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III Make up a plan of the text. IV Translate the paragraph in Italics in a written form




IV Translate the paragraph in Italics in a written form.

 

V Questions for discussion:

1. What was P. Poiret interested in?

2. How did the robe that Poire designed look like?

3. How did the new Poiret woman look like?

4. What did he force women to wear?

5. Were his designs simple or luxurious?

6. What colours and patterns did he use?

7. Did he develop his perfume before or after Chanel?

8. What did he invent in 1910?

9. What did he do with black stockings?

10. Were all his inventions successful?

 

X Render the text in brief in a written form.

 

Text C

 

I Mind the following words and word-combinations:

1. to mention

2. to recall

3. chance ,

4. to catch

5. a sign

6. warning ,

7. mourning

8. a shade

9. to cheer

10. to pull from

 

II Listen to the text and be ready to answer the questions:

1. What is the first mentioned thing while describing another person?

2. Why is colour so important?

 

III Listen to the text again. Decide if the statements are true or false:

1. Even when you recall clothes you wore years ago, colour often comes to mind.

2. Colour does not have cultural value.

3. Stop lights, fire engines, and fire call boxes are often bright yellow.

4. Black is the colour of innocence.

5. Bright colours are thought to make people feel happy or talkative.

 

 

UNIT 6

Costume design

TEXT A

 

I Listen and remember the following words:

1. accessory

2. to revamp

3. set

4. to ensure 5. to integrate

6. conformity

7. to distinguish

8. character ()

9. jewelry

10. props

 

II Read and remember the following phrases:

1. to make statement

2. creative collaboration

3. lighting designer

4. rough sketch

5. set designer -

6. potential costume challenges

III Read and translate the following text:

 

The work of a designer

Costume designers create the look of each character by designing clothes and accessories the actors will wear in performance. Depending on their style and complexity, costumes may be made, bought, revamped out of existing stock or rented. Their designs need to reflect faithfully the personalities of the characters in the script. The shapes, colours and textures that a costume designer chooses make an immediate and powerful visual statement to the audience. Creative collaboration among the costume designer, the director, the set and lighting designers ensures that the costumes are smoothly integrated into the production as a whole.

Stage costumes can provide audiences with information about a character's occupation, social status, gender, age, sense of style and tendencies towards conformity or individualism. As well costumes can:

- reinforce the mood and style of the production

- distinguish between major and minor characters

- suggest relationships between characters

- change an actor's appearance

- suggest changes in character development and age

- be objects of beauty in their own right.

Costume designs also need to include any accessories such as canes, hats, gloves, shoes, jewelry or masks. These costume props add a great deal of visual interest to the overall costume design. They are often the items that truly distinguish one character from another.

Costume designers begin their work by reading the script to be produced. If the production is set in a specific historical era the fashions of this period will need to be researched. To stimulate the flow of ideas at the first meeting with the director and the design team (set, costume, lighting and sound designers) the costume designer may present a few rough costume sketches. This is also an appropriate time to check with the director on the exact number of characters requiring costumes. It is the costume designer's responsibility to draw up the costume plot. The costume plot is a list or chart that shows which characters appear in each scene, what they are wearing and their overall movement throughout the play. This helps track the specific costume needs of every character. It can also identify any potential costume challenges, such as very quick changes between scenes. When the director and production team have approved the costume designer's preliminary sketches she or he can draw up the final costume designs. The final designs are done in full colour. They show the style, silhouette, textures, accessories and unique features of each costume. Once the show opens the designer's work is essentially complete. Now it's normally for the job of a wardrobe assistant to be sure that every aspect of the production runs just as the designer intended.

 

IV Answer the questions:

1. What is the essence of costume designers work?

2. What is the main task of a stage costume?

3. What can we get to know from the costume?

4. How do costume props help the overall design?

5. How does costume designers work start?

6. What is a costume plot?

7. What do final designs look?

 

V Complete the sentences with the words from the text:

1. such as hats, masks, gloves, etc. are very important for costume design.

2. Before starting his work a designer should know the number of .

3. shows the overall movement throughout the play.

