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>> PRODUCTION OF "BROAD AND HIGH" IS FUNDED IN PART BY THE GREATER COLUMBUS ARTS COUNCIL.

SUPPORTING ARTS, ADVANCING CULTURE AND CONNECTING THE COMMUNITY TO ARTISTS, EVENTS AND CLASSES AT COLUMBUSMAKESART.COM.

>> FROM THESE CONTRIBUTING SPONSORS -- AND VIEWERS LIKE YOU.

THANK YOU.

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>> THIS TIME ON "BROAD AND HIGH" -- COSTUMES FROM PARAMOUNT PICTURES ARE READY FOR THEIR CLOSE-UP AT THE DECORATIVE ARTS CENTER OF OHIO.

>> AND THE MOTION PICTURE INDUSTRY REALLY IS A GREAT AMERICAN ART.

AND THE COSTUMES ARE PART OF THAT ART.

>> THE INCREDIBLE, INTRICATE BEADWORK OF A NATIVE AMERICAN ARTIST, AND THERE'S NO BUSINESS LIKE SHOE BUSINESS WHEN YOU'RE CREATING HISTORICALLY ACCURATE FOOT WARE.

THIS AND MORE, RIGHT NOW -- ON "BROAD AND HIGH."

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>> WELCOME TO "BROAD AND HIGH."

I'M YOUR HOST, KATE QUICKEL.

HOLLYWOOD HAS ALWAYS BEEN A MAJOR INFLUENCER IN AMERICAN FASHION.

AND PARAMOUNT PICTURES HAS BEEN AT THE FOREFRONT OF DEFINING STYLE IN MOTION PICTURES AND TELEVISION.

A NEW EXHIBIT AT THE DECORATIVE ARTS CENTER OF OHIO CELEBRATES STUDIO CREATED COSTUMES AS WELL AS PURCHASED GARMENTS USED ON CAMERA.

LET'S GO TO LANCASTER, AND TAKE A LOOK.

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>> THIS COLLECTION IS SOMETHING I'VE NEVER PUT TOGETHER BEFORE.

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THERE'S 75 COSTUMES IN THIS PIECE, AND IT IS BASICALLY A SHOWCASE FOR COSTUMES THAT WERE PURCHASED AND USED ON CAMERA AND COSTUMES THAT WERE CREATED IN A WORK ROOM.

AND A LOT OF TIMES -- MUSEUMS, THEY DON'T EXHIBIT COSTUMES THAT ARE PURCHASED, BUT I THINK THEY'RE JUST AS IMPORTANT AS TO -- THE DESIGNERS SENSE OF STYLE AND WHAT THEY WANTED TO CHOOSE TO REPRESENT THE ACTOR OR REPRESENT THE CHARACTER IN THE FILM OR TELEVISION SHOW.

BECAUSE WE DO HAVE TELEVISION PIECES HERE.

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THIS GALLERY HAS ALL OF OUR BLACK MOTIFS.

SO, WHEN YOU FIRST STEP IN HERE WE HAVE JOAN COLLINS, FROM "DYNASTY."

THIS WAS ONE OF THE FESTIVAL COSTUMES THAT SHE WORE AS QUEEN ELIZABETH.

IT IS A BIT TALLER THAN JOAN COLLINS, BUT YOU STILL GET THE DRAMA.

WHAT I LOVE ABOUT THIS IS ALL OF THESE PEARLS ARE HAND SEWN ON.

THIS IS NOT FABRIC THAT WAS ALREADY MADE.

ALL HAND SEWN.

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COSTUMES ARE THE CLOSEST THING THE MOVIE GOING PUBLIC IS GOING TO COME TO THEIR FAVORITE STAR, FOR ONE THING.

IT'S ALSO AMERICANA.

IT'S FEMORA.

I MEAN, THE MOTION PICTURE INDUSTRY REALLY IS A GREAT AMERICAN ART, AND THE COSTUMES ARE PART OF THAT ART, AND THE COSTUMES ARE TANGIBLE.

PUBLIC REALLY -- JUST HAS THIS GREAT CONNECTION.

COSTUMES DRAW PEOPLE IN.

I -- CAN'T EXPLAIN IT 100% BUT THAT'S WHY THE PARAMOUNT COLLECTION WE'RE VERY PROUD OF KEEPING EVERYTHING VERY PRISTINE IN THE ARCHIVE, AND WE HAVE A VERY GOOD REPUTATION WITH MUSEUMS ALL OVER THE WORLD.

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>> THIS GALLERY IS WHERE WE HAVE OUR SOLIDS.

THIS DRESS WAS DESIGNED BY NAEEM KAHN, AND WAS WORN BY BEYONCE IN THE FILM, "DREAMGIRLS."

THE COSTUME DESIGNER FOR "DREAMGIRLS" WAS SHAREN DAVIS, AND SHAREN DID A REMARKABLE JOB ON THE COSTUMES.

