- [Narrator] This is Satine
and this is Christian.
You know them from Moulin Rouge.
You may remember this outfit
and, of course, this one
and then there's Christian,
but are they accurate?
We got this fashion historian...
- Hi, I'm Raissa Bretaña
and I'm a fashion historian.
- She's going to walk us through
what Moulin Rouge got right
and what they got wrong
about these looks.
First, let's establish the setting.
- Moulin Rouge is set in Paris, France
around the year 1900.
We know this from the title card
at the beginning of the movie.
As we can see in the opening sequence,
the Moulin Rouge is located
in the Montmartre District.
The story surrounds the
historical Moulin Rouge,
which was a popular cabaret or dance hall.
It is said to be the birthplace
of the famed can-can dance.
- The can-can!
- This is the height of an
era known as La Belle Epoque,
when French culture thrived in theater,
literature, music and visual art.
The director, Baz Luhrmann,
translates this time
period into a spectacle
for 21st century audiences.
I have to point out that Luhrmann is
an incredibly stylistic director,
who incorporates chaotic,
colorful sequences
with contemporary music
from the MTV generation.
So all of the costuming choices are made
to serve Baz Luhrmann's
directorial vision.
Costume designers, Catherine
Martin and Angus Strathie,
brought this sumptuous world to life,
creating a mashup between the fashions
of the turn of the 20th century
with those from the turn
of the 21st century.
I think it's going to
be really interesting
to use the 2001 film, Moulin Rouge,
as a jumping off point to talk about
the fashions of this time period.
And we have a wealth of visual information
when it comes to the
history of the Moulin Rouge.
This bohemian setting
was captured by artists
like Toulouse-Latrec,
who is also a character in this film.
- How do you do?
My name is Henri Marie
Raymond Toulouse-Latrec.
- [Narrator] Let's start with Satine's
sparkling diamond look.
- Satine is the star of the Moulin Rouge
and her character is
one part can-can dancer,
one part cabaret singer
and one part courtesan.
Her character is inspired by
actual Moulin Rouge performers
like La Goulue,
Yvette Guilbert and Jane Avril.
- [Narrator] So is this look accurate?
- This look is definitely anachronistic
and more closely resembles
a 1950s Marilyn Monroe-type pinup girl
than it does a turn-of-the-century
Moulin Rouge performer,
which makes sense for this movie
because she sings a medley that's built
around the song, "Diamonds
Are A Girl's Best Friend,"
made popular by Marilyn Monroe.
- [Narrator] So this is not accurate?
Let's draw Satine's
sparkling diamond look,
layer by layer.
First, the undergarments.
- Satine's look is basically made up
of modern undergarments.
In this scene, Satine is wearing panties,
a garter belt, stockings and a corset.
There is a lot of inaccuracy here.
Instead, the first thing a can-can dancer
of this period would put
on would be a combination.
It is literally a combination
of a chemise and drawers.
This garment would feature a split-crotch
for convenience.
This split-crotch feature
made the can-can dance
all the more scandalous
because when dancers kicked their legs up,
all would be exposed.
Legend has it that Baz Luhrmann wanted
to incorporate this authentic feature
but had to cut it at the
risk of getting an R rating.
Satine is wearing fishnets here
but she would actually be
wearing black stockings.
For the most part, Moulin Rouge
dancers wore black stockings
which best showed the line of the leg.
Existing images from the period show
black stockings fastened above the knee
with contrasting white garters.
- [Narrator] And then the next layer.
- Over the combination,
Satine would wear a corset.
It would be different
than the one shown here.
The corset would be an hourglass shape
that would mold the torso into
the fashionable silhouette,
which you can see on can-can dancers
here and here.
A contributing factor to
the narrow waistline was
the practice of tight-lacing,
which became popular in
the late 19th century.
Satine actually blames
her fainting in the movie
on the tightness of her costume...
- Oh these silly costumes.
- But we know she has consumption.
