Theaterkunst Talk

Mirjam Muschel

Costume designer Mirjam Muschel started her career by training as a textile tailor, followed by a degree in design with art and fashion at the University of Art and Design in Pforzheim. She has been working in costume design for more than 25 years. Her successful series and film projects include „Gestern waren wir noch Kinder“, „Gute Freunde – Der Aufstieg des FC Bayern“, „In Berlin wächst kein Orangenbaum“, „Der Zürich-Krimi“, „Die Himmelsleiter – Sehnsucht nach Morgen“.

On 24 October 2024, “Münter & Kandinsky”, for which she designed the costumes, will be released in cinemas. In this interview, she tells us what special features were involved and what there is to report on the subject of hats.

Copyright Portrait: Cordula Treml //Copyright Szenenbild u0022Münter u0026amp; Kandinskyu0022: CCC Cinema und Television // Copyright u0022Gestern waren wir noch Kinderu0022: Walter Wehner / ZDF

Theaterkunst

Mirjam Muschel

How did you approach the costume design for “Münter & Kandinsky”?

The costume design needs to reflect the mood and aesthetics of the time, both in terms of European fashion and the artistic avant-garde. Approaching existing costumes, especially at Theaterkunst, was the first touch for this particular production. Above all, trying out the shapes and cuts on bodies is very important for us costume designers. Researching original costumes from this period is fundamental for me at the beginning in order to get a feel for shapes, cuts and fabrics.

Through historical documentation and photographs of Münter, Kandinsky and their contemporaries, we are immersed in the early 1900s. We were also inspired by musical works by various composers (Gustav Mahler, Antonín Dvořák, Arnold Schönberg) and artists of abstraction (Wassily Kandinsky, Piet Mondrian, Robert Delauny) and Expressionism from various countries at the time. Researching the ‘Blaue Reiter’, an avant-garde group of artists at the beginning of the 20th century, was very exciting and taught us a lot about the group dynamics of the time and the intensive dialogue between artists. Visits to the Münter House in Murnau and the Lenbach House in Munich were important steps of my research. It often goes far beyond fashion to understand and realise an era in terms of costume design.

There is a fitting quote by Gabriele Münter that I found in the Lenbach House in Munich: “The language of nature is different from the language of art. You can only translate from one language into another, not copy it. Apart from literal and free translation, there is also the legitimate form of transcription.” (Gabriele Münter)

What preparations did you and your team make and how did the work on set go?

My team studied historical documents, photographs, artworks and reports from the time to develop a deep understanding of their clothes, but also of their artistic vision and their relationship. Everyone was very motivated as we were excited to be able to do this kind of project. Everyone immersed themselves in the period to understand the costumes and also to know what difficulties might arise. Certain ‘delicate’ materials were not always easy to handle without damage during the fast and time-consuming filming period. My team played a central role in realising the historical authenticity and artistic vision of the production. The collaboration with the other departments and the ability to react quickly to unforeseen challenges, such as rain on set with period costumes plus hats, made this work so dynamic and challenging.

Was the awakening of modernism in the field of art also reflected in the fashion of the time and thus in the costumes of the film?

Of course, the awakening was a revolution and an opening up of the image of women and the female body, freedom for body, mind and soul.

It was important to me to show the upheaval in women’s clothing. The reform dress, the bicycle skirt, the ‘abandonment’ of constricting bodices, gave Gabriele Münter the mobility and freedom in her world that was opened up by the new ideals. Women’s clothing pushed forward in the field of political, artistic and social conflict. The corset of convention was broken and thus the dawn of the modern age.

The unity of art and life that the reform movements strived for around 1900 inspired artists to take an artistic approach to women’s dress. This is clearly emphasised in the film through some of Kandinsky’s experimental designs for Gabriele Münter. At the same time, a new aesthetic and attitude towards the role of women is shown.

The so-called artist’s dress, as we see on Gabriele Münter in Marianne von Werefkin’s house at a concert by Arnold Schönberg, shows the mood of upheaval at the beginning of the 20th century: the dynamism of the German reform movement, the Wiener Werkstätte and the resulting haute couture in Paris.

You told us that hats also play an important role. Can you tell us more about this?

Hats were not directly in the centre of attention, but they were an important component at this time. The hat signalled a social status. It was therefore very difficult to find suitable hats. The hat elevated the status of women and men at the time.

It was a great enrichment to be able to work with Mayser hats. Michael Zechbauer, the co-producer of “Münter & Kandinsky”, even made it possible for some of the hats for Gabriele Münter and Wassily Kandinsky to be specially made according to the picture.

It was also a great help to us that we found original hats in various antiquarian bookshops. This also includes hats that came from various costume houses, many of them from you at Theaterkunst.

What advice would you give to costume designers who are still at the beginning of their career?

Especially at the beginning, you will often have to work with small budgets. Use your creativity to make a lot out of a little. Second-hand clothing, upcycling or DIY techniques are valuable tools for making the most of a limited budget. Always support your work and your vision with passion, perseverance and attention to detail.

Thank you very much for the interview! Will we see you on the dance floor again at the film awards?

Definitely! I’m looking forward to it.