I-CON of Thrones panel 5 of 8: discussing Michele Clapton's costumes in the live-action series, design principles and story details she worked into her Emmy-award winning designs. THIS PANEL HAD SOME RECORDING PROBLEMS, though the actual live-action panel went well, so I patched it up as best I could by re-narrating my lecture slides for the sections that were lost. Not too much of a problem, because I intend to redo the whole thing online anyway in longer form as a sprawling three hour series - there was really only time in one panel to get through "Seven Kingdoms", but not "Beyond the Seven Kingdoms" (beyond the Wall and beyond Westeros) nor "Major Character arcs" (the costume shifts and evolutions Clapton planned for Cersei, Margaery, Sansa, Daenerys).
Even if the wigs are made of human hair, and made by the best, they still managed to screw them up. The wigs are far to thick. Natural hair is never this thick. And all the braids on Daenerys only makes this more obvious. It doesn't look like anything else than a wig. I love the costumes in general, but the wigs are really bad. When Sansa got a wig in season 7, because she was tired of having to dye her natural hair, she suddenly got way thicker hair.
I always found the perfectly smooth plastic curls as a sticking point (on top of the synthetic look of the braids). Girl has a better curling iron without electricity than I have because I refuse to believe those are rag curls.
Sidenote, I would pay so much money for Yara's coat it's not even funny.
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IN THE STUDIO WITH … HAYLEY.
British born artist Hayley Welsh, has established herself as one of the newest creatives in the Western Australian art scene. There is something quite fantastical and a little bit dark lurking in Hayley’s work. Her latest work of art was created for the URBAN NATION and kicks off “The Monster Project”. We took the chance
Live @ the museum III – “Home” by Icy & Sot.
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Retrospective – SCOPE Art Show x URBAN NATION Museum.