Corsets opened at the center-front
with a steel busk closure
and had laces in the back for tightening.
- [Narrator] Next up, the petticoat.
- Satine might be wearing
a style of petticoat
that was designed specifically
for can-can dancers.
Can-can petticoats were notable
for their shorter length,
which revealed the calves and ankles
when at rest.
The underside of these
petticoats were lined
with rows of ruffles,
which came to life when
these skirts were lifted
to expose legs and all.
The dancers in the film
do have ruffled petticoats
but I noticed that they're very colorful.
Instead, the petticoats would be white
like the undergarments of the time period,
which was considered erotic.
- [Narrator] And that brings
us to the fourth layer.
- So there were many
variations on costumes
for performers at the Moulin Rouge
but a leotard would not be one of them.
There are a few common elements
in Moulin Rouge costumes
from this time period.
Take a look at this image
of La Goulue, for example.
You can see she wears an ornate dress
with a tightly fitted bodice
and a skirt that's shorter
than would be acceptable
for everyday wear.
In photographs, Moulin Rouge dancers are
almost always holding their skirts up,
so it's hard to tell how
long they actually were.
Because it was legs that were eroticized
and the main focus,
you actually see higher necklines
and shorter skirts all around.
La Goulue's costumes often
featured ruffles at the neckline
that echoed the ruffles of her petticoat.
Costumes like this were
the peak of eroticism
at the turn of the century
but the sex appeal just doesn't translate
to the 21st century audiences.
- [Narrator] And then the shoes.
- In her performance look,
Satine would likely be wearing black shoes
to continue the line of the
leg and the black stockings.
These shoes usually featured a low heel,
which dancers could hang onto
when holding their legs up.
A higher cut or strap would be necessary
to secure the shoe to the foot
during all of the wild
kicking and frenetic dancing.
- [Narrator] And next up, the hair.
- Here, Satine's hair is worn back
with cascading curls
and this was not a common style.
Satine's hair would've
been worn in an updo,
not just for dancing
but for everyday life.
La Goulue famously wore her hair
in a knotted bun that
sat high atop her head
with a full set of bangs.
We see a similar
hairstyle on the character
of Nini in the film,
who's based on a real life
Moulin Rouge showgirl.
Interestingly, the leading ladies
of Toulouse-Latrec's
posters are all depicted
with bright red hair.
So, in that sense, Satine's
flaming trusses are accurate
but we are missing the updo.
- [Narrator] And then there's the makeup.
- Satine wears a pale, powdered face
with painted lips, rouged cheeks
and dark eye-makeup.
In the late 19th century,
the use of cosmetics often reflected
a woman's place in society.
Less reputable, or
supposedly immoral women,
like actresses, courtesans
and prostitutes,
would apply makeup quite heavily.
These so-called "painted
ladies" would layer
on noticeable shades like bright white
with red accents.
Even reputable women would accentuate
their fashionably pale
complexion with rice powder.
This is depicted in a painting
by Toulouse-Latrec entitled "Rice Powder."
- [Narrator] And then the final layer.
- Here, Satine wears a
diamond-trimmed top hat,
which is not so accurate.
Headpieces were considered an
essential part of a costume
and were often used to
set a leading lady apart.
La Goulue stood out from the crowd
by wearing a distinctive hair comb
that resembled a tiara.
You can see it here.
We won't see female cabaret
singers wearing men's top hats
until the early 20th century.
- [Narrator] So here's what
Satine would've looked like,
compared to the original from the film.
Let's move on to Satine's
red evening gown.
- [Raissa Bretaña] This
costume has become a piece
of film history itself.
- [Narrator] But is it accurate?
- Well, not exactly.
The main departures from
historical accuracy are
the bustle in the back
and the shortened train.
- Oh, of course.
- [Narrator] Now, we're gonna
draw every layer of this look.
The first layer would
be the undergarments.
- The undergarments
would be similar to those
in the first look.
The combination, the
stockings and the garters.
