![]() ![]() ![]() She has since worked with the actor on films such as The Tourist, Public Enemies, and Sweeney Todd. “The first time I met Johnny, he was Edward Scissorhands,” Atwood says. In 3D, the hat takes on new life, particularly when manipulated by Depp. Once we had the hair, we had the hat,” Atwood says. “The hat is a key part of the character, but a hat doesn’t mean anything without hair. It’s a lot of pressure to shop for the Mad Hatter. Then there was another accessory to think about. To fix the visually jarring effect she says, “We had to cheat the neckline, cinch the waist, and play up the collar.” Your head ends up right on your chest,” Atwood says. “If you make a head too big, you lose your neck. (Bonham Carter’s wig alone weighed three pounds, and her head was enlarged with special effects.) It was tough for the costume designer to work with the scale. Little did she know how big that head would be. Usually he says, ‘Well, it had to be you because, look, I’ve just drawn you.’ In the case of the Red Queen, he said this and produced a picture of a very angry, red-headed queen. The actress writes in The Art of Tim Burton, “I never know if I’m going to be in a Tim Burton film or not . The key difference between the two Red Queens might be that Atwood’s sketch looks a bit more like her inspiration, Bette Davis as Queen Elizabeth I in The Virgin Queen, and Burton’s sketch looks a bit more like his, Helena Bonham Carter. “The same thing happened with the Hatter!” she says. Take for instance Burton’s concept art for the Red Queen (or, the Queen of Hearts), a character that posed a certain challenge because, as Atwood puts it, “Cards have been done to death.” Without seeing Burton’s sketch, Atwood almost matched it. Their working relationship is so close that they’ll sometimes come to the table with remarkably similar ideas. Alice gets Burtonized.Ītwood has designed costumes for nearly every film Tim Burton has made in the last twenty years. In each iteration, Alice’s dress gains a detail-black trim, contrasting colors, a stripe-that recalls a certain auteur’s visual language. Next, when she suddenly grows out of this garment and ends up gigantic and naked at the royal court, the Red Queen orders, “Clothe this enormous girl!” At this point, Alice is given an assymmetrical black, white, red gown. Then, when she shrinks again, the Mad Hatter fashions a teeny dress for her to change into inside a teapot. First, she improvises a halter and quadruple-wrapped ribbon belt to hoist up her underskirt. This leaves Alice puzzling over what to wear throughout the film. “We made a decision that as Alice shrunk and grew, her dress would not,” says Atwood. (“It’s an iconic thing, not a bad thing,” says Atwood.) But when Alice goes down the rabbit hole and lands in a transformative new world, her clothes do too. Alice begins the film in 19th century blue party dress, which cleverly references the animated puff-sleeve creation she’s been stuck in since 1951. Costume designer Colleen Atwood, who’s won two Oscars (Chicago, Memoirs of a Geisha) and received her ninth Oscar nomination for Alice, says this line “set up Alice’s character as slightly more modern, more of a human being.” Her costumes follow suit.
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