#Gabriela Reumer

[sisionscreen]

Costumes Couture and costume designer Gabriela Reumer are working on the costumes for the second season of The Empress (2022). From what I understand, they are currently working on Melika Foroutan's clothes as Archduchess Sophie.

[towntrendy-eng]

Why not on the red carpet. CAROLINA HERRERA. Ready To Wear Fall 2023. New York February 2023. Wes Gordon admitted that he was also inspired by the series "Empress" - a Netflix production about the Austrian Empress Sisi or Elizabeth of Bavaria and costumes from the Habsburg era created for the series by Gabriela Reumer. He was delighted by the combination of what he called romance and rigor, military discipline and wealth.

On this "rich" side of the collection there were e.g. a black short jacket and trousers with gold trim, and a long-sleeved royal black gown similarly trimmed. Source: Carolina Herrera. Replacement music: Galaxy.

[archduchessofnowhere]

That Vogue interview annoyed me so much that I have to comment it in more detail, so semi rant incoming lol. The translation was made by @sisionscreen (you can find the whole interview in their blog, I also reblogged it earlier). Thank you for enduring the job of translating this mess!

To show the desired modernity, costume designer Gabriela Reumer took a central role. The Swisswoman is known for her work on TV productions like Soko Wismar and movies like “Rabbit without Ears”,“Guardians” and “Traumfabrik” and had to familiarize herself with the 19th century royal fashion first - and wasn’t too fond of some of the things she found. “I immediately had the ambition to choose a different approach to the costumes than the classic-historical one.”

You see the thing about this is that there isn't a single piece of Elisabeth centered media that has historically accurate costumes. The closest one is the 2009 mini series, which respects the silhouttes of the time and recreates some of her most known looks - but it still plays loose with history. There isn't anything groundbraking in modernizing Elisabeth's dresses.

Reumer: Today it is desired in period dramas that everything is modern and different in terms of film making or production. That is a great undertaking and not easy to do. But you have to adapt a bit to the present and adapt the story for the eyes of today because a lot just doesn't work anymore. About 1850, women were like furniture. They were adorned, one could say decorated, so you look at them. The most important thing was that it was a lot. Actually this is unbearable, the women were like dolls. At this time, the crinolines, a kind of hoop skirt, were like a sphere and gave the women this doll likeness. But this didn't fit the story of Sisi for me, this woman, that emancipated herself and freed herself from the oppression and power plays. So I asked myself how could one dress women more dynamically. So I changed the shape of the crinolines towards something that came into fashion in the 1870s: flat in the front and a bit elliptical in the back. I used this shapes for Sisi and Sophie.

I will ignore the whole "women were furnitures" take and just focus on the second part, about crinolines not "fitting" Sisi's story. Because if Sisi is meant to be this free spirited girl that was thrown into a gilded cage, and this is a coming of age story of her emancipating herself, then wouldn't it make perfect sense for her to wear the 1850s crinolines? If your take is that crinolines were oppressive, and that Elisabeth was oppressed at court, then her wearing them to represent that is a no brainer. Then you can signify her freeing herself by having her not wear them anymore by the end of the season (or at whatever point in the show this happens). Forget historical accuracy, giving Elisabeth a 1870s bustle doesn't make sense narratively.

Vogue: So did you also see the originals clothes of Empress Elisabeth?

Reumer: Yes, at Schönbrunn, but I found them awful. Everything was so tacky. I'm usually very minimalistic when it comes to my costumes.

Well Gabriela, Elisabeth didn't dress having in mind getting your approval. Nor should you expect a rich royal woman from the 19th century to have the same taste in fashion as you.

Vogue: Then why did you agree to be the costume designer after all?

I wonder the same thing.

Reumer: At the beginning, I wondered what I was actually doing here. But then I viewed it as a challenge. There are also very nice great from this time. The men's clothing is awesome with its frock-coats from great materials and high tophats. It is crazy what one can do with shapes.

You can tell that Reumer isn't into historical fashion at all because she likes Victorian male fashion aka literally the Most Boring Male Fashion in history.

