PHANTOM OF THE OPERA COSTUME DESIGNER MOVIE

Some displayed extreme signs of wear-they’d definitely been worn onstage!Įvery picture in this article is protected under US copyright law and cannot be used without permission. In fact, many of the costumes from the new tour were borrowed from the revamped London Tour of 2012.ĭespite the confusion about the costumes’ age and origins, each one was exquisite. Interestingly, these costumes are not the same as those worn in the current US Tour, despite the fact that the exhibit is part of the Tour. According to Anéa, the world-renowned expert on Phantom costuming, they’re likely no more than ten years old. The volunteer overseeing the exhibit said they were “the original costumes from twenty-five years ago.” I recognized them as being from an American production, but the details didn’t quite match the costumes from the original Broadway show.

Carlotta’s Silver & Black Dress (“Prima Donna”).

Christine’s Aminta Dress (“Point of No Return”).

Given my obsession, perhaps you’ll understand why I got so excited when I learned that, in anticipation of the tour’s arrival in Memphis, some of the costumes were being exhibited in a vacant storefront. I even bought a male fashion doll, so I can make the Phantom’s costume, too. I also have plans to make doll-sized replicas of Christine’s white dressing gown, as well as the “Wishing” dress, “Masquerade” costume, the wedding gown, and the mint green and pink ballet costume worn during “Il Muto.” I’m currently working on a new version of Aminta’s dress, for a much larger doll. It turned out pretty good, considering how little I actually knew about dressmaking! I wore it to see the show in Birmingham, Alabama, which turned out to be one of the most exciting experiences of my life. First, I made Christine’s blue “Wishing” dress, the costume she wears during the graveyard scene. I spent hours discussing the details with fans who’d been backstage and examined the costumes for themselves, including one who happened to own several retired costumes.Īs soon as I knew enough to get started, I began sewing my own replicas of the costumes. I pored over video clips and photographs. My dream of seeing the costumes in person wasn’t very realistic, but I studied Maria’s original sketches. I set out to learn all I could about them. Even though I hadn’t yet seen the stage version, I loved the various costumes and wanted to make my own. I discovered there were fans sewing their own versions of the costumes from the stage show, such as Anéa and Michaela de Bruce.

I watched every film I could find, including the Lon Chaney silent film and the miniseries starring Charles Dance.īut nothing could supplant Andrew Lloyd Webber’s masterpiece.Īround this time, I began to get serious about sewing. But it wasn’t enough! I searched for a good translation of the original novel by Gaston Leroux, as well as sequels, prequels, and alternate versions.

PHANTOM OF THE OPERA COSTUME DESIGNER MOVIE

I went out and bought the soundtracks to both the movie and the original London cast recording.

We drove through an ice storm to get to the movie theater-another memory that will stay with me forever. As soon as my husband showed me the preview, I knew it was going to be something spectacular. Talk about romantic!įast forward two years, to the premiere of the Schumacher film.

My fiance (now husband) woke me up one morning by playing “All I Ask of You” on the piano. Oh, I’d heard the music before-who hasn’t? But I’d never paid that much attention to it. Twelve years ago, I discovered The Phantom of the Opera. But first, let me explain why these costumes mean so much to me. In this two-part article, we’ll take a closeup look at the costumes featured in the exhibit. The Phantom’s Suit & Cloak and Christine’s Aminta Dress (Costume Exhibit)

Phantom of the opera costume designer