Skip to main content

A look into Star Wars: Padme's dresses. Part V

Continuing with our examination of Amidala's wardrobe through Episode II ("Attack of the Clones"), we will break down the "packing" dress.


She wears this dress in her apartments while packing her things to undergo the trip back to Naboo. It's a very brief scene at the very beginning of the movie, but still it became one of her most well known gowns in Episode II.

The dress consists of a light grey blouse with puff sleeves that are drawn tight by four silver bands at the upper arm. Over the blouse, she wears a high-collared, double-breasted corset of a dark blue-grey velvet. The front of the corset is decorated with a finely embroidered brocade panel. The skirt is a darker grey cloth and it's pleated just enough so it ripples.

The design of this dress turns its focus even more westwards, drawing more from European fashion than any of the other designs that I've covered so far. Setting itself apart from the dresses of Episode I, differentiating clearly the "queen" look from the "senator" look.

In this case, though, the historical influence of the design is not so transparent. It pulls from European fashion, but doesn't focus on a single country or a single time period. It blends them into the final design quite elegantly.


The main structure of the dress is highly reminiscent of mid 16th century European fashion (from the 1540's to the 1570's); with the wide skirts, corset and puffed sleeves.

Isabella de Medici, ca. 1565
Isabella of Valois, Queen of Spain
(aprox. 1560)

The high neck of the corsets seen in these two paintings is very similar to Padme's corset. But the waist of her corset is much lower than the average 16th century corset, and the sleeves are lighter and more flowing.

And so, while the structure is clearly 16th century Europe, the finishing details are appropriated from the late 19th century and early 20th century art-nouveau Europe.

Afternoon dress (1901-1902) 
Wedding dress, London (1902)

The type of cloth; its weight and consistency is much closer to the early 1900's European fashion. As seen in the pictures above, the shape and flowing cloth of Padme's sleeves is closer to this than to Elizabethan fashion.


Another influence for this look is, undoubtedly, the Czech Art Nouveau painter; Alphonse Mucha. His influence is very noticeable in regards to the jewelry and embroidery of the dress. Let's have a closer look at the silver bands and the brocade panel.


The use of color and patterns is very common in Mucha's work: blue, gold and silver are key colors in his designs.


In the above pictures we can see similar embroidered panels: the predominant colors being also blue and gold, and decorated with highly elegant geometrical shapes (the geometrical decorations didn't become fashionable until the late 19th century, so an Elizabethan dress would have never had such decorations).






This two Mucha jewelry pieces (he did more than painting: he also designed furniture and jewelry) are also very similar to the silver bands around her sleeve. They both combine blue and silver with a very "nature" inspired patterns. The use of silver brings the design a more modern look and helps to create that otherworldly feel of the dress.

But, as always with Padme's look, what really gives the design its uniqueness is the hairstyle. For this gown, her hair is done in a unique semi-crescent shaped buns on the sides of her head, decorated with a delicate headpiece made of embossed pieces of metal connected by tiny silver chains.


The hairstyle pulls its influence from the Hopi indians; a native American tribe from the Arizona area.

Hopi woman
Hopi woman


The Hopi Buns are very characteristic and visually striking. It's only normal that these were appropriated for Padme's design, for it helps to create the futuristic look of the character.


The finishing touch of the hairstyle is the silver headpiece that frames her face. Just as in the other decorations of the dress, the Mucha influence is pretty clear in this piece of jewelry.


The shapes and patterns are very similar to those drawn by Mucha, as are the use of geometrical patterns and base colors.


Both use small and delicate chains to unite the bigger jewelry pieces, using them as a means to frame the face.

The last way in which this design differentiates the "queen" look from the "senator" look, is the makeup: here, as throughout Episode II and III, she always wears a clean and fresh face, removing itself from the iconic "queen" make up.

This is, undoubtedly a gorgeous and elegant design, some may say even too elegant for the scene it's used in. Unfortunately, that is a widespread problem with these movies.

To see full scale:
https://www.pinterest.com/alba0531/a-look-into-star-wars-padmes-dresses/

To read A look into Star Wars: Padme's Dresses. Part VI click here.

Comments

  1. It is the perfect match for women. I am very grateful to you because here I found very beautiful outfits of embroidery. Today often being place many type of designs on clothes but I think can't underestimate embroidery because it is famous for its better quality. So I think you should prefer embroidered dresses for parties, occasions and many type of events.