Vogue: Was there a character you found difficult to dress?

Reumer: In the beginning, this was the case with Emperor Franz. He always showed himself in uniform and we had to figure out how to show him without a uniform. How do you show what kind of person he really is? That wasn't simple. Also to make the uniform fit in a way he can move like an emperor was a challenge. For example, he wears a corsage underneath it to support him.

Ok I actually like this! Men wore corsets too! I hope this makes it into the screen, we have way too many scenes of women being tightlaced and not any of men wearing corsets because they were a practical undergarment that gave support.

Overall this interview deeply annoyed me because the way Reumer talked about it, it seems that the modern look of the costumes (which is a trend in period dramas that recently has become very popular thanks to shows such as Bridgerton) is solely due to her just not liking 1850s fashion. Modernization can work for narrative purposes, Bridgerton is a full-on romance fantasy that has nothing to do with actual history so the glittery dresses work to enphasize that. RTL Sisi is also so loosely based on the actual Elisabeth of Austria's life that the modern fabrics and designs work to separate it from real history. Even the Sissi Trilogy with its Disney-princess-like dresses does this. Many times this is not even the designers fault, usually the director has a vision for the story and the designer has to work around that. But I do expect at least some respect for the source material. To say that you hated what the actual woman wore and instead you took inspiration from random moments in fashion history that you liked is just tasteless, what can I say.

That being said I do hope that the final look of the show's costumes is at least cohesive and do make sense within the narrative of the story. But yeah this was dissapointing.

[igamezonenet]

ZWISCHEN WELTEN – Trailer – Deutsch HD German

ZWISCHEN WELTEN – Ab Donnerstag, 27.03.2014 im Kino. http://ift.tt/2lF3ECm http://ift.tt/2lomVoQ

Bundeswehrsoldat Jesper (Ronald Zehrfeld) meldet sich erneut zum Dienst in das krisengeschüttelte Afghanistan und erhält mit seiner Truppe den Auftrag, einen Außenposten in einem kleinen Dorf vor dem wachsenden Einfluss der Taliban zu schützen. Dabei wird der junge Afghane Tarik (Mohsin Ahmady) als Dolmetscher zur Seite gestellt. Jesper versucht mit Tariks Hilfe, das Vertrauen der Dorfgemeinschaft und der verbündeten afghanischen Milizen zu gewinnen — doch die Unterschiede zwischen den beiden Welten sind groß. Er steht immer wieder im Konflikt zwischen seinem Gewissen und den Befehlen seiner Vorgesetzten. Als Tarik, der von den Taliban bedroht wird, weil er für die Deutschen arbeitet, seine Schwester in Sicherheit bringen will, geraten die Dinge außer Kontrolle.

PRESSENOTIZ

Die Deutsche Filmpreisgewinnerin Feo Aladag erzählt mit dem Drama ZWISCHEN WELTEN, ihrem zweiten Kinofilm nach dem Aufsehen erregenden Kinodebüt DIE FREMDE, die Geschichte einer ungewöhnlichen Freundschaft im Krisenland Afghanistan.

Feo Aladag realisierte den Film als Drehbuchautorin, Regisseurin und Produzentin an Originalschauplätzen in Afghanistan. Jahrelang hat sie darauf hingearbeitet, zahllose Hindernisse und Bedenken aus dem Weg geräumt, um den Film direkt im Krisengebiet zu drehen und nicht, wie für westliche Produktionen üblich, auf ähnlich wirkende Länder auszuweichen. Die Geschichte der ungewöhnlichen Freundschaft zwischen einem Bundeswehrsoldaten und seinem afghanischen Übersetzer hat während der Produktionsphase eine aktuelle Brisanz gewonnen: 2014 ziehen die deutschen Schutztruppen nach mehr als 10 Jahren aus Afghanistan ab und hinterlassen ein unbefriedetes Land und zahllose lokale Mitarbeiter, die von den Taliban als Kollaborateure der Besatzungsmächte gesehen werden.

