Costumes and Capitol Couture Collection in The Hunger Games: Catching Fire to be Presented at Net-a-porter

Online luxury store Net-a-Porter has partnered with Lionsgate for the Capitol Couture Collection as seen on The Hunger Games: Catching Fire movie this November. It will feature 16 ready-to-wear designs of Trish Summerville. The collection will range from streamlined silhouettes, laser-cut leathers to dramatic evening gowns. You can visit Net-a-Porter at http://www.net-a-porter.com/capitolcouturecollection. You can also sign up to be notified on some updates from fashion designer Trish Summerville. You can read the press release below:

LIONSGATE PARTNERS WITH NET-A-PORTER.COM TO LAUNCH EXCLUSIVE FASHION COLLECTION INSPIRED BY “THE HUNGER GAMES: CATCHING FIRE”

NET-A-PORTER Presents “Capitol Couture by Trish Summerville” – A New Fashion Collection Designed by The Film’s

New York, NY and Santa Monica, CA September 4, 2013 – Lionsgate (NYSE: LGF), a leading global entertainment company, and NET-A-PORTER, the world’s premier online luxury fashion and beauty retailer, today announced an exclusive fashion partnership for “The Hunger Games: Catching Fire,” the highly anticipated second film of the global blockbuster “The Hunger Games” franchise.

The luxury clothing line “Capitol Couture by Trish Summerville” consists of 16 ready-to-wear pieces as well as jewelry and leather goods inspired by “The Hunger Games: Catching Fire” and designed by Trish Summerville, the film’s Costume Designer. The collection will be available exclusively on NET-A-PORTER this fall in time for the film’s worldwide release on November 22, 2013.

“I am extremely proud of the designs that we created for ‘The Hunger Games: Catching Fire’ and there’s no partner more appropriate for ‘Capitol Couture’ than the world’s most cutting-edge luxury retailer,” Summerville said. “I can’t wait to share it with the public through this exclusive partnership with Lionsgate and NET-A-PORTER.”

Holli Rogers, Fashion Director, NET-A-PORTER.COM, stated, “When we were approached by Lionsgate to offer the collection by Trish Summerville to our customers exclusively, we jumped at the chance. Our customers take their style cues from myriad sources, from the latest runway shows and street trends to TV and film. Fashion plays an important role in ‘The Hunger Games’ series and is especially prevalent in ‘Catching Fire’, and fans of the franchise will see the film reference in the collection. This is also brilliant fashion in its own right, and we’re delighted to provide our customers with the chance to purchase limited-edition pieces designed by one of the most original costume designers in the industry today.”

Tim Palen, Lionsgate’s Chief Marketing Officer, said, “In the world of ‘The Hunger Games,’ one of the ways the Capitol defines itself is through fashion. When we launched Capitol Couture online (capitolcouture.pn), it took off and quickly became an out-of-world experience for both fans of the franchise and those obsessed with the future of fashion. Trish Summerville’s Capitol Couture collection for NET-A-PORTER is a brilliant, elegant and chic extension of this effort.”

Summerville will be honored this evening as Costume Designer of the Year on behalf of her work for “The Hunger Games: Catching Fire” at the 10th Annual Style Awards, which kicks off Mercedes-Benz Fashion Week in New York. Summerville has also won the Costumer Designer’s Guild Award for her work on director David Fincher’s 2011 film “The Girl with the Dragon Tattoo.” She has designed award-winning costumes in music videos from top recording artists including Justin Timberlake, Pink, Janet Jackson and The Black Eyed Peas. Her work can also be seen on Showtime’s “Ray Donovan” as well as in commercial campaigns for Apple, Nike, Heineken, Tanqueray, Volkswagen, Diet Coke and Chevrolet.

“The Hunger Games: Catching Fire” stars Academy Award® winner Jennifer Lawrence alongside Josh Hutcherson, Liam Hemsworth, Woody Harrelson, Elizabeth Banks, Lenny Kravitz, Philip Seymour Hoffman, Jeffrey Wright, Sam Claflin, Jena Malone, with Stanley Tucci and Donald Sutherland. The film is directed by Francis Lawrence, from a screenplay by Simon Beaufoy and Michael deBruyn based upon the novel “Catching Fire” by Suzanne Collins and produced by Nina Jacobson and Jon Kilik.

“The Hunger Games: Catching Fire” begins as Katniss Everdeen (Jennifer Lawrence) has returned home safe after winning the 74th Annual Hunger Games along with fellow tribute Peeta Mellark (Josh Hutcherson). Winning means that they must turn around and leave their family and close friends, embarking on a “Victor’s Tour” of the districts. Along the way Katniss senses that a rebellion is simmering, but the Capitol is still very much in control as President Snow prepares the 75th Annual Hunger Games (The Quarter Quell) – a competition that could change Panem forever. The novel on which the film is based is the second in a trilogy written by Suzanne Collins that has over 50 million copies in print in the U.S. alone.

The first installment of “The Hunger Games” was the 14th highest-grossing North American release of all time on its way to grossing nearly $700 million at the worldwide box office.