The corset for this look
would also be the same.
- [Narrator] The next layer
would be the petticoat.
- The petticoat would follow
the fashionable skirt shape
of the period,
which was a fluid line with a flared hem
and a slight train.
In this example, rows of cording
and a ruffled flounce help to create
that fluted hem.
- [Narrator] Next up, the dress.
- How do I look?
- Overall, this dress tends
to read very contemporary.
Though, it does have aspects
of fashionable evening wear
from the turn of the 20th century.
This gown has the wide, deep neckline,
the narrow waistline and the fluted skirt.
A similar red evening gown by
the House of Worth can be seen
in this 1898 portrait of socialite,
Edith Kingdon Gould.
The back of the bodice
features a lace-up closure,
which was prevalent in
dress during this period.
An inaccuracy here is that the dress lacks
the train that's commonly seen
in women's evening wear.
Satine's dress features a
bustle of stacked pleats.
This is not accurate
as bustles had all but
disappeared from women's fashion
by the 1890s.
The costume designers might've
chosen this design feature
because bustles are a visual shorthand
for the second half of the 19th century.
- [Narrator] And then the next layer.
- Satine accurately wears a
pair of opera-length gloves,
which were an essential component
to fashionable evening wear.
These gloves, which
extended above the elbow,
would've been made of
silk, suede or leather.
Most women wore white
or light-colored gloves.
But Satine's darker choice is a nod
to the famous Moulin Rouge
performer, Yvette Guilbert,
who was known for wearing
black opera-length gloves.
- [Narrator] And then we have the shoes.
- We can't see what
shoes Satine is wearing
because her dress does
go down to the floor.
But evening shoes featured a curved heel
and were made from either silk or leather.
These were made to order and could be dyed
to match a specific evening ensemble.
- [Narrator] Onto the next layer.
- Jewelry plays an important role
in Satine's characterization
and she is especially fond of diamonds.
♪ Diamonds are a girl's best friend. ♪
- Jewelry with precious
stones was typically worn
by upper class women,
but they could also be found
on well-positioned courtesans
as you can see in this
image of Liane de Pougy.
And we have to mention
the three million dollar diamond
necklace that Satine wears
later in the film.
It features 1308 diamonds and
is the most expensive piece
of jewelry made for a film
and it looks like it.
- [Narrator] Anything else?
- Fans were a chic
evening accessory and were
carried when attending
the theater, the opera
or other forms of entertainment.
The most opulent fans were made
from large ostrich feathers.
- [Narrator] On to the next layer.
- In the two moments that we
see Satine wear the red dress,
she wears her hair in two different ways.
First, we see it pinned up
and later we see it down, in waves.
Again, the first style
is closer to correct.
Hair would have been upswept,
with curls piled high atop her head.
Some styles featured
fullness on the sides,
which was a precursor to
the Edwardian pompadour,
which would be fashionable
in the years to come.
- [Narrator] And finally, the makeup.
- The makeup here feels pretty accurate.
It's the same as the previous look,
although slightly less
outwardly theatrical.
More akin to society makeup techniques.
Respectable women with
a higher social status would've
applied makeup more subtly
to create a natural flush.
- [Narrator] So here's
how Satine would look
in evening wear if this
were historically accurate.
Finally, let's get into
Christian's white tie look.
- There's a lot to say here.
Men's formal evening wear would be
what we now call "White Tie."
The evening suit was the
uniform of the grand monde,
which was the glittery set
that epitomized the
French idea of high life.
Men's formal wear has
evolved little since then.
The same basic elements remain
and the overall look
is familiar to us now.
- [Narrator] Let's get into the layers.
First up, the undergarments.
- Regardless of the occasion,
Christian would be wearing full underwear
to protect the outer clothing.
This would either be a one
piece combination called
a union suit or individual
undershirt and drawers.
He would also be wearing knitted socks,
held up by sock garters.
This is because elastic
threads that helped socks hug
the leg and stay up were not yet invented.