BUT THIS DRESS WAS WORN IN THE VERY FINAL SCENES OF THE FILM.

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THIS EXHIBIT TOOK ME APPROXIMATELY A YEAR AND A HALF TO REALLY ASSEMBLE BECAUSE I ADDED, I SUBTRACTED, I ADDED AGAIN, I SUBTRACTED MORE.

AND I WAS HEAVILY INFLUENCED BY THE BILL CUNNINGHAM COFFEE TABLE BOOK WHICH DOCUMENTS FROM THE 1960s THROUGH THE 2000s, AND BILL CUNNINGHAM, IF YOU'RE NOT FAMILIAR WITH HIM, RODE HIS BICYCLE AROUND EITHER NEW YORK OR PARIS TAKING CANDID PHOTOGRAPHS.

AND IN DOING SO, OF PEOPLE JUST IN THEIR WARDROBE.

I MEAN -- I LOOKED THROUGH GOING PAGE BY PAGE GOING, "WOW, THERE'S AN EXHIBIT HERE."

AND I THINK GIVEN ALL OF THE ITEMS THAT I HAVE IN THE COLLECTION, AND WHAT'S AVAILABLE WITH FEATURE PRODUCTION FROM OUR OPEN STOCK, IT'S LIKE, "I THINK I CAN PUT SOMETHING TOGETHER THAT, THAT WOULD MAKE SENSE."

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THIS COAT IS ONE OF MY FAVORITE PIECES IN THE COLLECTION.

THIS WAS DESIGNED BY EDITH HEAD FOR JOANNE WOODWORD IN THE FILM, "A NEW KIND OF LOVE."

THIS IS A FOX FUR TRIM, AND A BOUCLE WOOL.

NOW, IT ALSO HAS AN ATTACHED HOOD WHICH IS VERY LARGE, AND THAT WAS BECAUSE IT HAD TO ACCOMMODATE JOANNE WOODWARD'S TALL BOUFFANT HAIRDO IN THE FILM.

WHICH ACTUALLY, SHE'S IN DISGUISE.

I HAVE 18 EDITH HEAD RELATED PIECES IN THIS PARTICULAR EXHIBITION.

THE WOMAN WHO HAD THE LONGEST CAREER OF ANY WOMAN IN HOLLYWOOD.

NOMINATED 35 TIMES FOR THE OSCAR, AND SHE WON 8 OF THOSE.

THE REASON THEY'RE HERE IS TO SORT OF BRIDGE THE GAP FROM THE PAST TO THE PRESENT.

AND, YOU CAN SEE THE INFLUENCE IN SOME OF EDITH'S PIECES WITH SOME OF THESE NEWER DESIGNS.

SO HERE WE ARE IN THE "BLACK AND WHITE ROOM."

AND OF COURSE, THE CENTERPIECE OF THIS GALLERY IS THE ALEXANDER McQUEEN PIECE THAT WAS WORN BY KRISTEN WIIG IN THE FILM, "ZOOLANDER 2."

IT'S SO BOLD AND SO MEMORABLE, AND SO MANY DIFFERENT PATTERNS ALL PUT TOGETHER.

THERE IS ACTUALLY WIRE IN ALL OF THESE, SO YOU COULD TWEAK THEM AND ADJUST THEM TO WHATEVER SHAPE YOU WANTED THEM TO BE.

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THIS GALLERY FEATURES A LOT OF WHITES, AND SLIGHTLY OFF-WHITE PIECES.

THE CENTERPIECE -- IS ONE OF MY FAVORITE COSTUMES.

IT WAS DESIGNED BY JEFFERY KURLAND FOR THE FILM, "MISSION IMPOSSIBLE: FALLOUT."

AND IT WAS WORN BY VANESSA KIRBY WHO PLAYS THE "WHITE WIDOW."

THIS IS SO EVOCATIVE AND SO REMINISCENT OF THE 1930s, EVEN THOUGH THE FILM IS A CONTEMPORARY FILM.

BUT YOU LOOK AT THE BODICE-CUT GOWN, AND THEN THE PEARL-ENCRUSTED ROBE -- WHICH, YOU KNOW, LOOKING AT IT FROM BEHIND, IT JUST SPARKLES.

IT'S TERRIFIC.

AND THAT IS VERY REMINISCENT OF DESIGNS THAT WERE DONE IN THE 1920s.

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DURING THE STUDIO SYSTEM, WHICH OLD HOLLYWOOD WAS ALL PART OF THE STUDIO SYSTEM, EVERY STUDIO HAD A COSTUME WARDROBE DEPARTMENT WITH A TEAM OF TAILORS, DRAPERS, SEAMSTRESSES, BEADERS, SHOEMAKERS -- -- IN SOME CASES, LIKE PARAMOUNT, THERE WAS A JEWELER ON STAFF.

