Chapter 256 Goddess

When the next agreed date arrived, Su Yun came to the tailor shop early, waiting for the delivery of the ancient costumes.

Accompanying her this time was the TV station's makeup and image director, Chan Wan Fai, who had joined the station as a makeup designer shortly after it was launched in 1967. He was also the only makeup artist invited to be a makeup designer when Hollywood movies were filmed in Hong Kong in the 1960s and 1970s. He was the boss of the TV station's makeup room and had over a hundred apprentices under him.

As for why Su Yun chose to borrow Chen Yunhui from the TV station instead of looking for a stylist from the film company, the reason is that Chen Yunhui's combination of classical and innovative aesthetics and techniques, as well as his expertise in determining the thickness and color of makeup according to the environment, are more suitable for her film.

After all, Chen Yunhui, who is known as "Brother Hui" in the industry, can not only design TV series looks for star-studded actors such as Wang Ningquan, Xu Yanmeng, Shen Dingxia, Xie Yan, and Luo Jiayang, but can also accept the job of participating in the Miss Hong Kong beauty pageant and transform amateur girls into Miss Hong Kong candidates with star power from the most basic level.

Moreover, Chen Yunhui often takes care of the makeup, hairstyle, and styling of the entire play by himself. He can be said to be still strong and energetic. Well, he is very suitable to be brought to the north to work as a makeup artist and stylist for a film crew.

This trip to the north was also made possible by the introduction of tourism policies on the mainland, which barely negotiated the issue of allowing this group of Hong Kong people who still belonged to the concession, as well as some foreign actors, to go north to film; so although they had obtained permission, there were still certain restrictions on the number of people in the crew.

Well, in addition to the necessary actors, the staff needs to be meticulous in selecting talents who can perform multiple roles and do each of them well: Fortunately, most of the staff of Zhao's film company and TV station have been accustomed to multi-tasking due to the high-pressure policies in the past, so it is not difficult to select in this regard...

After the old tailor instructed his four apprentices to carefully push out the customized ancient costume display rack, Su Yun's eyes suddenly lit up.

Although the saying goes that a woman should look pretty in mourning clothes, Su Yun and Chen Yunhui spent a lot of effort this time, drawing inspiration from intricate and gorgeous classical costumes and ancient paintings and murals with ancient charm, and then supplemented them with the innovative concepts of modern costume movie styling and various new fabric production techniques of modern technology, to create a "goddess costume" full of heavy embroidery and pattern printing and dyeing details, with colorful and dazzling colors.

Add to that all the genuine jewelry and jade accessories, and the whole look seems to have cost more than five million Hong Kong dollars - considering the investment level of Hong Kong films and the value of the Hong Kong dollar these days, not to mention the top male and female stars on TV, many top second-tier movie actors can't even get one-fifth of this salary.

But this is just one of Su Yun's ancient costume looks in the play.

After all, when you have money and a bunch of generous sponsors, both the ancient costumes and the modern costumes have to be top-notch.

Looking at these exquisite embroideries and patterns, bold and eye-catching color-contrasting designs, and accessories shimmering with jewels in the light, Su Yun was satisfied and moved: It must be said that the jingling and colorful jewelry under the traditional Chinese classical aesthetic is indeed more stunning than the pure pigment clothes in the funeral style when its quality is good.

This is also the fundamental reason why she chose Chen Yunhui as the crew's chief stylist: compared to Master Ye who focuses on the pure color clothing and the elegant visual effect, or Uncle Shu Ping who makes people's scalp tighten when they hear his name, Chen Yunhui's ability to create a corresponding classical bun and match accessories according to the individual characteristics of the makeup object is first-class.

Whether it is a simple cloth headband or an exquisitely crafted gold and silver hairpin, from ordinary girls to ladies from wealthy families, from women of the underworld to imperial concubines, etc.... Chen Yunhui can handle them all perfectly.

Not to mention old dramas like "The Legend of the Condor Heroes", let's just take TBB's super hit "Beauty's Rival in Palace" for example. Most of the styles in the drama, which are both classical and exquisite yet not without a sense of design, were created by him, and it also led to the glorious era of Qing Dynasty palace fighting dramas for many years to come.

It seems that many beautiful and unique accessories in many dramas are all his personal collections that he generously lent out. As a result, after Chen Yunhui retired in 2005, the quality of TBB's costume styling has obviously plummeted.

Of course, this is probably related to the increasingly difficult-to-speak atmosphere in the industry: in the past, when doing styling for filming, one could spend several hours in the dressing room just to make a bun to match the ancient costume style; and most of the time, the identities and status of the actors were distinguished by the distinction between unmarried hair, married hair tied up, daily clothes with narrow sleeves, and formal clothes with large sleeves, etc., which were very distinctive.

Later, when it came to styling for filming, starting with the light-colored, plain pink fairy style, no matter what age or status, everyone had a "fairy" look with a small braid and half-long hair, or simply let their hair down. At first glance, it seemed like they came off an assembly line...