Die Hauptrolle in ZWISCHEN WELTEN spielt einer der angesehensten Schauspieler Deutschlands: Ronald Zehrfeld (BARBARA). An seiner Seite sind Schauspielgrößen wie Felix Kramer (Deutsches Schauspielhaus Hamburg) und Burghart Klaußner (NACHTZUG NACH LISSABON) zu sehen. Sämtliche afghanischen Darsteller wurden aus der Gegend um Mazar-i-Sharif und Kabul besetzt: unter ihnen Mohsin Ahmady, Saida Barmaki und Abdul Salam Yosofzai (DRACHENLÄUFER).

Und auch hinter der Kamera konnte Feo Aladag wieder eine ganze Reihe ausgezeichneter Filmschaffender gewinnen: die vielfach prämierte Kamerafrau Judith Kaufmann, die Set-Designerin und zweifache Deutsche Filmpreisträgerin Silke Buhr, sowie Gabriela Reumer, die für das Kostüm verantwortlich zeichnet. Die Montage des Films übernahm Andrea Mertens, die Musik komponierte Jan A.P. Kaczmarek, mit zusätzlichen Kompositionen von Karim Sebastian Elias. Berater der Produktion waren der Afghanistan-Experte Matthias Kock sowie der Sicherheitsberater Martin Lang.

ZWISCHEN WELTEN ist eine Independent Artists Filmproduktion in Ko-Produktion mit Geißendörfer Film- und Fernsehproduktion und ZDF/ ARTE (Redaktion: Daniel Blum, Andreas Schreitmüller, Olaf Grunert), gefördert mit Mitteln von Filmförderungsanstalt, Medienboard Berlin-Brandenburg, Film- und Medienstiftung NRW, Nordmedia und Deutscher Filmförderfonds. Die Entwicklung wurde gefördert mit Mitteln des MEDIA-Programms der EU. The Match Factory hat den internationalen Vertrieb übernommen. Logistisch wurde der Film durch die Bun-deswehr unterstützt, die auch in militärischen Fragen beratend zur Seite stand.

Der Film wurde an Originalschauplätzen in Kunduz und Mazar-i-Sharif sowie an verschiedenen Drehorten in Deutschland auf Deutsch, Englisch, Dari und Paschtu gedreht.

Seine Weltpremiere feiert ZWISCHEN WELTEN im Wettbewerb der Berlinale 2014. source

Der Beitrag ZWISCHEN WELTEN – Trailer – Deutsch HD German erschien zuerst auf iGamezone.

from iGamezone http://ift.tt/2lFeEQb

[sisionscreen]

The nominees for Der Deutsche Fernsehpreis 2023 (The German Television Award) include also Sisi related series. The awards are presented in two ceremonies with Die Nacht der Kreativen (The Night of the Creatives) being held tonight and not being televised. The main ceremony will be tomorrow (September 28th) and aired live at 8.15pm on Sat.1 and their streaming service Joyn.

The Nominations for Sisi projects

Best Drama Series

Die Kaiserin/The Empress (2022)

Best Actress

Dominique Devenport as Empress Elisabeth in the second season of Sisi (2021)

Desirée Nosbusch as Archduchess Sophie in the second season of Sisi (2021) [+ her roles in Süßer Rausch and Conti]

Best Actor

Philip Froissant as Emperor Franz Joseph in the first season of Die Kaiserin / The Empress (2022)*

Best Direction Fiction

Sven Bohse & Miguel Alexandre for the second season of Sisi (2021)

Best Cut/Montage Fiction

Robert Eyssen, Boris Gromatzki & Heike Parplies for the first season of Die Kaiserin / The Empress (2022)

Best Music

Jessica de Rooij for the second season of Sisi (2021)

Best Costume & Set Design

Daiva Petrulyte (Costume), Metin Misdik (Costume) & Algirdas Garbaciauskas (Set Design) for the second season of Sisi (2021)

Gabriela Reumer (Costume) & Matthias Müsse (Set Design) for the first season of Die Kaiserin / The Empress (2022)*

*won the award

[towntrendy-eng]

Why not on the red carpet. CAROLINA HERRERA. Ready To Wear Fall 2023. New York February 2023. Wes Gordon admitted that he was also inspired by the series "Empress" - a Netflix production about the Austrian Empress Sisi or Elizabeth of Bavaria and costumes from the Habsburg era created for the series by Gabriela Reumer. He was delighted by the combination of what he called romance and rigor, military discipline and wealth.