SO THE WORK ROOMS WERE ALWAYS CONTAINED WITHIN THE STUDIO ON THE LOT.

AFTER 1967-1970, THAT STARTED TO DISINTEGRATE.

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WHAT CHANGED WAS THE WAY FILMS WERE BEING DIRECTED, PRODUCED -- REALITY STARTED TO SET IN.

WE REALLY DIDN'T NEED COSTUME DESIGNERS.

YOU NEEDED A MEN'S COSTUMER AND A WOMEN'S COSTUMER, AND MAYBE, YEAH -- IN SOME CASES A COSTUME DESIGNER WAS BROUGHT ON TO OVERSEE THAT OR COME UP WITH THE OVERALL LOOK.

AND ALSO, YOU HAVE THE EMERGENCE OF DESIGNER NAMES.

SO, STARTING IN THE '70s, YOU HAVE THE EMERGENCE OF RALPH LAUREN.

THEN, IN THE '80s YOU HAVE GIORGIO ARMANI, NORMA KAMALI.

YOU START HAVING NAMES THAT ARE RECOGNIZABLE NAMES.

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AND IT'S SO SAD IN A WAY BECAUSE SOME OF THE COSTUME DESIGNERS WERE DIMINISHED BECAUSE IT BECAME MORE ABOUT THE FASHION DESIGNER'S NAME THAN THE COSTUME DESIGNER.

BUT THAT HAS CHANGED NOW.

THAT HAS -- I THINK THAT HAS REALLY CHANGED.

THERE'S SOME VERY RECOGNIZABLE NAMES NOW, AS COSTUME DESIGNERS SUCH AS RUTH CARTER AND COLLEEN ATWOOD, MICHAEL KAPLAN.

THESE ARE BIG NAMES, SO YOU KNOW, YOU GET EXCITED ABOUT THE COSTUME DESIGNER, MORE SO, THAN THE FASHION DESIGNER.

IT'S KIND OF GONE BACK.

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BUT YEAH, THOSE ARE LOUIS VUITTONS, AND THEN THAT'S GUCCI.

>> I CAN SEE THE RED.

BUT YOU REALLY -- >> YEAH, BUT IT'S -- SEE IT'S ALWAYS TO SEE THAT THE CURVED HEEL IN THAT, WHICH IS REALLY UNIQUE.

>> YEAH.

>> IT'S THE FIRST TIME I'VE EVER MOUNTED ANYTHING LIKE THIS.

MY PREVIOUS EXHIBITS, WHICH HAVE BEEN HERE AT THE DECORATIVE ARTS CENTER OF OHIO HAVE CENTERED AROUND EITHER EDITH HEAD OR CONCEPTS.

THIS IS A LOT OF UNIQUE PIECES.

CAN YOU -- DO YOU WANT TO MAKE SURE THIS IS STRAIGHT?

IF YOU LOOK OVER HERE, TO GET THIS SMOOTH.

DOES THAT LOOK GOOD?

>> YEAH.

THAT -- THAT'S FLAT.

>> ALL RIGHT.

GOOD.

I LOVE WORKING HERE.

IT'S A VERY CONTAINED GALLERY.

IT'S NOT ENORMOUS.

YOU HAVE TO BE CREATIVE -- IS HOW YOU PLACE THINGS AND -- AND SHOW THEM OFF.

>> WELCOME TO THE LOWER LEVEL OF THE DECORATIVE ARTS CENTER OF OHIO.

AND DOWN HERE, WE HAVE A VERY SMALL, BUT IMPORTANT EXHIBIT OF ELEMENTS OF THE FILM, "ROCKETMAN."

NOW, "ROCKETMAN", THE COSTUME DESIGNER WAS JULIAN DAY.

AND OF COURSE, IF YOU DON'T KNOW, IT'S ABOUT ELTON JOHN.

SO, WE'LL START WITH THIS PAIR OF ANKLE BOOTS.

AND THESE WERE WORN BY TARON, WHO PLAYED ELTON JOHN.

NOW, THERE IS A WHOLE STORY, AND A WHOLE THOUGHT PROCESS BEHIND THESE BOOTS.

HE WORE THESE BOOTS DURING THE NUMBER "GOODBYE YELLOW BRICK ROAD", WHICH, OF COURSE, IS ABOUT "THE WIZARD OF OZ", SO HIS BLUE SUIT REPRESENTED DOROTHY.

HIS SILVER SHIRT REPRESENTED "THE TIN MAN."

HE WAS WEARING A FAUX FUR COAT WHICH REPRESENTED "THE LION."

AND, HE WAS WEARING A STRAW FEDORA, WHICH REPRESENTED "THE SCARE CROW."

THESE SHOES ARE SWAROVSKI CRYSTALS, ALL OF THEM.

AND THESE ARE BEAUTIFUL.