“Capitol Couture by Trish Summerville” will be available exclusively at NET-A-PORTER in November. Sign up to be notified of the arrival of the collection at:
www.net-a-porter.com/capitolcouturecollection

Catching Fire Designer Trish Summerville Talks Costume and Design

In a recent interview with Entertainment Weekly, Trish Summerville was able to gush about the costume and design in The Hunger Games: Catching Fire. Find out more below.

Entertainment Weekly: How have the past 18 months or so been for you?

Trish Summerville: [It’s] been a little hectic. I guess I kind of went from Dragon, which I was on from start to finish — including the H&M line — almost 18 months, and from that right into doing the pilot for the Showtime show Ray Donovan, which I just got to see. They had a screening and a premiere, and it was a great time. It looks really good. I’m really excited. And I kind of went from that into Catching Fire. It’s been great, it’s been a lot of work but I like to work a lot, so it’s been really nice. It’s been a really great whirlwind and I feel really, really fortunate because the last few projects that I’ve been on, even though they’ve been a bit challenging at times, I feel really fulfilled, and I’ve gotten to work with such a great group of people. Especially when you look at all of the directors and actors involved.

Was there a person or a designer or a look that really got you interested in design?

Oh, well, I don’t know. That’s so long ago! I think from junior high up I knew I wanted to do something kind of in fashion, but I wasn’t really sure what it would be. I think then, it’s like, I really followed, if I was thinking like clothing lines, it would have been a lot like Blondie. I was really into Blondie, and Billy Idol, and I think it was a lot of being creatively driven by a lot of musicians. At that time I didn’t even know I would work with musicians, like I didn’t even know if [people] really did that. I thought, “Oh, you know, they probably just get a lot of their own clothes.”

Between Blondie and just looking at anything that Jean Paul Gaultier did, that’s when I realized, “Oh my God, there’s such a big world out there of so many creative looks, and opinions, and what is considered fashion.” Because, you know, I’m from New Orleans, so it’s like, we have our own kind of crazy characters that live there, but there was nothing like that. And I was in the punk scene when I was young. I kind of went from mod to a bit punk. I think it was just part of the trends, of Blondie and Gaultier, seeing those people and what they did made me realize. And Vivienne Westwood, because at that time I didn’t know Vivienne Westwood, who was responsible for a lot of the Sex Pistols’ fashion. I think that just kind of prompted me into thinking outside of the box, what was considered the norm and what was considered fashion, what was more like street fashion. I was into it, and musicians.

Who are your inspirations these days?

There are some designers that I really, really love and am inspired by, and aren’t always applicable for things. For the last, I guess it’s almost two years, I’ve been really obsessed with Iris van Herpen. The stuff she does is so groundbreaking and technical, and architectural, that she really just blows my mind. And she’s so young. The techniques she comes up with and all this 3-D fabrication she’s doing, and holograms, and just the materials that she’s using, and the structure that she does, the applications, and the shoes. I just think she’s really phenomenal. She did a pair of shoes she called the Fang Shoe, which I was obsessed with. I know she just did a water dress, but there was quite a bit before that.

Was there one look you created that you would say changed everything for you?

One of the funny ones, I guess, that got talked about was the David LaChapelle video for Christina Aguilera’s ”Dirty.” [The chaps] got a lot of attention. And it was just so funny because everyone kept calling them “ass-less chaps,” but in general, chaps don’t have a bum. Good or for bad, that definitely got a lot of attention. When I look at what I think was kind of pivotal, it’s Lisbeth Salander’s look from The Girl With the Dragon Tattoo. I wanted it to be really authentic and it was very genuine, as opposed to when you do a lot of music stuff it has a lot of flash, it has to make a statement and be bold. Whereas what I really enjoy about film is that you have this character development. It’s about those authenticities of what that character would really do and how they function every day in life. It’s not just about fashion. Like with Lisbeth, we went fully for function, the function of her clothes and what she could find, and how she would really wear it in her life. You know, the drop-crotch pants with the tight-fitted leather jacket, the fingerless gloves, and the taped-up combat boots. I think was a really iconic look.

What was the last look that you designed?

The last thing I designed would have been, I guess in Catching Fire, some of the looks in that are pretty intense, very colorful, so that was great fun because it took me completely into another world that’s not particularly my aesthetic. I like a lot of muted tones and unsaturated, washed out… and that was great because it propelled my mind to think in a really different manner because it is quite over the top. It’s kind of futuristic, but it’s not sci-fi on any level. It’s really bold and really colorful and quite campy at times, then it gets really serious. I tried to bring a little bit of darkness to it, you’re seeing a world that was already created in a book. You want to try to be really respectful to the writers, and you want to be respectful to the fan base, but then you also have to figure out what works visually and what you can bring to it as well. [And] I did the second installation so there’s certain things you want to be respectful about for the characters from the first one, but then also show a period of growth and transition.

I love the Peacekeepers that I did. I wanted to make them look a little more menacing, kind of insect-like. I draw a lot in my inspiration boards from different projects, a lot from nature, and animals, and insects. I just think that there’s so much there, in silhouettes and colors. The colors, they’re amazing, when you look in the insect world, and at in animals and nature. I wanted to make these Peacekeepers… after the first film, I felt like they needed to be bumped up a bit, because of what was going on in the second film with the rebellion that’s starting. I felt that we needed to show a transition, that the Capitol is stepping up its forces and making it much more intimidating and fearsome. So I went for this sort of spiny, praying mantis sort of look for them.