The reason is nothing more than convenience - this seemingly versatile basic look, just by changing some hair accessories and clothes, one can directly join another crew to film, without having to disassemble and re-do the look like before. Doesn't this greatly facilitate these increasingly shabby crews and "actors"?

Even later on, some "actors" even had semi-permanent makeup and expressions...

The increasingly simple and "elegant" funeral-style solid-colored long-sleeved plain clothes, and the "neo-classicism" with basically no accessories except a small bun, made Su Yun, who liked to wear bed sheets and act out characters in plays since childhood, lose her enthusiasm: looking at these shabby-looking girls, in the storybooks, the young ladies would casually pull out a hairpin or a bracelet to give to others, which is very likely to be the clue of the plot. For these neo-classicists, it is probably just pulling out a hair or tearing off a sleeve of fabric to give to others...

Su Yun, who has been tormented by the fairy style and funeral style for a long time, has the rare opportunity to personally make the ancient costume look for herself, and she doesn't want to spend as much money as she can, right?

When we were doing the early preparations for "Grave Robbers", a designer advised us that since this film was aimed at the international market, it would be best to create some beautiful, simple and unique ancient costume styles that would look like Western classical dresses, which would be accepted by foreigners to the greatest extent and fastest.

Faced with this suggestion, Su Yun simply laughed: She disdains the practice of being distorted by Western aesthetics and thus giving up one's own characteristics just to curry favor with Westerners.

What she wants to do this time is to integrate and summarize the aesthetics from traditional classics and modern knowledge, and use this action-adventure film about fighting for treasure to export the true Chinese classical culture to the whole world!

Otherwise, Su Yun would not have always chosen handsome faces like Zhuang Long and Keanu who have oriental charm but are in line with the aesthetics of the times to be the protagonists - since she started co-producing films, she has used herself and these truly beautiful Chinese faces to challenge the stereotypes of Chinese people that have been brainwashed by Westerners for a long time.

While Su Yun was thinking about various problems in her mind, she tried on the goddess costume with the help of the staff.

Very good. Not only is she not suppressed by the extremely gorgeous clothes, but it complements her bright facial features.

"Shenzhou must be matched by the 'Goddess'. Does my new look look good?" Su Yun narcissistically took a lot of selfies with the system's ultra-high-definition camera while letting the tailors record some minor details that still needed to be modified for the convenience of filming.

Zhuang Long, who came later with Keanu, checked in and as soon as he entered the door, he was greeted by Su Yun's new goddess look.

Compared to when she was a child wearing a kimono under the blossoming trees, she was exquisite yet always lacked the graceful grace that an adult should have. Now she has grown taller and is more suitable for her temperament in ancient costume. Even in the background of a tailor shop with modern decoration style, she looks as if she has traveled through time and space, full of ancient charm.

He was immediately stunned for a moment, and then he felt a sense of satisfaction as an elder who saw his daughter grow up...

"Very beautiful!" Keanu is still a young man under 20 years old, and he has a language barrier. After struggling for a while, he finally squeezed out a common compliment when seeing a beautiful girl.

Su Yun nodded, showing an attitude of great satisfaction, and then looked at Zhuang Long with expectation.

Seeing her expression of "please compliment me", Zhuang Long shook his head and laughed, then quietly praised: "It is indeed very beautiful and suits you very well."

After hearing his reply which was less than ten words, Su Yun's eyes full of expectation instantly turned into full of disappointment. If she hadn't been concerned about her image and her current look being too precious and easily damaged, she would have gone up to him and forced him to write a 1,000-word article full of flattery...

However, Su Yun, who did not receive the praise she wished for from Zhuang Long and Keanu, received enthusiastic praise from Hong Kong people after the trailer of the new look of the Goddess was released, but she also felt the fear that she wished others would stop praising her from then on -

Earlier, she gave Xu He the design drawing of the goddess's look and her own high-definition recent photo. Xu He, who had personally painted the portrait of Nie Xiaoqian in "A Chinese Ghost Story" as a movie prop, lived up to her expectations and painted a "Goddess Flying Picture" in the style of ancient paintings for her, which was used as one of the important props in the new movie.

However, this imitation of an antique is so good, from the shape to the painting style, it is quite ancient, it is enough to be hung on the wall as an art sticker.

As the year draws to a close, Hong Kong people who are preparing to replace their altars with new ones quickly set their sights on the "new look" of the fortune lady.

The stock dealers and horse betting guys who had become the friends of the shrine, after finally snatching two posters of Su Yun's new goddess look from the crowd of housewives and gamblers at the newsstand, immediately rushed home, drilled holes and nailed them on the wall above the shrine, and then hung Su Yun's new posters on the wall with great piety.

Look at me, I'm doing it on two fronts, the ancient and modern wealthy women are doing it together, and next year is the Year of the Pig - isn't it going to be like turning the pig cage into water and making a fortune?