No, you didn't miss the first 17 parts to this post, I am just trying to make the point that quite often I watch a film that I just want to leap straight into then and there. I will have almost lost sight of the story for a split second and just immersed myself in the interior and/or clothes. One section of the my art deco sideboard/TV cabinet is devoted to a very special stash of films that I find generally lovely, or from a design point of view, inspiring. Another film joined that exclusive club last night and that was "The Danish Girl" which I finally got around to watching after a friend reminded me of it. She wrote to say how wonderful the interiors were and I remembered I had bought the DVD so last night when hubby was out practicing with his band, I lit the fire, turned down the lights and jumped in.
photo by Annie Leibowitz for Vogue magazine
Beautiful and achingly sad story aside, the art nouveau and art deco sets by production designer Eve Stewart and set designer Michael Standish stood out. I felt the colour green was almost totally missing (except for one scene in a gallery - I love all the paintings being framed in black and hung against the dark green wall)
and instead there were greys, sludgy blues, dusky peaches and pinks, golden yellows every so often enhanced by a dash of red.
(I am glad to see they have problems with their rug rucking up too and I have proof, and can tell Mr E, that one can never have too many piano shawls). The story takes place in the 20's and moves between Copenhagen, Paris and Dresden and was filmed there, and at locations in Brussels and London standing in as well. It is another example of the production and set team using a palette of colours to subconsciously move the story along. How appropriate as it was about two artists. As one, Lili, literally finds herself, the colours move away from the blues and greys, as in their original studio in Copenhagen,
into warmer pinks, oranges and yellows.
How wonderful is this department store set (I believe created in a ballroom at the Sheraton Park Lane Hotel London). The art deco details are just gorgeous.
I have mentioned the architect and designer Victor Horta in my previous post on Art Nouveau, specifically his famous house in Brussels. I was delighted to see the interior of another of his Brussels projects used in the film (although it was supposed to be in Paris).
photo from daniellaondesign.com
I applaud the story for being told and the actors for bringing it so wonderfully to life, but for me, it belongs in my special collection because of the artistry of the fashion, interiors, sets and cinematography. In this case, both the art deco and art nouveau details can easily be created with stencils which is probably why both are extremely popular ranges here at The Stencil Library. What are your favourite and most inspiring films for interiors and decor?