On this "rich" side of the collection there were e.g. a black short jacket and trousers with gold trim, and a long-sleeved royal black gown similarly trimmed. Source: Carolina Herrera. Replacement music: Galaxy.

[towntrendy-eng]

Why not on the red carpet. CAROLINA HERRERA. Ready To Wear Fall 2023. New York February 2023. Wes Gordon admitted that he was also inspired by the series "Empress" - a Netflix production about the Austrian Empress Sisi or Elizabeth of Bavaria and costumes from the Habsburg era created for the series by Gabriela Reumer. He was delighted by the combination of what he called romance and rigor, military discipline and wealth.

On this "rich" side of the collection there were e.g. a black short jacket and trousers with gold trim, and a long-sleeved royal black gown similarly trimmed. Source: Carolina Herrera. Replacement music: Galaxy.

[towntrendy-blog]

Choćby i na czerwony dywan. CAROLINA HERRERA. Ready To Wear Jesień 2023. Nowy Jork Luty 2023

Wes Gordon przyznał, że inspirował się także serialem „Cesarzowa” – produkcją Netflixa o austriackiej cesarzowej Sisi czyli Elżbiecie Bawarskiej i kostiumami z epoki Habsburgów które dla serialu stworzyła Gabriela Reumer. Zachwyciło go połączenie – jak się wyraził – romansu i rygoru, wojskowej dyscypliny i bogactwa. Po tej „bogatej” stronie kolekcji znajdowały się m.in. czarna, krótka kurtka i spodnie ze złotymi wykończeniami oraz podobnie wykończona królewska czarna suknia z długimi rękawami. Źródło: Carolina Herrera. Muzyka: Galaxy.

[sisionscreen]

"The Empress" on Netflix: We show you the first pictures of the actors and actresses in costume

Written by Maria Hunstig for Vogue Germany | Translated by SisionScreen

The release of the first Sissi movie was 67 years ago and despite the female lifestyle of "marrying a prince/emperor and for the rest of time mostly strolling about a palce in frilled dresses, giving birth and looking pretty" gratefully becoming antiquitated, the interest in royal movie stories has become no less. The success of "The Crown", the many recent movie adaptations of the life of Princess Diana and the fact that the Sissi movies continue to be a staple of Christmas TV programming just like "Home Alone" and "Three Wishes for Cinderella" (also a princess narrative), are only a few examples of it.

Now Netflix has dedicated themselves to the life of Sisi as well (the spelling "Sissi" is only used in the period dramas of the 50s) and releases the series "Die Kaiserin" (working title: The Empress) this fall. In for now six episodes it tells the complicated love story of Emperor Franz Joseph of Austria-Hungary and Elisabeth of Wittelsbach, Princess of Bavaria [sic! Elisabeth has never been a princess of Bavaria since she is *just* the daughter of The Duke in Bavaria. Her mother Ludovika and aunt Sophie are princesses of Bavaria by birth because they were the daughters of its first king] - and the sister of the woman Franz was supposed to marry. The makers put a special focus on showing the complexity of this relationship and its protagonists who feel partly crushed by the strict rules at the 19th century court.

To show the desired modernity, costume designer Gabriela Reumer took a central role. The Swisswoman is known for her work on TV productions like Soko Wismar and movies like "Rabbit without Ears","Guardians" and "Traumfabrik" and had to familiarize herself with the 19th century royal fashion first - and wasn't too fond of some of the things she found. "I immediately had the ambition to choose a different approach to the costumes than the classic-historical one." Reumer said. She told us how that looks like and what kind of work went into the impressive dresses of the series.

Vogue: Usually you work on modern movies. How did you approach costumes for a historical productions?

