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'Tattoo Can Can' costume from the film 'Moulin Rouge'
Object No. 2008/199/7
Moulin Rouge was a high budget movie directed by Baz Luhrmann and released globally in 2001. Set in the 1890s in the Moulin Rouge in Paris, the film is a 'red carpet' theatrical production starrring Nicole Kidman and Ewan McGregor. Luhrmann and his partner Catherine Martin were first inspired by Bollywood movies when they conceived the project. The fourteen key Moulin Rouge costumes, props and continuity books, are a magnificent example of the work of a talented team of Australian designers and costumiers working under director, Baz Luhrmann, with his partner Catherine Martin and costume designer Angus Strathie. In all 450 costumes were designed and made for the production and another 350 costumes were hired or 'found' for the eighteen principals and seventy dancers. The film involved many levels of complexity in its development and a large number of talented people in all areas of cinematography, choreography, musical composition, sets, props and costumes. The movie was heavily promoted online, in magazines and publications. The characters represented in this costume selection are Satine played by Nicole Kidman, Christian played by Ewan McGregor, the Unconscious Argentinian played by Jacek Koman, Harold Zidler played by Jim Broadbent, Toulouse Lautrec played by John Leguizamo and five can can dancers. This costume for Tattoo Can Can was worn by Veronica Beattie. Jason Gibaud created the bodystocking, so as to avoid many hours of tattoo painting for each appearance and the associated continuity problems. The Moulin Rouge costumes are the second group of Luhrmann's film costumes represented in the Museum's collection. The complete set from Luhrmann's first movie 'Strictly Ballroom' was featured in a Powerhouse Museum exhibition in 1991. The exhibition of these costumes, 'Spectacular! Spectacular! On the set of Moulin Rouge', held in 2001 was an enormous success with 10,000 people visiting during the first weekend. The costumes are extravagant and beautifully made and they admirably represent the skills and talents of the many Australians involved.
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Summary
Object Statement
Film costume, 'Tattoo Can Can', from the fim 'Moulin Rouge', womens, various materials, designed by Baz Luhrmann / Catherine Martin / Angus Strathie, Sydney, New South Wales, Australia, 2000
Physical Description
Film costume, Tattoo Can Can, from the movie, 'Moulin Rouge', various materials, designed by Baz Luhrmann / Catherine Martin / Angus Strathie, Sydney, New South Wales, Australia, 2000 Tattoo Can Can costume worn by Veronica Beattie, consisting of bodice, skirt, tattooed leggings & top, bra, knickers, 2 pairs of gloves, pair of boots, necklace & earrings and two bracelets. Bodice of olive green brocade with black detail and trimmings. Broad shoulder straps on bodice of black satin gathered at shoulder narrowing down to 'V' neckline to gathered point at centre front; the back neckline is a 'V' of the same gradient. At the gathered point on top of the shoulder there is a knot with the two ends hanging over the shoulders. The black edging around the neckline is trimmed with a fringe of looped faux jet beads and strings of varying lengths of various sized faux jet beads. At the lowest point of the neckline is a large jet medallion, with a wired frame of beads, mainly in heart shapes (many of which are now missing or broken). The armholes and neckline are edged with black piping. The fabric of the bodice itself is a silk brocade of differing shades of olive green and black in a stylised Indian floral pattern. The hem of the bodice goes down to a sharp 'V' at centre front and is piped with black. The bodice is laced at centre back using 12 black metal eyelets down each side and green cotton laces. There is an insert of the same fabric behind the lacing. It is lined with olive green cotton, with black satin along the neckline, armholes and hem. There are 13 bones in black satin casings. There are 2 darts in the back, where it had to be taken in as the waist was too big. There is a tape sewn into each side seam to tie the bodice onto the skirt to stop them separating at the waist. Full skirt of olive green Chinese silk brocade. The main fabric of the skirt is Chinese silk brocade incorporating a traditional pattern of blossom branches in various shades of olive green. There is a border at the hem of the skirt in the matching Indian brocade to the bodice, this is piped with