About your inspiration board, can you tell me what kinds of things are on it and how they inspire you?

For each project I do a new inspiration board. For Catching Fire I think we had probably 30, 40, 60 inspiration boards, because I did them for every district and every kind of character we had. On my personal board I have some photographs of native Americans, the Maasai tribe up, which I love, the east Indian painted elephants used for weddings and ceremonies.

Whether it’s for my designs or for my own aesthetic pleasure I’m really drawn to, tribal, native, cultural ways of dress. They’re so interesting and intricate, and generally have beadwork and metalwork. I also like the ideas that there’s this traditional, ceremonial fashion, but also this function. Like, I just recently purchased an image from a water.org benefit and they do this hike up Kilimanjaro to raise consciousness about clean water. There was this image that I just loved, and it was probably 20 Maasai women, in white beading and accessories, and I just loved that they all have on contemporary shoes. People go there and trade things for their jewelry and their cloth and things like that, and so this image is just all these beautiful Maasai women in traditional garb, but then they’re all wearing sneakers and flip flops. I like that. I like that they’ll make bracelets out of Coca-Cola cans. They take what they have and then make it functional and use very interesting forms of adornment.

What else is on your personal board right now?

I have an image of an Iris van Herpen dress.

How does that inspire you?

That one inspires me just because, it looks very insect-like. It’s so modern but it’s really structural, and I love the silhouette of it. It’s very extreme. I have some [pictures of] Haider Ackermann designs. I think he’s really genius and really chic, and his clothes are quite beautiful and really sexy. I have pictures of rocks and stones because I’m interested in doing a jewelry line. I’ve been doing some sketches, and on my table I have a lot of loose stones and rocks. There’s a piece of barbed wire from a bracelet I made. And then, on the funny side of me, there are some inspirational quotes that I put up from time to time. I have a picture of Obama and the Dalai Lama, some family photos.

What are you working on next?

I’m working on a movie, hopefully next year. It’s under wraps still. I’m crossing my fingers it’s shooting in [Los Angeles], which would be amazing. I live in Los Angeles. I hear the talk of Old Hollywood and how everything was shot here, but now so much stuff is shot outside of town.

Effie and Katniss’ Dresses in Their Capitol Couture Portraits Are Inspired by Alexander McQueen

Yahoo! Lifestyle UK and Ireland has reported that the dresses worn by Katniss and Effie on their respective Capitol Couture portraits were inspired by the creations of popular fashion houses Alexander McQueen and Christopher Kane. 
Sarah Burton OBE designed the red dress on the left, which is very similar to the one worn by Elizabeth Banks as Effie on the right. Burton also designed the wedding dress of Kate Middleton.


The one being worn by Jennifer Lawrence for the Capitol Couture portrait below (right) was similar to ones created by the Alexander McQueen fashion house. This is also part of the AW11 collection and was presented at Paris Fashion Week.



On the other hand, the one worn by Katniss during their victory tour (not the portrait) was also inspired by other Brit fashion house, which is Christopher Kane.



The fashion designer for Catching Fire is Trish Summerville (The Girl with the Dragon Tattoo).

Katniss’ Wedding Dress in Catching Fire is the Dres SheWore on the Portrait Confimed by Trish Summervile

Trish Summerville, the costume designer for “The Hunger Games: Catching Fire” has confirmed via The Hollywood Reporter that the dress worn by Jennifer Lawrence on her Katniss Capitol Couture is indeed her wedding dress. I guess this will be the one she will wear during her interview with Caesar Flickerman.

On Katniss’ flaming mockingjay gown”
 

“Katniss’ white gown is by a designer named Tex Saverio in Jakarta. He is amazing!  I found his designs quite some time ago and saved his information for a perfectly fitting project, then came Catching Fire – perfect!” she said.

“We did several Skype calls with sketches to work together in designing the wedding dress. I had seen a dress he designed with a similar metal bodice, and I wanted to incorporate it into our wedding-dress design,” Summerville adds.

She also pointed out the bodice, a Swarovski-crystal-clad “organza corset under a metal cage.” The metal pieces rising up are meant to signify fire and flames, while layers of laser-cut feathers at the waist and shoulder tie in the film’s “Mockingjay” concept.
 
The skirt also has numerous layers of organza and chiffon ruffles giving it grandness but still making it seem airy and fluid for movement. As Summerville explains, “This is very important for the twirling/ spinning  Katniss does onstage, per Caesar Flickerman’s request.”

On Effie’s dress:

Summerville confirms that Effie Trinket’s red ruffled poster dress and matching shoes are indeed from the house of Alexander McQueen, as THR had reported.

On Peeta’s costume and boots:

she also reveals that Peeta’s suit is by a Korean designer that she is “obsessed with” called Juunj. “He is unbelievably talented,” she writes. “And Peeta’s boots are by Rick Owens. “