Posted by Chris Laverty – August 4, 2009 Denim in cinema has been popularised by some of the great screen icons of the twentieth century. From Marlon Brando (The Wild One, 1953) to Steve McQueen (Junior Bonner, 1972), from Paul Newman (Cool Hand Luke, 1967) to John Travolta (Urban Cowboy, 1980), from Grace Kelly (Rear Window, 1954) to Brigitte Bardot (And God Created Woman, 1956). Similar to the business suit, denim is a sartorial way of life that confers immediate personality on someone without them having to do or say a word; this personality has evolved through time and trends, though one facet remains the same: rebelliousness. More…

Posted by Chris Laverty – August 14, 2009 Part two in a three part sartorial analysis of denim as symbolic recognition for character on film, this time focusing on Audrey Hepburn in Two for the Road (1967). Women in Denim: Audrey Hepburn left behind her Givenchy comfort zone in decade-spanning dramedy Two for the Road to wear a veritable catwalk of trendy outfits by the hottest designers of the day. And amongst these Quant shifts and Courrèges sunglasses, Hepburn also wore jeans which, onscreen at least, she had seldom done before. More…

Posted by Chris Laverty – August 22, 2009 Third and final part of a sartorial analysis examining denim as symbolic recognition for character on film – focusing on The Parallax View (1974) starring Warren Beatty. Action Man: By the mid-1970s denim had been accepted as day wear for everyone, though still remained intrinsically associated with adolescent ‘drop out’ culture. More…

Posted by Chris Laverty – January 27, 2010 Yes, amazingly, Anna B. Sheppard’s much talked about work on Inglourious Basterds has been overlooked by the Costume Designers Guild (CDG). Though this is not the only surprise announcement… Marina Draghici has been given the nod for Precious, which is perhaps a shock considering the very ordinary costumes worn by the cast (including queen diva Mariah Carey no less). Yet this is what costume design is all about; sometimes intentionally visible, sometimes intentionally invisible. The Costume Designers Guild, and this next point is reassuring given their name, can clearly tell the difference. The CDG separate their nominations into three categories: Period, Contemporary…

Posted by Chris Laverty – January 21, 2010 Here is the just announced list of nominations for BAFTA 2010, paying special attention to Best Costume Design because that is what we do here. Four nods for Coco avant Chanel and, perhaps inevitably, Avatar, although not for costume design. The Hurt Locker gets a thoroughly well deserved shout for Best Film, though again costume design misses out. Period dominates then, as per the norm. Big hitters below: COSTUME DESIGN Bright Star – Janet Patterson Coco avant Chanel (Coco Before Chanel) – Catherine Leterrier An Education – Odile Dicks-Mireaux A Single Man – Arianne Phillips The Young Victoria – Sandy Powell BEST…

Posted by Chris Laverty – January 21, 2010 Here is the just announced list of nominations for BAFTA 2010, paying special attention to Best Costume Design because that is what we do here. Four nods for Coco avant Chanel and, perhaps inevitably, Avatar, although not for costume design. The Hurt Locker gets a thoroughly well deserved shout for Best Film, though again costume design misses out. Period dominates then, as per the norm. More…

Posted by Chris Laverty – January 21, 2010 Here is the just announced list of nominations for BAFTA 2010, paying special attention to Best Costume Design because that is what we do here. Four nods for Coco avant Chanel and, perhaps inevitably, Avatar, although not for costume design. The Hurt Locker gets a thoroughly well deserved shout for Best Film, though again costume design misses out. Period dominates then, as per the norm. More…

Posted by Ben McCarthy – January 22, 2010 Starring: Clive Owen, George MacKay, Nicholas McAnulty Directed By: Scott Hicks Very few films have tried to capture or even deal with child bereavement and the nature of fatherhood, which is why The Boys Are Back (2010) is so refreshing in its approach. It thrusts the issue right in front of the audience, and will make each father watching re-think his own parental approach. Based on the memoirs of The Independent political columnist Simon Carr, The Boys Are Back tells the story of Joe (Clive Owen), who has recently lost his wife to cancer and is left to raise his six year-old…

Posted by Chris Laverty – September 15, 2009 Ghostbusters (1987) is perhaps best known as the first ever big budget FX comedy and not for making any serious style statements. Yet tucked amongst the fluffy hair and khaki jump-suits sported by the Ghostbusters themselves is a classic example of mid-1980s opulence – Sigourney Weaver’s oversized cape coat: Full-length cape coat in blue wool with horizontal and intersecting vertical maroon stripes. Wide three-quarter length sleeves, stand collar, big button fastening. Matching cape running to a three-quarter point of the back. All contemporary women’s wear descended from male clothing, and nearly all male clothing descended from military dress. Sigourney Weaver’s cape coat…