a black edge on its upper side. The skirt is lined with a heavily flounced petticoat. The lining is made up of 7 tightly pleated flounces of pale pink and burgundy striped polyester, each one trimmed with a burgundy ribbon and a narrow border of burgundy lace. The skirt fastens at centre back with 6 press studs and a hook and eye on the inside of the black petersham, which lines the waistband. There is a tape sewn into the side seams at the waist to tie the skirt to the bodice. There are also 2 black velvet hanging loops and a handwritten label saying 'Veronica Beattie, Tattoo'. Pale peach pink coloured stretch nylon leggings which are printed in grey, pale green, blue, red and yellow, with fake tattoos, which include a lace stocking top, suspended by lacy garter straps, decorated with ribbons; flowers; serpents; mermaids; religious symbols. The bottoms have straps that go under the foot and there are eight cotton tapes stitched to the elastic waistband. The top is of the same pale peach pink coloured stretch nylon and has long sleeves, with a neckline finishing at the base of the neck. It is printed with fake tattoos in black, red, green, yellow and blue, depicting insects, birds, flowers, women in underwear, the Virgin Mary and on the back there is a large peacock with its tail fanned out. There are rubber strips inside the ends of the sleeves and 8 cotton tapes stitched around the waist. Jason Gibaud created the bodystocking, so as to avoid many hours of painting for each appearance and the associated continuity problems. Strapless bra in cream nylon, by Fine Lines in Size 12B. There is a bone up each side and 2 metal eyes on the end of the wires between the bust. There is a pale peach pink coloured padded insert in each cup. Yellow cotton French knickers, which have a tape running through the top to gather them around the waist. There is a gathered frill around each leg above which is a line of black embroidered and appliqué decoration. There are clear sequins and beads down the centre front seam and under the crotch. Pair of mustard yellow suede gloves by La Crasia, New York, which reach to half way between the wrist and the elbow. Pair of dark olive green wrist-length nylon gloves, which are decorated with 5 leaves embroidered on the back of each hand in dark green and are scalloped at the wrist. Pair of olive green suede and leather mid-calf-length, 2" heeled boots, in an Edwardian style, by Steppin' Out. The uppers, edge of the lacing, tongue, back of the heel and heel itself are leather, which is edged with a pricked design and the rest is suede. The boots lace up the centre front with black cotton laces. Necklace with a large central metallic green gothic cross, with a pink paste jewel in the centre. Along the brass chain are dotted 6 metallic green urns, which are decorated with amber and pink jewels. The brass chain fastens with a simple hook. Pair of matching pierced earrings, with a metallic green urn decorated with a pink jewel. Bracelet of black jet-like stones mounted in pewter floral settings. Bracelet of blue, gold and red beads, strung on elastic.
PRODUCTION
Notes
450 new costumes were designed by Catherine Martin and Angus Strathie. Catherine Martin came up with a conceptual idea of each character which was then interpreted and developed by Angus Strathie. Martin referred to long term fashion forecasting to decide on themes and colours. Costumes combine a professional theatrical approach to quality and historical silhouette juxtaposed with contemporary fashions and colours. The costumes were not designed to be reproductions of costumes from 1899, but to give enough flavour of contemporary western trends to capture interest and entice us into the past at the Moulin Rouge. Eliza Godman co-ordinated the project, supervising a Sydney team of 40 costumiers, cutters, shoemakers and milliners. Millinery was organised by Rosie Boylan, with Rick McGill and seven milliners. The hair and 85 wigs were designed by Aldo Signoretti. All the main characters wore wigs except Ewan McGregor and John Leguizamo. Make-up was by Maurizio Silvi, costume art finishing by Jason Gibaud, shoes by Jodie Morrison and Donna-May Bolinger. Jason Gibaud created the bodystocking, so as to avoid many hours of painting for each appearance and the associated continuity problems.
HISTORY
Notes
The costumes, though made in Australia, were owned by Fox Studios who funded the film.
SOURCE
Credit Line
Gift of 20th Century Fox Feature Film Division, 2008
Acquisition Date
9 October 2008
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