OF COURSE, THEY REPRESENT THE RUBY RED SLIPPERS.

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I WANT PEOPLE TO TAKE AWAY FROM THIS, AN APPRECIATION FOR THE WORK AND THOUGHT THAT GOES INTO A COSTUMING A FILM.

NOT JUST THE WORK FROM THE WORK ROOM, BUT EVEN ON THE PIECES THAT GOES INTO PURCHASING THAT PIECE, AND HOW THAT EXPRESSES THE CHARACTER AND DEFINES THE CHARACTER THAT THEY ARE BEING WORN BY.

WHETHER IT'S A BIG PARTY SCENE, AND IT'S A PARTY DRESS, OR WHETHER IT'S A BLOUSE.

AND I THINK PEOPLE WILL GET THAT GOING THROUGH HERE AND SEEING THE WIDE VARIETY OF PIECES WE HAVE IN THE EXHIBIT.

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>> LEARN MORE ABOUT THE DECORATIVE ARTS CENTER OF OHIO AT DECARTSOHIO.ORG.

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>> SINCE THE AGE OF 15, TERESEA MELENDEZ HAS BEEN PRACTICING THE ART OF NATIVE AMERICAN BEAD WORK.

IT'S A PAINSTAKING AND INVOLVED PROCESS, BUT THE ELABORATE DESIGNS ARE BREATHTAKING.

HERE'S MORE FROM PBS RENO IN NEVADA.

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>> MY FAVORITE FORM OF INDIGENOUS ART WORK IS BEAD WORK.

I REALLY ENJOY BEADING.

I FIND IT RELAXING.

I ENJOY THINKING ABOUT THE DESIGNS AND THE TYPE OF MATERIALS THAT I WANT TO USE.

THE LOOK THAT I WANT TO CREATE.

I ALSO REALLY ENJOY MAKING BEAD WORK BECAUSE IT'S FUNCTIONAL ART WORK.

[LAUGHTER] BEAD WORK IS A FORM OF TRADITIONAL NATIVE AMERICAN ART WORK.

SO, ANYWHERE AROUND THE COUNTRY, AS YOU VISIT DIFFERENT TRIBAL NATIONS, YOU'LL SEE DIFFERENT STYLES OF BEAD WORK.

I'VE BEEN MAKING BEAD WORK SINCE I WAS ABOUT 15.

AND, USUALLY WHEN I DESIGN BEAD WORK AND I CREATE BEAD WORK, IT'S FOR USE FOR CULTURAL EVENTS OR CEREMONIES, OR POW-WOWS.

SO, I'M A POW-WOW DANCER.

I'M A FANCY SHAWL DANCER.

I LIKE TO DANCE, JINGLE, AND TRADITIONAL FROM TIME-TO-TIME TOO.

BUT, MY KIDS AND I, WE POW-WOW DANCE, AND SO A LOT OF THE BEAD WORK THAT I MAKE IS FOR OUR POW-WOW OUTFITS OR OUR REGALIA.

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SO WHEN I'M COMING UP WITH BEAD WORK DESIGNS, I OFTEN FIRST START WITH THE ESSENCE OF THE PIECE, SO I'M REALLY THINKING ABOUT THE PERSON THAT I'M DESIGNING FOR AND THEN THE USE OF THE FINAL PRODUCT.

AND THE LOOK THAT I WANT TO CREATE.

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I LIKE TO LAY EVERYTHING OUT ON GRAPH PAPER AND THEN I'LL TRANSLATE THAT PAPER TO MATERIAL AND I'LL SEW IT DOWN TO THE MATERIAL SO THAT I HAVE A PATTERN TO WORK WITH.

AND THEN, JUST START BEADING.

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BEAD WORK IS INCREDIBLY TIME CONSUMING.

AS YOU LOOK AT THESE DIFFERENT BEADED PIECES, YOU KNOW THAT EACH ONE OF THOSE BEADS WAS HAND SEWN ON.

DIFFERENT ARTISTS WILL HAVE THEIR OWN TECHNIQUES AND SO, I LIKE TO PUT ON FOUR BEADS, AND THEN GO BACK THROUGH TWO.

EVERY SINGLE BEAD IS TOUCHED BY THE ARTIST AT LEAST ONCE, BUT SOMETIMES, MULTIPLE TIMES DEPENDING HOW THEY TACK IT DOWN.

AND SO, THE LARGER PIECES, THEY HAVE HUNDREDS OF HOURS OF MAN TIME.

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I WOULD SAY ONE OF MY FAVORITE PARTS ABOUT BEADING IS WATCHING THE PIECE COME TOGETHER.

ëCAUSE YOU HAVE THIS VISION AND A LOT OF TIMES YOUR VISION IS PRETTY TRUE TO THE FINAL PRODUCT, BUT SOMETIMES ITS NOT.

