stuff and this is understood so. anyone who takes on the task of designing costumes that would be worthy of my lane a date has to realize that she was one of a kind of miley and. teachers had a good laugh over this playboy magazine cover she wrote often imitated never equals . lisa laying on your dog and her team have worked for weeks on this
project and now they've made my limited her stream a reality this costume is light as a feather and transparent. and the lights keep time with the music. clueless to. tell me what serious scene. to look let's. see if. this is the dawn of a new age of fashion marlena teacher saw it coming six decades ago. a male closely. they might seem. like. the. cold. does. love.
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