tv Doc Film - Marlene Dietrichs Last Dress Deutsche Welle December 30, 2017 3:30am-4:01am CET
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is of course the star big stars like marlena were like fixed stars in the night sky a shining light in a dark tunnel. and climbing for a small figure moved closer but it was like some kind of movie effect where you couldn't see that she was actually moving and then on stage she said in a breathy voice on hey boys are. my limit to precisely how to seduce a crowd in the one nine hundred fifty s. . she began her second career as an entertainer in las vegas her shows in the congo room at the sahara hotel were a smash hit even though she was on stage for just twenty minutes a night. with
marlena everything was perfect every gesture the way she positioned her fingers. she was an ultra glamorous figure. but it was more than that she was radiant like a supernova that suddenly appear that is her legacy it's like mice in porcelain or ten carat diamond this is not the amount. that. some of the more breathtaking costume designs are stored here at the marlena detention archive in berlin. was now in her early fifty's her hollywood glory days were over but she still long
to play to an audience in one nine hundred fifty three the sahara hotel made her an offer she couldn't refuse thirty thousand dollars a week for three weeks the most lucrative contract in las vegas and more than she had ever earned before in return plan to offer her audience something really special. she'd set new performance standards maximum glamour and minimal costumes. everyone was happy. the headline reads london doesn't want to see this this photo underscores the fact that this costume was intended to convey the impression of unabashed nudity so this piece was a reaction to her one nine hundred fifty three shows in las vegas before the london show in one nine hundred fifty four the german press was sharply critical. of even
referred to her as a grandmother and she didn't like that at all. but lena was a secretive person and disciplined as well she tried to circumvent the process of aging to break the power of aging and. she wasn't a great singer and she knew it so she used racy customs to enhance her performances . she was past fifty and was wearing these nearly nude outfits. that was really rather provocative. the designer behind those costumes was john we in the one nine hundred fifty four letter to him i adore you.
want is on the way to work for her but he was under exclusive contract with columbia pictures still she managed to work out a deal with the studio john louis' designs were legendary rita hayworth in the one nine hundred forty six film gilda. wore the gown worn by marilyn monroe at a nine hundred sixty two birthday celebration for president john f. kennedy. money that the cons milan had very clear ideas and she knew that john we understood her it was pretty amazing as she wasn't easy to work with she knew exactly what she wanted her performance to look like and that's because i would have liked to have met my lena but as an artist i think she made life extremely difficult for does. miners and others who worked with her are designed that it's just. a. push on the way made each fish part of the creative process and together they design costumes that made her an icon.
would provide the designer with some preliminary concepts like this one for a full length coat made of swan down. venditti proposed a project that was close to her heart a costume that would light up she wrote about it to john louis in great detail. december sixth one nine hundred fifty eight. dearest joan i could have shown you what i want on that old sketch that you made with the white flowers. the pink sketch is actually closer to what i want but how can we hide the cable and the light bulbs under the flop petals on the dress. and the garlands us to the problem i think the coat will get in the way perhaps we could use an office cat and the gollum's would reach up to the blouse.
as in mind as she wanted something that would glittering glow from top to bottom. as the sets but now that i've read her instructions again it's very hard to imagine . for me i. think of the technology back then the electrical cables and the light bulbs and the ball fittings she definitely have to carry around a lot of stuff and that's all stuff most of you. but perhaps today's technology could be used to create such a costume. for lin designer lisa lange is the founder and c.e.o. of electro quit tour a company that creates high tech fashion. lang also organizes the fashion tech awards in berlin. the age of wearable technology has begun at length studio her team creates designs that combine contemporary fashion and smart devices.
lange loves a challenge and as a fan of marlena detach she agreed to create a fashion tech dress fit for the diva. the spot of yes look this was my first jacket with lights we've come away since then the l.e.d.s. were a little bigger then that was three years ago but this jacket was already interactive then it has its own sim card so it's even got its own phone number you can send a text and alter the sequence. the technology has become more sophisticated in distress designed by on your dog on the l e d's are simply sent on into the fabric.
the most to. is the effect we've got to find a way to make the dress light up. almost sixty years after melina details came up with the idea liza and i started working out a high tech costume that might meet the star specifications. for inspiration they visit the archive of the marlena ditches collection in berlin. if. i was on the district here's a very unusual item from columbia studios we have to handle it quite carefully. linda had a fairly short torso and very long legs she was about one meter sixty seven tall or one sixty eight. centimeter. that's
different than manic and. they're bigger. yeah yeah this shape is. very strong on the waist is super small. always stood with a bit of a hollow back leaning back a little. some of the fabric was removed so that the length would work. in the back sides very flat and yeah. this is the wind. it's composed of many layers of extremely sheer. fabric. when she worked she used a wind machine machine. does it is the stuff on and some of the material would be blown against her body
and some would be blown behind her back when that happened she looked like a greek goddess. only i just was on the lie detector always underlined those things that she considered important as she wanted to know for example whether a tight skirt would cause problems. of course there wasn't any spandex back then maybe double softly soft schools. this is what the souffle weave looks like the work threads don't go all the way through their twisted and secured by a weft insertion. is a bit more flexible than say she fun but you really can't stretch it so the material would tear if she'd bend over too far for a boy or raise an arm too high and it's a skill. to do this in
my performances were quite static she just stand there and sing in close like this she could move much i can. only work. if you could only do that by hand that's all hand crafted and yes climbing up thinner and thinner to possums as this material became more transparent as it rose upwards on going up. there was no embroidery over the bust it started from that point downwards. so as i was it was supposed to create a new look with no visible seams or anything and since and rosita stone you can see that there was embroidery covering the bottom parts of the bus to the. not the top parts. wish to. do must because if you are stage performer you have to make yourself larger than
life that's what makes you a star. these are swarovski crystals and here are some of the embroidery samples. marlena and the seamstresses used to send lots of samples back and forth marlena would inspect them and suggest improvements off the end. of. the. movie. but even feathery costumes like this with thousands of sequence were not enough for the trish she demanded more illumination for maximum visual impact.