AND SO IT'S FUN WATCHING THE PIECE COME TOGETHER AND ACTUALLY SEEING THE COLORS COME TOGETHER AND THE DESIGNS COME TOGETHER.

IT'S REALLY EXCITING AND IT PROVIDES ME A LOT OF MOTIVATION ëCAUSE I'LL BE LIKE, "TWO MORE HOURS AND I CAN HAVE THIS PIECE COMPLETE."

AND I CAN FINALLY SEE WHAT IT'S GOING TO LOOK LIKE.

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WHEN I MAKE BEAD WORK, I MAKE IT FOR REALLY SPECIFIC PURPOSES.

SO, MY HUSBAND AND I GOT MARRIED ABOUT SEVEN YEARS AGO.

I WORE A TRADITIONAL WOODLAND OUTFIT FOR OUR WEDDING, AND THEN MY HUSBAND WORE A TRADITIONAL PIYOU OUTFIT FOR THE WEDDING AND THEN OUR DAUGHTERS WORE SOME BEADED PIECES ALSO.

MY 14 YEAR OLD, HER NAME IS SI-AVI, WHICH MEANS WILD ROSE.

AND SO, YOU'LL SEE IN THOSE PIECES THAT THERE'S AN IMAGE OF A ROSE.

AND THEN, PASITAVA, OUR LITTLE ONE.

HER NAME IS WILD IRIS.

AND SO, THERE IS AN IRIS BEADED INTO HER HAIR TIES.

AND THEN, IN MY BANDOLIER BAG, THERE'S SEVERAL DIFFERENT FLOWERS THAT ARE BEADED INTO THAT.

AND EACH FLOWER REPRESENTS ME WITH MY FAVORITE FLOWER, AND THEN MY HUSBAND'S FAVORITE FLOWER.

AND THERE'S A HUMMINGBIRD WHICH SYMBOLIZES LOVE.

AND THEN, GOING UP THE STRAPS ARE THE FLOWERS OF OUR KIDS.

SO BISCHEPE, HIS NAME IS RED EARTH.

I BEADED A RED, STAR-LIKE FLOWER FOR HIM.

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ONE OF THE PIECES I BROUGHT WAS THE MEDALLION I MADE WHEN I GRADUATED WITH MY BACHELOR'S DEGREE.

I WENT TO MICHIGAN STATE UNIVERSITY.

THE MEDALLION IS IN THE SHAPE OF THE SPARTAN "S", WITH A LITTLE SASH ACROSS, WITH THE ABBREVIATION "SLC" FOR SOCIOLOGY, AND THEN THE YEAR I GRADUATED, ëCAUSE I GRADUATED WITH A BACHELOR'S DEGREE IN SOCIOLOGY.

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SO IT'S COMMON IN INDIGENOUS ART WORK TO SEE THINGS LIKE THAT, THAT ARE SYMBOLS THAT ARE VERY SPECIFIC TO THE INDIVIDUAL -- OR SPECIFIC TO THAT CEREMONY.

ALL OF MY BEAD WORK THAT I CREATE HAS A LOT OF SYMBOLISM.

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IT FEELS GOOD TO WEAR ART WORK BECAUSE I KNOW THAT IT COMES FROM A SPECIAL PLACE.

I KNOW THAT THERE IS A LOT OF MEANING BEHIND THE PIECES, BUT I ALSO THINK IT IS IMPORTANT AS AMERICANS, THAT WE SEE THE INDIGENOUS PEOPLE WHO LIVE HERE AND WHO'VE ALWAYS LIVED HERE.

HERE, IN NEVADA, THERE ARE 27 FINALLY RECOGNIZED TRIBES.

THAT'S A LOT OF TRIBES.

[LAUGHTER] THAT'S A LOT OF TRIBES.

MOST STATES DON'T HAVE 27 FULLY-RECOGNIZED TRIBES.

SOMETIMES WHEN WE THINK ABOUT INDIGENOUS CULTURES AND INDIGENOUS ARTS, WE THINK ABOUT THEM AS HISTORY, SOMETHING THAT'S IN THE PAST, AND SOMETHING THAT'S NOT CURRENT.

THERE'S ALL KINDS OF BEAUTIFUL WORK THAT'S BEING DONE BY ARTISTS AROUND THE COUNTRY.

WHETHER THEY'RE CAPITALIZING ON CONTEMPORARY MATERIALS, THEMES.

IT'S BEAUTIFUL TO SEE ART EVOLVING, EVEN IN INDIGENOUS ART.

ëCAUSE WHAT'S INDIGENOUS IS ALSO CONTEMPORARY.

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>> AMERICAN DUCHESS IS PROOF THAT PAYING ATTENTION TO DETAIL HELPS YOU PUT YOUR BEST FOOT FORWARD.