- [Narrator] The next layer,
the shirt and collar.
- Christian wears a crisp
white shirt and collar.
Optional was a removable
shirt front, or bib,
which would be heavily stiffened
and created an even more rigid silhouette.
The shirt would be made of white cotton
with a stiff, starched front,
flat with no pleats.
Detachable collars fastened to the shirt
via a collar stud.
We can actually see the collar stud here,
when Christian removes his collar
for the "Elephant Love" medley.
Some of these collar shad turndown wings
but the most formal
ones stood straight up.
These were remarkably high,
standing up four or five inches.
These detachable collars would
not have been comfortable
but men were used to wearing them.
- [Narrator] And then the next layer.
- Dress shirts did not
typically have buttons
but instead, finished holes for studs.
His shirt would have
likely had French cuffs,
which would be turned
up before being fastened
with cuff links.
Studs and cuff links were
often purchased as a set
and could be highly decorative,
using precious stones and
other luxurious materials.
- [Narrator] And the next layer,
pants and suspenders.
- From where we can see
of Christian's pants,
they seem to be pretty accurate.
Pants were cut pretty
straight in this era,
with pleats at the front hip.
Pants would've been held up by suspenders
and those would've been white for evening.
- [Narrator] The next layer,
the vest and bow tie.
- Christian wears a cream-colored bow tie
and a red vest.
Christian's vest is
likely a costuming choice
to make him standout against
a crowd of white vests
and to convey his bohemian spirit.
- You're not another of
Toulouse's oh so talented,
charmingly bohemian, tragically
impoverished protege?
- Well, I might say that.
- [screams] Oh no!
- I don't think anyone trying to pass
for a respectable gentleman would choose
a red vest over a traditional white one.
The fashionable evening
vest was cut very low,
exposing much of the shirt front.
The vest was rather fitted,
in keeping with the
fashionable male silhouette.
These vests often incorporated
an elongated shawl lapel
and fastened low with
two or three buttons.
- [Narrator] And the next layer.
- Christian wears a tailcoat,
which is the most formal
jacket in men's evening wear.
The tailcoat was also termed a dress coat
to differentiate it from a dinner jacket,
which later became known as a tuxedo.
And the tuxedo, if you can believe it,
was considered the more casual option.
- [Narrator] What makes
the tailcoat different?
- It's cut rather short in the front,
ending at the natural waistline,
with tails that extend
back to behind the knee.
The dress coat is never buttoned,
it's worn open to reveal
the shirt and the vest.
The lapel was made of
a contrasting textile,
either a silk satin or a silk [murmurs].
Just as Christian wears it,
true evening suits were always black.
- [Narrator] After that, the shoes.
- We don't get a good
look at Christian's shoes
but traditional men's formal
shoes were called pumps.
These were made of patent leather
and featured a low square heel
and a [murmurs] bow that adorned the toe.
- [Narrator] And finally,
the hat and gloves.
- Christian wears a top
hat and white gloves
and these are the accessories
that complete the look.
The top hat is the most
distinctive accessory
in men's formal evening wear
and the movie makes quite
a spectacle of this.
Moulin Rouge dancers were actually famous
for kicking the hats off of
the heads of male patrons
without using their hands.
Top hats were covered
in either silk, velvet
or brushed beaver fur.
Some varieties were collapsible
and could be stored flat
when not being worn.
You can see Christian's
white gloves sitting
on the table here
and you can also see white gloves on
many of the men attending
the Moulin Rouge.
Other optional accessories include a cane
or a flower in the button hole
of one's lapel.
Overall, this is a convincing look
because he is mistaken for the duke.
- I'm not a duke.
- Not a duke?
- I'm a writer.
- [Narrator] Conclusion.
- These costumes capture
the essence of the time period
and the departures from
historical accuracy are deliberate
and meaningful.
Overall, the costume
design perfectly serves
the story, the characters
and the director's vision,
which is always the goal
of film costume design.