Gabriela Reumer: First I went to Vienna. There I visited all the places of action for a week - from Schönbrunn over Sisi's hunting cabin to the Hofburg - and walked through these castles for hours. "How can one live here?" I wondered - because it is crushing, these massive hallways and the gardens that never seem to stop. This was my first try to get closer to the soul of this time period. Of course I also read a lot of books and looked at many haute coutoure shows, Christian Dior, Alexander McQueen...there were many sources of inspiration.

Vogue: What is this approach?

Reumer: Today it is desired in period dramas that everything is modern and different in terms of film making or production. That is a great undertaking and not easy to do. But you have to adapt a bit to the present and adapt the story for the eyes of today because a lot just doesn't work anymore. About 1850, women were like furniture. They were adorned, one could say decorated, so you look at them. The most important thing was that it was a lot. Actually this is unbearable, the women were like dolls. At this time, the crinolines, a kind of hoop skirt, were like a sphere and gave the women this doll likeness. But this didn't fit the story of Sisi for me, this woman, that emancipated herself and freed herself from the oppression and power plays. So I asked myself how could one dress women more dynamically. So I changed the shape of the crinolines towards something that came into fashion in the 1870s: flat in the front and a bit elliptical in the back. I used this shapes for Sisi and Sophie.

Vogue: So you in hindsight you improved fashion history for women.

Reumer: Yes! (laughs) The shapes of this time are great, the small wastes and the big volume are incredible. It is like building a house. I did respect these shapes because else you end up somewhere entirely different. The "rea" Sisi's waiste measure 46c, that is unbelieveable!

Vogue: So did you also see the originals clothes of Empress Elisabeth?

Reumer: Yes, at Schönbrunn, but I found them awful. Everything was so tacky. I'm usually very minimalistic when it comes to my costumes.

Vogue: Then why did you agree to be the costume designer after all?

Reumer: At the beginning, I wondered what I was actually doing here. But the I viewed it as a challenge. There are also very nice great from this time. The men's clothing is awesome with its frock-coats from great materials and high tophats. It is crazy what one can do with shapes.

Vogue: How about the costumes, were many newely or are many vintage dresses among them?

Reumer: For the main roles, most things were made new. There aren't many costumes from this time in archives. Sometimes you can find great individual parts: Lace blouses with very delicate lace fo example, capes or pieces with great decorations. I found many things in London. But it isn't too much since a lot is broken, the most beautiful things are so fragile that you can't use them anymore. The manufacturing studio Costumes Couture in Vienna made nearly all of the dress of Elisabeth and Sophie. It was great collaboration, they also made the wedding dress. The lace was stitched in original Austrian fashion in Vorarlberg and many of the fabrics for Sophie came from a manufactory in Vienna.

Michaela Meyer from Costumes Couture also makes a lot of evening dresses for the Vienna Opera Ball. She has special way to fold and knows the skirts and the volume. A skirt of Sisi uses 10 metres of fabric and she works very differently with it than my wardrobe director in Berlin, who sews in historical accurate way. We then brought all materials to Berlin and fitted them to the actors and actresses here which was very work intensive.

Vogue: How long does work take on one dress?

Reumer: It differs. The Team of Costums Couture is incredibly fast because they have a modern approach. They took about two weeks per costume and about four weeks for the wedding dress. In the studio in Berlin, it sometimes took a month.

Vogue: How many costumes were needed overall?

Reumer: For the complete series we had about 2000 costumes but among them were many extras which were fitted with costumes from costume houses in London and Rome. At Tirelli in Rome, they have many great things from movies I used to dress the "poor people", for example we borrowed a lot of costumes from "Gangs of New York" which was set in a similar time and the dresses a nice patina.

Vogue: What were the actors and actresses reactions when they were allowed to wear the dresses for the first time?

Reumer: They were very happy since it is of course very hard to imagine yourself in such a time period. Suddenly being laced up, wearing this huge volume, crinoline and corsage - it helped them immediately to get into their characters. The role of Sophie for example, who is portrayed as a power player, always wanted tight, high-necked dresses, and we did that. And then she became greater and stronger in the costumes. It was really interesting to see what one can do with historical costumes. The job of a costume is also to help the acting person to play their part. So it is important that they have say.