AMERICAN DUCHESS IS A COMPANY THAT DESIGNS HISTORICALLY ACCURATE FOOT WEAR FROM THE 1700s, UP TO THE 1940s.

AS WE SEE IN THIS PIECE FROM RENO, NEVADA -- THE RIGHT SHOE CAN MAKE OR BREAK A HISTORICAL COSTUME.

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>> AMERICAN DUCHESS IS A SMALL COMPANY THAT MAKES NEW, OLD SHOES.

WE TAKE A REALLY OLD DESIGN.

SOMETHING YOU SEE IN A PAINTING OR IN A MUSEUM, AND WE MAKE IT WORK FOR MODERN WEAR AND COMFORT EXPECTATIONS.

EVERYTHING FROM THE 18th CENTURY, 19th CENTURY, AND 1920s, 30s, AND 40s AS WELL.

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AMERICAN DUCHESS STARTED AS MY COSTUMING.

I LIKED TO MAKE THINGS.

I MAKE THOSE THINGS FOR MYSELF AND WEAR THEM TO AN EVENT, A PICNIC, OR A DANCE.

THAT'S JUST WHAT I DID FOR FUN.

AND I THOUGHT, "I'LL BLOG ABOUT MY EXPERIENCES, SO THAT OTHER PEOPLE WHO HAVE NO IDEA HOW TO MAKE A WIG, OR HOW TO DO THIS DRESS, CAN LEARN FROM MY MISTAKES."

AND IT'S ALWAYS BEEN ABOUT SHARING MY MISTAKES AND LEARNING THAT WAY.

YOU DON'T WANT TO PUT ALL THIS TIME AND EFFORT AND SOMETIMES, A LOT OF MONEY, INTO YOUR BEAUTIFUL DRESS, AND THEN HAVE NO SHOES TO WEAR WITH IT BECAUSE IT CRUSHES THE ILLUSION.

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WHEN YOU'RE CREATING THESE GOWNS, THEY ARE ART PIECES.

AND IF YOU DON'T HAVE THE RIGHT SHOES, IT JUST KILLS IT.

AND WHEN YOU TAKE THOSE PHOTOS OF YOURSELF OR SOMEONE'S TAKING PHOTOS OF YOU, AND YOU LOOK AT THOSE LATER, YOU WANT TO BE ABLE TO SAY, "I LOOK LIKE I WALKED OUT OF A PORTRAIT."

YOU'RE NOT GONNA ACHIEVE THAT WITH TENNIS SHOES UNDER YOUR DRESS.

[LAUGHTER] BELIEVE ME, I'VE SEEN IT.

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HISTORIC SHOES ARE NOT LIKE SHOES TODAY.

THEY HAVE STRANGE CLOSURES.

THEY HAVE SPECIFIC TOE SHAPES, OR LACK OF TOE BOXES.

YOU KNOW, THEY ARE VERY, VERY DIFFERENT.

SO, NOBODY WAS REALLY MAKING THAT KIND OF THING, AND I THOUGHT, "WELL, OKAY.

MAYBE I'LL HAVE A GO AND MAKE SOME SHOES."

NOT BY HAND, I COULDN'T MAKE ENOUGH OF THEM TO MAKE A LIVING DOING THAT, SO I FOUND A MANUFACTURER, AND WE DEVELOPED A PROTOTYPE.

I PUT IT ON THE INTERNET, AND DID A PRE-ORDER.

DID A CROWD-FUNDING CAMPAIGN AND IT FUNDED OVERNIGHT.

OVERNIGHT WE HAD ENOUGH MONEY TO DO THE PRODUCTION RUN AND IT'S LIKE OH MY GOD.

WOKE UP IN THE MORNING LIKE, OH, OH THIS IS THE THING.

OKAY.

I'M GONNA DO THIS.

THIS IS WHAT I'M GONNA DO.

>> OUR FIRST DESIGN WAS GEORGIANA, NAMED AFTER THE DUCHESS OF DEVONSHIRE.

IT WAS MADE OUT OF DYE-ABLE SATIN.

IT WAS OUR FIRST GO.

PEOPLE WERE EXCITED ABOUT IT.

I WAS EXCITED ABOUT IT AND IT WORKED.

WE JUST KEPT PRODUCING THE NEXT ONE, THE NEXT ONE, THE NEXT ONE.

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>> A TYPICAL EIGHTEENTH CENTURY SHOE, THE MOST CHARACTERISTIC HALLMARK THAT YOU MIGHT SEE ON THOSE ARE LATCHETS WITH BUCKLES, SO THIS IS THE WAY THAT EIGHTEENTH CENTURY SHOES CLOSED.

YOU HAVE THESE TWO STRAPS.

YOU PUT ONE STRAP THROUGH HERE.

YOU STICK THE PRONGS THROUGH THE OTHER ONE.

YOU CAN MAKE THEM AS TIGHT AS YOU WANT.