4. When the show opens the work of starts.

 

VI Find the English equivalents to the words:

, , , , , , , , , , .

 

VII Make up sentences with the terms:

costume designer, costume props, rough sketch, costume plot, lighting designer, visual statement, accessories.

 

VIII Give definitions to the words:

jewelry, sketch, accessory, to revamp, visual, to distinguish, fashion.

 

IX Translate the sentences into English:

1. -, , .

2. .

3. .

4. , , .

5. .

6. ϳ , .

7. , , .

 

X Speak on the topic using the following words and word-combinations:

costume designer, rough sketch, accessory, creative collaboration, to provide, final design, costume challenges, performance, character, to integrate, to reflect, costume props, costume plot.

 

 

TEXT B

I Read and remember:

1. niche

2. chainmail

3. rivet á

4. pliers

5. audacity

6. Chambre Syndicale .

7. freelance

8. coup

9. to succumb

10. mauve -

 

II Read the text and define the main idea of it:

 

Paco Rabanne

Dont seduce, shock was the motto of fashion designer Paco Rabanne. He radically broke with the past which Dior had so successfully revived. For Rabanne the future meant brand new materials.

He found his niche when he began designing plastic jewelry. His next step led to independence: in February 1966 Rabanne showed 12 unwearable dresses made of plastic disks and in September he presented his first garments made of aluminum with leather and ostrich feather trimming.

In the 1960s his futuristic metal dresses became to show business celebrities what white satin dresses had been to the Hollywood sirens of the 1930s.

Every modern girl wore Paco Rabannes chainmail, which was stitched not with thread and needle but with hooks, rivets and pliers.

Paco Rabanne never gave up his experiments with unusual materials.

Pierre Cardin

Following Diors triumphant success with the New Look which overnight reestablished Paris as the fashion capital of the world, the city was gripped by gold fever. In 1951 Pierre Cardin showed his first collection. Since he had little starting capital, the collection was restricted to 50 coats and suits. His designs were an overwhelming success precisely because Cardin had avoided any imitation of the two most influential fashion geniuses of the period, Dior and Balenciaga.

Cardin, a marketing genius, is known as the fashion designer with the greatest number of licenses worldwide. Yet he is also one of the most innovative of couturiers. In 1958 he designed the first-ever unisex collection, which united men and women in a joint lifestyle statement.

He had the audacity to be the first couturier ever to produce a ready-made collection. As a result he was expelled by the strict Chambre Syndicale. But even the latter soon had to accept that nothing would stop the American ready-to-wear concept from invading the motherland of fashion, and it was swiftly named prêt-à-porter, thus allowing couturiers to choose whether they wished to use this avenue to make money and allowing Cardin to back into the fold.

Karl Lagerfeld

The conclusions which Karl Lagerfeld drew in the 1960s from the signs of the times were quite different from those drawn by Courrèges, Cardin and others. While Lagerfeld's contemporaries saw the future in the space-age look, he put his money on the replacement of couture by ready-to-wear. And, instead of taking on the burden of his own couture house, he worked as a freelance designer.

He first found fame at Chloé where he started work in 1963, remaining there for 20 years.

In 1965 he began to design fur collections for the Fendi sisters in Rome and today he s responsible for all their collections. However his greatest coup has been the revitalization f the legendary Chanel style.

Emanuel Ungaro

Emanuel Ungaro began his career as an independent couturier. His early collections featured severe combinations of blazer and shorts.

He soon developed his own style which was based on a bold mix of colours and patterns. Flowers on checks or stripes with large polka dots in bright colours are typical of Ungaro, who never succumbed to the pessimistic tendencies which took hold of some other designers.

Ungaro does not sketch his designs but works directly with the fabric on the body of a model for up to 12 hours a day, always with the inspiration of classical music.

The Italian Ferragamo group took over the running of his business in 1996, while keeping Ungaro as the undisputed creative head of the organization. He returned to his beginnings for the 1999 haute couture show when he showed a modernized version of hippie fashion: long, frilly, floral skirts with cropped tops in matte mauve and beaded, chiffon pants worn with feather-light jackets or fur-trimmed stoles.

 





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