Vogue: Was there a character you found difficult to dress?

Reumer: In the beginning, this was the case with Emperor Franz. He always showed himself in uniform and we had to figure out how to show him without a uniform. How do you show what kind of person he really is? That wasn't simple. Also to make the uniform fit in a way he can move like an emperor was a challenge. For example, he wears a corsage underneath it to support him.

Vogue: What was your process in designing the wedding dress of Sisi?

Reumer: Actually there isn't a single photograph of Elisabeth's wedding dress, there are only drawings/sketches from the wedding at the church.

We wanted to created and show something depressing: Her wedding days is a horror, the entire realm attends and wants something from her. The extras were supposed to look like grimaces. The costumes was supposed to be high-necked and tight, we made a kind of turtle neck from lace and a huge crinoline. The circumference of the skirt is 167cm, it is incredibly heavy. On top of that there is the very long train which was secured at the waiste. For Devrim, it was very tedious to wear this wedding dress during filming, so you can see it in her that Elisabeth's wedding wasn't a happy day..

Vogue: How did your picture of Elisabeth change because of the work on the series?

Reumer: I mostly knew her from the moies with Romy Schneider. Only when I was working closely with the fabric, I understood Sisi's history of suffering, what a fight she fought for her entire life to be free. The poems she wrote are so touching. I became aware then that she tried to not assimilate all the time. Back then it was incredibly difficult to be "different."

The Empress will release on September 29tb, 2022, on Netflix.

Further comments that were used as captions on pictures:

"I was lucky that I was working on this production for nearly a year. Due to the delays, we faced, there was more time to think and to look for fabrics which was a challenge during lockdowns. We were busy with preparations for about six months."

"Most of the fabrics we purchased in Vienna, many also in Rome. There we found a great store which collects fabrics since the 60s, including Haute Couture fabrics. And of course in Antwerpen, there are many great stores, which for example stock Dries-van-Noten fabrics whose colors are ones again totally different."

"I think such a production comes twice or thrice in one life. I couldn't get enough, it was really fun from beginning to end."

"Sissi [sic!] is the kicker, this is the cherry on top of the cake. It was a gift. I surpassed myself and didn't think myself that the costumes would become so strong/great."

[picture of Elisabeth and Franz] "Here we see a moment towards the end of the season, Elisabeth and Franz at Schönbrunn Palce - in an emergence..."

"We worked closely with the set design. It was very important: For them everything is over the top too, and when then an over the top costumes enters the set you must take care for example with the colors."

[picture of Esterházy] "Here we see Countess Esterházy, the Oberhofmeisterin [lady high chamberlain/Mistress of the Robes] - she tries to tame Elisabeth for court with strictness and rules."

[sisionscreen]

Who designed the wedding dress for Netflix The Empress?

The costume designer is Gabriela Reumer and she spoke to Vogue about it last month. I also translated this interview.

https://at.tumblr.com/sisionscreen/688965040781557760/vpb0d11pemh4

[sisionscreen]

Svenja Jung (Countess Louise Gundemann) and costume designer Gabriela Reumer behind the scenes of The Empress (2022).

[sisionscreen]

I'm working on a translation of the Vogue interview with Gabriela Reumer, the costume designer of The Empress (2022). But it is a lot of text and I'm currently only on my phone, so it will take a bit of time.

I'm also still looking if we had a casting announcement for Countess Esterházy since she is included in the promotional photos but I can't find the actress' name.

Edit: I'm pretty sure it is Wiebke Puls. She is the only actress I can't place and her headshots look like the same person in the Esterházy costume.

Edit 2: @SissivonWittelsbach (btw check out her instagram page if you haven’t yet) told me that there is another Vogue article about basic infos for The Empress and it includes Wiebke Puls as Esterházy, so it seems I was right. It is just weird that she isn’t even listed on Crew United yet. My translation of the interview with the costume designer is now online btw.

[sisionscreen]

Vogue Germany released a short reel on instagram from behind the scenes of the promotional photos for The Empress (2022), they released alongside an interview with costume designer Gabriela Reumer.