YOU CAN KEEP TIGHTENING THEM AND IT MAKES YOUR SHOES LOOK VERY PRETTY.

HISTORICAL ACCURACY IS VERY, VERY, VERY IMPORTANT.

>> SO THE BASIC PROCESS STARTS WITH LOOKING AT ORIGINAL SHOES, WHETHER IT'S THROUGH PHOTOGRAPHS -- IT'S BRAINSTORMING, SO WE JUST KIND OF ALL GET TOGETHER AND GO, WHAT SOUNDS COOL, WHAT HAVE WE NOT MADE BEFORE?

WHAT ARE THE TRENDS IN THE COMMUNITY?

>> A LOT OF IT IS RESEARCH, LOOKING AT OLD MAGAZINE ADS, CATALOGS, ORIGINAL SHOES IN OUR COLLECTIONS.

>> I'VE GONE TO A NUMBER OF DIFFERENT MUSEUMS AND STUDY THINGS HANDS ON SO THAT WAY I HAVE AN UNDERSTANDING OF HOW THEY'RE CONSTRUCTED AND WHAT GOES INTO THE INTERNALS OF THEM, AND THINGS OF THAT NATURE.

ALL OF THAT RESEARCH GETS DONE GRADUALLY AS WE FIND INSPIRATIONS.

SAY WE NEED A BOOT FOR THIS TIME PERIOD AND WE GO AND FIND LOTS OF DIFFERENT EXAMPLES, AND PICK WHAT ONES REALLY SPEAK TO US, WHAT WE THINK WOULD TRANSLATE WELL TO A MODERN DESIGN AND FROM THERE WE DO A LOT OF SKETCHES, A LOT OF IDEATIONS, AND THEN ACTUALLY COME UP WITH THE FORMAL LINE DRAWING AND WE PUT LITTLE TINY DETAILS OF THE SOLE SHOULD BE THIS MANY MILLIMETERS.

THIS EYELET SHOULD BE THIS MANY MILLIMETERS WIDE.

ALL THE LITTLE TINY DETAILS IN THEIR SO THAT WAY THE FIRST SAMPLE THAT WE GET BACK IS AS CLOSE AS WE CAN GET TO RIGHT.

>> THERE IS NOBODY WHO KNOWS ABOUT HISTORIC SHOES AND HOW TO MAKE THEM BETTER THAN NICOLE RUDOLPH.

>> WHEN I WAS AT COLONIAL WILLIAMSBURG, I ENDED UP LEARNING HOW TO DO WOMEN'S SHOEMAKING IN THE PROPER EIGHTEENTH CENTURY STYLE ALL BY HAND, NO MACHINES, ALL HAND STITCHED AND ASSEMBLED.

WE'RE BASED HERE IN RENO AND THIS WHERE WE DO ALL OF THE DESIGN, ALL THE MARKETING AND ADVERTISING HAPPENS HERE AS WELL.

WE ALSO PACK, SHIP AND DO LOGISTICS OUT OF HERE AS WELL, SO THERE'S A GREAT BIG WAREHOUSE ATTACHED TO THIS LITTLE TINY OFFICE.

WE DO EVERYTHING EXCEPT THE ACTUAL MANUFACTURE OF OUR FOOTWEAR.

>> 95% OF THE WORLD'S SHOES ARE MADE IN -- IT IS IN SOUTH CHINA.

THERE ARE MILLIONS OF PEOPLE IN -- AND IT'S A CITY THAT IS BUILT FOR SHOE PRODUCTION.

FACTORIES, COMPONENTS MARKETS, LEATHER PRODUCERS, JUST EVERYTHING YOU NEED.

SO THAT'S WHERE WE ALSO MANUFACTURE OUR SHOES.

THE PEOPLE THAT WE WORK WITH THERE ARE AMAZING.

WE PRODUCE FANTASTIC SHOES IN CHINA BECAUSE I GET ON A PLANE AND I GO OVER THERE, AND I MAKE SURE OUR QUALITY PROCESSES ARE IN PLACE, AND THAT ARE MATERIALS ARE GOOD, AND THAT OUR RELATIONSHIP WITH OUR MANUFACTURER IS GOOD.

>> THEY REALLY ARE UNTO THEMSELVES A SCULPTURAL INTERESTING PIECE OF ARTWORK AND THEY SHOULD STAND ON THEIR OWN BEFORE YOU CAN PUT THEM ON YOUR FEET.

AND THEN TO ADD THAT IN, TO ADD THE WHOLE COSTUME AND TO ADD THE CLOTHES, THE DRESSES, EVERYTHING, IT JUST ENDS UP COMPLETING THE WHOLE THING.

>> THERE ARE SO MANY PEOPLE IN THE WORLD THAT ARE IN TO HISTORIC COSTUMING, OR THEY'RE MOVIE COSTUMERS, OR STAGE COSTUMERS.

