Plucked from the Land of ‘OZ’

By Ryan Wallace on March 10, 2013

By Ryan Wallace

************SPOILER ALERT****************

“With little more than pluck and belief, we made the impossible happen…”

A closing line to an enchanting film, and also an accurate description of production. Last Friday Disney released its newest endeavor down the yellow-brick road, “Oz: The Great and Powerful”, which attempted to take audiences on another journey into the land of Oz.

Magical, inventive, contemporary and visually gripping—we’re talking about the clothes. Haute couture at its finest, the costuming of the film nodded to the classics, while creating something imaginatively chic.

In recreating an idyllic image of Oz, like drawing the viewers back into a deep memory, producers from Disney spared no details. Props, CGI, acting, and obviously costume design were all given the proper attention needed in bringing back the nostalgic land of Oz—with modern twists, of course.

Remnants from the past lingered, a gingham dress that adorned Dorothy and a tattered suit that draped the wizard, but in this modern take on the prequel to the 1939 “The Wizard of Oz” noted costume designer Gary Jones created the unimaginable with “little more than pluck and belief”.

After consulting German artist and illustrator Michael Kutsche, who has worked on other Disney films like “Alice in Wonderland”, Jones conceptualized three distinct wardrobes, suited to the personalities and powerful positions held by each of the three witches.

Glinda the Good Witch of the South—soft, demure embodying the purity of Oz. Theodora—a good witch conflicted as she turns to the dark side. And Evanora—the royal advisor with a hidden agenda—the Wicked Witch of the East.

Leather, sequins and more than a pluck-full of feathers were used in creating elegant gowns and modern separates that transcended the periodic trends, encompassing centuries of fashion. Glinda, played by Michelle Williams, was ethereal in sequined corsets—draped in feathers of silver and gold. Her chic, impeccably detailed pieces exemplified her regality, both luxe and pure, as a meshwork of patterns and textures created something out of this world.

Evanora, played by Rachel Weisz, embodied the Art Deco-inspired cityscape of the Emerald City wearing a glittered gown—the advisor to the throne, taking on the image of the empire. The corseted gown blended darker shades, incorporating mercury green, and was impeccable down to every detail—the length, the sleeves, and intricate beadwork.

Mila Kunis’ character Theodora exhibited perhaps the largest transition in the film, from good to dark, and the fashion reflected her change. When we first meet Theodora we see a vision reminiscent of a Spanish Conquistador, draped in shades of garnet. The simple coat, extravagant hat, and puffy blouse are elevated by high-waisted leather pants and boots—blending the past and the present. As Theodora struggles with the “Wickedness” building within her, her wardrobe shifts to a darker perspective as black dominates her outfit—leathers and feathers abound, bringing a chic twist to the Wicked Witch of the West.

The remainder of the costumes bring a familiar sense of Oz, however, the entire closet of clothing is something out of this world. Partially practical, and obviously aesthetically detailed, the costumes created by Jones bring an artistically whimsical twist to fashion—elevating the past to potentially changing the future.

 

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