    ReplyDelete

Post a Comment

Popular posts from this blog

Burning Question: What's wrong with Belle's gown?

Since the first promotional pictures of Disney's new Live-Action remake of Beauty and the Beast hit the internet, there has been a lot of discussion around Belle's iconic ball gown. And, even months after its release in cinemas, there still continues to be a lot of buzz around it. Why? Mainly, because a lot of people feel that it is just doesn't look that good.
The thing is, Belle's animated yellow ball gown is, at this point, an iconic staple of animated cinema. Everybody knows it and everybody loves it. And, as a result, everybody can see the new one and say "this is not the costume I know". Therefore, everyone can compare it down to the smallest detail and see that it just doesn't quite look right.
Today, our goal will be to try and dissect the design in order to answer the burning question everyone has been asking themselves: what's so wrong with the "new" dress? Or, to put it bluntly, why is it so incredibly underwhelming?

This might n…

Disney's Cinderella(s) and the evolution of the "princess" aesthetics

Every girl, at some point in life, has wanted to be a princess. It has become undeniable that the concept of the "princess" is, for better or worst, inseparable from girlhood. We live in a "princesses" obsessed era, and we have for a long time now. And a lot has been said about it, with loud people yelling over the internet about the positive and negative aspects of it. So it was about time for us to join the yelling contest, I guess.
If we're going to talk about princesses, the logical place to go is to the Global Mogul Conglomerate that has led the trend and, in many ways, defined it: Disney. They have, undeniably, redefined the fairytale and have turned the term "princess" into a best selling Licensed Entertainment Character Merchandise.

The thing is, even though princesses have been part of the fairy tale canon for a very long time, they didn't become the central figure until Walt Disney placed them there.
In the tales that the Grimm Brothers…

The Costume Vault Anniversary!

Good day, beautiful readers!! First of all, Merry Christmas and Happy Holidays to everyone!


Today is a very special day for us, here at The Costume Vault. It's our anniversary!!! We're celebrating our third anniversary! Though to be honest, we didn't actually start this project seriously until last year... So, we're a three year old, with the experience of a one year old...? Oh, who cares. Today, three years ago, we published our first article ever. So, today is a day of celebration.
This project started out of a deep love for movies and costuming and a need to share that. And also boredom.... we had quite the free time back then, to be honest. But the project took off, and now we continue even when we don't have as much free time. But it's worth it, because we get to share our love for movies and costuming with you.
To this day, we've written sixty articles, most of which we are quite proud indeed. And what's even better, you seem to enjoy reading them…

The Dressmaker. Part I: A glamorous outsider

2015's The Dressmaker is the wet dream of any costume lover in all of its 120 minutes of runtime. The Aussie film directed by Jocelyn Moorhouse is the adaptation of the Rosalie Ham's homonymous novel. After quite an impressive run in the Festival Circuit (it premiered at the Toronto International Film Festival) and garnishing numerous nominations and wins worldwide, it finally got a theatrical release, becoming a box office success and the 11th highest-grossing film of all time in its home country.

So there certainly was a lot of hype around it when we finally got to see it and had a lot of expectations to live up to. ABOUT THE MOVIE So, is the movie actually that good? ... Sort of? Well, it's complicated. That's our official review tagline: it's complicated. The thing is; the movie has a ton of problems of all sorts. A lot of it doesn't work, but what does work, works really well.
Let's start with the negatives. First of all, the movie is a tonal shipwrec…

Remembering Janet Patterson

This past October, Costume Designer Janet Patterson, passed away. The four-time Oscar Nominee passing was somehow quite unexpected and very much ignored by much of the mainstream media, which is such an incredible shameful thing on their part.
As a 19th century specialist, her work is rather brief (restraining itself to movie focused on that period of time). But that makes it no less impressive as it is, as it includes such costume design masterpieces as ThePiano (Jane Campion, 1993), The Portrait of a Lady (Jane Campion, 1996), " Oscar and Lucinda (Gillian Armstrong, 1997), Bright Star (Jane Campion, 2009) and Far from the madding crowd (Thomas Vinterberg, 2015), which we actually included in our Favorite Costume Designs of 2015 list (read here).
What all of her movies share, and in great part thanks to her, is an incredible sense of realism and sensibility. And, because of it, her work has become one of the best examples that accurate historical costume does not detract from th…