THAT'S A WHOLE MARKET I NEVER EVEN THOUGHT ABOUT WHEN WE STARTED.

I WAS JUST MAKING SHOES FOR PEOPLE LIKE ME.

>> IT'S A BOUT HELPING OTHER MEMBERS OF THE COSTUMING COMMUNITY BE THEIR BEST SELVES IN THE EIGHTEENTH CENTURY OR THE NINETEENTH CENTURY TO MAKE THEIR MOST BEAUTIFUL DRESS AND IMPRESSION, OR CHARACTER.

WE WANT TO CREATE A FUN ENVIRONMENT TO HELP PEOPLE HAVE A GOOD TIME PLAYING DRESS UP.]

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>> WELL THAT'S OUR SHOW.

REMEMBER YOU CAN FIND ALL OF OUR STORIES ONLINE AT WOSU.ORG AS WELL AS ON OUR YOUTUBE CHANNEL.

FOR ALL OF US HERE AT WOSU, I'M KATE QUICKEL.

THANKS FOR WATCHING.

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>> SO TODD OLDHAM IS A GREAT CREATIVE THINKER.

DURING THE ë90s HE HAD A TEN YEAR SPAN WHERE HE DID AMAZING FASHIONS.

YOU KNOW, THIS WAS THE MOMENT OF GRUNGE AND REALLY SIMPLE THINGS, AND HE JUST WENT THE COMPLETE OTHER DIRECTION AND MADE THINGS AS BEAUTIFULLY DETAILED AND EXTRAVAGANT AS YOU CAN IMAGINE.

>> SINCE HISTORICAL VERSIONS OF IT, JUST PUTTING THE WAY YOU SHOWED IT ON THE RUN WAY ARE ALREADY OUT THERE, I THOUGHT IT'D BE MORE INTERESTING IF WE SORT OF RECOMBINED IT AND MADE NEW ENSEMBLES THAT SORT OF CREATED NEW NARRATIVES.

IT WAS FUN TO SORT OF THROW ALMOST TEN YEARS OUT ON THE GROUND AND PICK IT BACK UP IN A NEW WAY.

>> HE ACTUALLY WENT BACK THROUGH HIS ARCHIVE BECAUSE HE KEPT EVERYTHING.

HE DIDN'T HAVE SAMPLE SALES.

SO, HE KEPT EVERYTHING AND HE MIXED AND MATCHED.

SO, THE ENSEMBLES YOU'LL SEE HERE MIGHT HAVE A SKIRT FROM 1992 MIXED WITH A TOP FROM 1995 WITH SOME SHOES FROM 1990.

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THERE'S A DRESS IN THE LAST GALLERY CALLED "THE LOVE BALL DRESS."

AND IT'S ACTUALLY CRAFTED OF PIPE CLEANERS.

BUT, IT'S A REALLY FUN DRESS.

YOU CAN IMAGINE SOMEONE GOING TO A PARTY WITH IT AND HAVING A REALLY GOOD TIME.

>> I WOULD GET YOU NOTICED, THAT'S FOR SURE.

AND PROBABLY EXPOSE SOME PART OF YOUR BODY THAT YOU WEREN'T USED TO SHOWING.

[ LAUGHTER ] >> I JUST ALWAYS -- I NEVER ASKED PERMISSION.

I JUST SORT OF DID STUFF.

SO, WHEN MY GRANDMOTHER TAUGHT ME TO SEW AT NINE, I JUST LOVED IT SO I JUST KEPT MAKING.

AND I STARTED MAKING DRESSES FOR MY SISTER.

>> YOU CAN REALLY GET THE SENSE OF THE BREADTH OF WHAT HE DID IN THE EXHIBITION.

IT REALLY SHOWCASES JUST SUCH AN AMAZING LEVEL OF WORK THAT WENT INTO THESE BEAUTIFUL GARMENTS.

AND I HOPE WHEN PEOPLE COME THEY TAKE A MOMENT TO REALLY LOOK AT THEM BECAUSE THEY'RE JUST AMAZING.

TO COME UP CLOSE AND REALLY APPRECIATE HOW MUCH HANDWORK WENT INTO EACH OF THEM.

THEY'RE AMAZING.

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>>> CATCH COLUMBUS AT ITS CREATIVE BEST ON "BROAD & HIGH."

THURSDAY NIGHTS AT 8:00 ON WOSU-TV.

>> PRODUCTION OF "BROAD AND HIGH" IS FUNDED IN PART BY THE GREATER COLUMBUS ARTS COUNCIL, SUPPORTING ARTS, ADVANCING CULTURE AND CONNECTING THE COMMUNITY TO ARTISTS, EVENTS AND CLASSES AT COLUMBUSMAKESART.COM.

>> FROM THESE CONTRIBUTING SPONSORS -- AND VIEWERS LIKE YOU.

THANK YOU.