Labyrinth Adult Sarah Fancy Dress Costume

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Possibly reading too much into it but still I love how the dress seems to echo Sarah, and how it focuses on her pre-Wish desires. The overall shape reminds me the classic ballgowns I’ve seen in fairytale illustrations and film, alluding to Sarah’s love of stories, and the color mint (which I can more easily notice in these photos) the same color of the dress she wore in the opening, as she quotes from her book in the park, which ties in her dress-up. The detailing on the bodice seems to me like it evokes baubles and trinkets, the material things Sarah valued in the beginning of the film. Labyrinth". An Sionnach Fionn [The White Fox]. 14 May 2011. Archived from the original on 21 December 2019 . Retrieved 31 December 2019.

a b Worley, Alec (2005). Empires of the Imagination: A Critical Survey of Fantasy Cinema from Georges Melies to The Lord of the Rings. McFarland & Company. p.68. ISBN 978-0-7864-2324-8.

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Garrett, Robert (27 June 1986). " 'Labyrinth' a gift from Jim Henson". The Boston Globe. pp.31, 34. Archived from the original on 15 August 2020 . Retrieved 15 August 2020– via Newspapers.com. a b Monette, Sarah (May–June 2016). "Ludo and the Goblin King". Uncanny Magazine. Vol.10, no.10. Archived from the original on 26 August 2017 . Retrieved 14 January 2020. Henson, Jim (9 September 1984). "9/24/1984 "In San Francisco–meeting with George Lucas, Laura Phillips–Larry Mirkin and Mira V." ". Jim Henson's Red Book. Henson.com. Archived from the original on 26 March 2014 . Retrieved 5 January 2020. a b Hill, Kent (17 August 2017). "Weaving with Magic: An Interview with Ellis Flyte by Kent Hill". Podcasting Them Softly. Archived from the original on 26 October 2020 . Retrieved 9 September 2021. a b c d Miller, T.S. (Spring 2011). "The two kings and the two Labyrinths: escaping escapism in Henson's Labyrinth and Del Toro's Laberinto". Extrapolation. 52 (1): 26–50. doi: 10.3828/extr.2011.52.1.3. Gale A278950694.

An interview with Jennifer Connelly on Jim Henson's Labyrinth (1986) (YouTube). Eyes On Cinema @RealEOC. 6 November 2014 . Retrieved 8 July 2021. Yes, that’s time-consuming, and yes, the margin of error is high, and yes, this requires top-notch hand-sewing skills to be able to sew invisibly, and yes, this requires being extremely flexible and being willing to work with unexpected behaviors in lace. This is why it’s a couture method and so often skipped in favor of visible seams and calling it part of the design. There’s nothing wrong with visible seams when they’re genuinely desired (and sometimes they are, especially for bodices we want to have the visual appeal of a corset), but for when a magical fit with lace is desired, enter lace-shaping! Photo 10DeGraff, Andrew; Jameson, A. D. (2017). "Labyrinth". Cinemaps: An Atlas of 35 Great Movies. Quirk Books. pp.89–91. ISBN 978-1-59474-990-2. Henson, Jim (28 March 1983). "3/28/1983 – 'Dennis Lee – Brian F. and I begin talking about Labyrinth in London' ". Jim Henson's Red Book. Archived from the original on 16 August 2014 . Retrieved 26 October 2021. The dream world of the Labyrinth created for the film is centered around Sarah, with the influences of the film also being the influences of her mind. [7] Henson stated, "the world that Sarah enters exists in her imagination. The film starts out in her bedroom and you see all the books she's read growing up – The Wizard of Oz, Alice in Wonderland, the works of Maurice Sendak. The world she enters shows elements of all these stories that fascinated her as a girl". [9] [10] Additional titles shown briefly in Sarah's room at the start of the film are Through the Looking-Glass, Grimm's Fairy Tales, a book of Hans Christian Andersen's fairy tales, and Walt Disney's Snow White Annual. [4] [25] The goblins that come to take her brother away, as well as Sarah's monologue that she recites to defeat the Goblin King, are from her favourite story, [26] a play called "The Labyrinth" which she rehearses at the beginning of the film. [16] [27] Sarah's experiences in the Labyrinth are also reflective of the objects shown in her room. [e] Many of the characters she encounters bear a resemblance to her toys, including a statuette of the Goblin King. The Labyrinth itself resembles her maze-puzzle board game. [28] [29] The dress Sarah wears in her ballroom dream adorns a miniature doll on her music box, which also plays the same tune as in her dream. [30] One of the obstacles that Jareth sets on Sarah recalls the "Slashing Machine" record on her shelf, and Sarah's final confrontation with the king takes place in a room that resembles her poster of Escher's Relativity. [28] [29] Remember, the key to a successful Jareth portrayal is not just in the costume but in how you carry yourself. Channel the Goblin King's confidence, charm, and mystery, and you'll truly become the character.