Item: Noah´s (Russell Crowe) Ark Seige Costume
Movie: Noah
Category: Wardrobe
Celebrity: Russell Crowe
Celebrity: Russell Crowe
Description:
Noah’s(Russell Crowe) ark siege costume from the Paramount Pictures epic Noah (2015).This costume was created for the production for use by Russell Crowe as Noah in the siege on the ark sequence. It also is marked by production for use when Noah leaves Na’el (Madison Davenport) in the woods to die. The outfit includes a tunic, hooded vest, pants, and gloves. It was custom-made by production with various materials and are heavily worn to appear well-used. The clothing features no sizing information. The lot includes an original wardrobe tag from production with a photograph of the actor wearing this costume on the set,. This lot remains in fair condition.
According to Matt Reitsma (head textile artist for Noah) for this Noah’s coat fabric,Michael Wilkinson(Costume Designer) chose a rough natural linen canvas. It was pinned down to the print table unwashed right off the bolt. Layers of paints were applied- the first a wash of Dynaflow. This was applied as a wash to stain the fiber. Matt also made sure the first coat was a wet one because he wanted the fabric to shrink tight on the table giving him a smooth surface to paint on and one that would not give him a lot of "tooth" for the paint to grab on to. Next were layers of brown and black gesso, applied by both rollers and brushes. Sometimes he rushed the dry times, sometimes she allowed for a full dry between coats. He wanted to create an unstable surface for the paint so that when I washed it, it would reveal the layers of paint applied.
Once fully dry, the fabric was washed and dried repeatedly to wear down the layers of paint, creating a tar cloth effect. Once made into the garment, the piece was finished using similar paints, correcting any glaring inconsistencies and was then finished with a sheer coat of graphite to impart a waxy sheen.
He also used a technique in which I bond two fabrics together which have opposite fiber contents and texture by bonding these fabrics together, he created a fabric that can be manipulated by its content. He could dye the silk differently from the cotton/acrylic, as well as degrade the silk with an oxidizer and not affect the cotton/acrylic. In this way he could create an aged piece of yardage that appeared to be falling apart but still had the integrity to withstand construction and use. That was a technique he fine tuned on Noah and was well suited to the well worn, rough-hewn look Michael and the director wanted.The source of those fabrics were from all over the world. Michael sourced and used fabric from Morocco, India, Turkey, Italy, China, etc.
COA: Prop Store of London
Noah’s(Russell Crowe) ark siege costume from the Paramount Pictures epic Noah (2015).This costume was created for the production for use by Russell Crowe as Noah in the siege on the ark sequence. It also is marked by production for use when Noah leaves Na’el (Madison Davenport) in the woods to die. The outfit includes a tunic, hooded vest, pants, and gloves. It was custom-made by production with various materials and are heavily worn to appear well-used. The clothing features no sizing information. The lot includes an original wardrobe tag from production with a photograph of the actor wearing this costume on the set,. This lot remains in fair condition.
According to Matt Reitsma (head textile artist for Noah) for this Noah’s coat fabric,Michael Wilkinson(Costume Designer) chose a rough natural linen canvas. It was pinned down to the print table unwashed right off the bolt. Layers of paints were applied- the first a wash of Dynaflow. This was applied as a wash to stain the fiber. Matt also made sure the first coat was a wet one because he wanted the fabric to shrink tight on the table giving him a smooth surface to paint on and one that would not give him a lot of "tooth" for the paint to grab on to. Next were layers of brown and black gesso, applied by both rollers and brushes. Sometimes he rushed the dry times, sometimes she allowed for a full dry between coats. He wanted to create an unstable surface for the paint so that when I washed it, it would reveal the layers of paint applied.
Once fully dry, the fabric was washed and dried repeatedly to wear down the layers of paint, creating a tar cloth effect. Once made into the garment, the piece was finished using similar paints, correcting any glaring inconsistencies and was then finished with a sheer coat of graphite to impart a waxy sheen.
He also used a technique in which I bond two fabrics together which have opposite fiber contents and texture by bonding these fabrics together, he created a fabric that can be manipulated by its content. He could dye the silk differently from the cotton/acrylic, as well as degrade the silk with an oxidizer and not affect the cotton/acrylic. In this way he could create an aged piece of yardage that appeared to be falling apart but still had the integrity to withstand construction and use. That was a technique he fine tuned on Noah and was well suited to the well worn, rough-hewn look Michael and the director wanted.The source of those fabrics were from all over the world. Michael sourced and used fabric from Morocco, India, Turkey, Italy, China, etc.
COA: Prop Store of London
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