for. oh i've got goosebumps. looks like if this. yeah right this is what it's for. and this time she wanted to work with light and play around with the. light was quite important to her for example the way her face was lit it all makes sense ties in with. the noise of the stage lighting planes that we have here in the collection were very sophisticated. as they outlined the various effects to be achieved with each song in each costume so that they smuggled. in all this there is a list of things to pay particular attention to and things to avoid. and which
song with which lighting concept is ignored the most. likely that merlin is surrounded herself with the best staff possible so. here are some color filter tests everything was worked out in advance from the very first second of the show to the very last it's something that's. so let's see quick is of that's not tradition. she was trying to reinvent herself to create a new stage character and so she instinctively pushed the limits she says in effect . i'll just go out there with the lights on really it's up commandant wouldn't. just. it's a flower dress. and there's
a lot of details. that are that we thought about while designing and we decided to go for a combination of inspiration actually comes a bit from this era but we will make a very modern because i think that's why it's she would want us well and now that we have the technology to make actually what she wants us or the mindset is like my leader is our customer you know but what would she want and look would we do in two thousand and seventeen of course is the show piece it's a piece for stage so it has it can go a little bit there raese and the death of the devil course that also means we're going to use all of the technology which we have in two thousand and seventeen which didn't exist nine hundred fifty eight and she would have one that i think she would have had so much fun with the laser cut and if we keep interest. it will be also covered it's no skin and program human all so the interest will be also
interactive. don't worry about the technical side all might be electrical contact with my forte the cable will run to a small place on the sole of my shoe the contact plate on the stage floor will be powered from the mains. to the very good third for the floor one of those something big and wall and glowing. that way i can turn the lighting on and off at will this will puzzle people and that's good they won't know if they imagine the light or not. she's going to step onto this kind of metal plate and she's going to short the secrets are going to look closer and there's a good glow that's her idea but it's incredibly dangerous this is. this it's already and yellow they're literally solution to everything there has to be like. robots because we would like to ensure that we are now working on the base stress
that. we will create. and this will be the plaster on i os there are going to work on. this which space company foster home has been producing top quality embroidered material for the world's leading fashion houses since one thousand know for. these days they also weave conductive thread and l.e.d.s. into the delicate material to produce the same effects that marlena d.t.h. sought to achieve. oh. this is.
funny. ok. this is. what you. offer us to think you. yanks think. all students are going to ask how do you know this. if. you're not. you know. you can learn to see how thick not. can save a lot of problems they had back then like huge stress to hold all the flowers they need embroidery because without it it would look cheap but if there was some brother it could think that heavy now this we can make kind of a new pretty much transparent dress with embroidery with the embroidery.
so there's actually a perfect solution for what she was asking for in the year fifty eight. teachers and just kids will. start. to think it's also because from i think tricity engineering point doris things to a perfect high for the cables. and she spent a lot of time educating us how appalled and across the tuning. it will be easy to run the cable along the fast and. the large flowers present a problem i know but the small ones look it's. because it's really it's really difficult to. understand what kind of style of flowers she wants because i think it too small to like to see. now
it's time to get to work on the details hundreds of flowers will be produced with a three d. printer and a laser cutter and also by hand. we can't use the plastic flowers which come with wiring. some of them not beautiful but the light bulbs in the middle the two obvious. to the z. . she was good at figuring out worst case scenarios as. we as designers always have to consider both the worst and best case scenarios and the. same idea can look great. for off the options for. the night to work only if they replace the embroidery and the sparkle but they have to be hidden. we need lots of flowers and lights. a border alone would look like a christmas tree. i'm
sending you flowers from italy. i can get about harry we need also a lot of colors. yes your eyes and sure as where you will have flowers with lights. but the light will be hidden so you know. if everything is sparkling they'll take a while to work out where the globe is coming from. to. kids right now i'm marking the line well we'll probably put the organza. if we're going to put more flowers and things on this delicate material we're going to have
to reinforce it. because it is still the cutter stuff and this is understood. as a. box anyone who takes on the task of designing costumes that would be worthy of my lane a date has to realize that she was one of a kind of million americans. teachers had a good laugh over this playboy magazine cover she wrote often imitated never equalled. lisa laying on your dog and her team have worked for weeks on this project and now they've made my limit each person dream a reality this costume is light as
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