© 2011, Clothes on Film 27 Apr ’11 Everyone has high hopes for this film, so be among the first to discover whether Disney’s Pirates of the Caribbean: On Stranger Tides lives up to the hype by entering our exclusive preview tickets competition. Clothes on Film has TWO PAIRS of tickets to give away to a special early screening of Pirates of the Caribbean: On Stranger Tides in London’s West End on 9th May at 6.30 pm. Basically that is two winners that can each take along a friend, loved one or harassing relative to see one of the biggest films of 2011 – over a week before it is…

Lucinda Wright talks exclusively to Clothes on Film about her contribution to ITV’s adaptation of The Suspicions of Mr Whicher starring Paddy Considine. The date: 1860. Place: South West England. Costumes: an elegant recreation of the revolutionary Victorian age. Although probably known for costume designing the 2005 reboot of Doctor Who, Wright has worked in television since the late 1990s. She has also covered period costume before, principally with Henry VIII (2003) and Georgian era Fanny Hill (2007). The Suspicions of Mr Whicher is based on Kate Summerscale’s prize winning book about real life Scotland Yard detective Jack Whicher’s (Considine) investigation of an infant murder and his controversial conclusion that…

© 2011, Clothes on Film 16 May ’11 Throughout The Way We Were (1973, directed by Sydney Pollack), Barbra Streisand wears a mix of period authenticity and contemporary fashion, as costumed by Dorothy Jeakins and Moss Mabry. Essentially she is dressed as Barbra Streisand. Scan photographs and footage of Barbra from the time and it is evident that the actress brought more than just herself to the project; she brought her image too. The previous year, Barbra Streisand had experimented with the wilder excess of seventies trends in What’s Up, Doc? with Ryan O’Neal. Although now fondly remembered for upping her ‘cute’ contingent, What’s Up, Doc? was a mere flash…

© 2011, Clothes on Film 16 May ’11 Throughout The Way We Were (1973, directed by Sydney Pollack), Barbra Streisand wears a mix of period authenticity and contemporary fashion, as costumed by Dorothy Jeakins and Moss Mabry. Essentially she is dressed as Barbra Streisand. Scan photographs and footage of Barbra from the time and it is evident that the actress brought more than just herself to the project; she brought her image too. The previous year, Barbra Streisand had experimented with the wilder excess of seventies trends in What’s Up, Doc? with Ryan O’Neal. Although now fondly remembered for upping her ‘cute’ contingent, What’s Up, Doc? was a mere flash…

With exclusive contributions from Le Divorce costume designer Carol Ramsey, Jill Burgess, creator of Everything Just So, analyses the film’s distinctive sartorial presence; specifically how a Hermès ‘Kelly’ bag can be elevated from status symbol to movie character. In the 2003 Merchant Ivory movie Le Divorce, based on the novel by Diane Johnson, Isabel Walker (Kate Hudson) travels from Santa Barbara to Paris to visit her pregnant sister Roxeanne (Naomi Watts), who is subsequently abandoned by her unfaithful husband Charles-Henri de Persand (Melvil Poupaud). Isabel becomes involved with an older married politician, Edgar Cosset (Thierry Lhermitte), uncle of Charles-Henri, thus further complicating matters in this comedy-drama of impeccable manners. During…

With exclusive contributions from Le Divorce costume designer Carol Ramsey, Jill Burgess, creator of Everything Just So, analyses the film’s distinctive sartorial presence; specifically how a Hermès ‘Kelly’ bag can be elevated from status symbol to movie character. In the 2003 Merchant Ivory movie Le Divorce, based on the novel by Diane Johnson, Isabel Walker (Kate Hudson) travels from Santa Barbara to Paris to visit her pregnant sister Roxeanne (Naomi Watts), who is subsequently abandoned by her unfaithful husband Charles-Henri de Persand (Melvil Poupaud). Isabel becomes involved with an older married politician, Edgar Cosset (Thierry Lhermitte), uncle of Charles-Henri, thus further complicating matters in this comedy-drama of impeccable manners. During…

© 2011, Clothes on Film 21 May ’11 The final outfit for analysis from To Catch a Thief (1954, directed by Alfred Hitchcock) encompasses and challenges the absolute femininity of Grace Kelly, here playing wilful blueblood Frances Stevens. After suffering an embarrassing verbal defeat by mademoiselle Danielle Foussard (Brigitte Auber), in simply donning a coral pink top and pleated skirt with driving gloves, Frances is back in control. This particular ensemble, or rather the skirt, was a request by Grace to the film’s costume designer Edith Head. Keen at this point in the story to restore what she saw as a more ‘womanly’ inference to Frances, trousers, or even Capri…

© 2011, Clothes on Film 21 May ’11 The final outfit for analysis from To Catch a Thief (1954, directed by Alfred Hitchcock) encompasses and challenges the absolute femininity of Grace Kelly, here playing wilful blueblood Frances Stevens. After suffering an embarrassing verbal defeat by mademoiselle Danielle Foussard (Brigitte Auber), in simply donning a coral pink top and pleated skirt with driving gloves, Frances is back in control. This particular ensemble, or rather the skirt, was a request by Grace to the film’s costume designer Edith Head. Keen at this point in the story to restore what she saw as a more ‘womanly’ inference to Frances, trousers, or even Capri…

© 2011, Clothes on Film 1 Apr ’11 The (somewhat) recently debuted trailer for director Paul W.S. Anderson’s adaptation of The Three Musketeers affords just the briefest, intensely edited peek at those 17th century costumes in motion. It’s a lace and linen fest. Alexandre Dumas père’s original story of The Three Musketeers takes place in France before the opulent reign of Louis XIV. This is important because in costume terms the overall style was considerably more sober than in both Henry VIII’s Tudor reign and the French sartorial dominance of the world that was to follow. During the 17th century, fashion was ever changing and evolving, though judging by this…

© 2011, Clothes on Film 1 Apr ’11 The (somewhat) recently debuted trailer for director Paul W.S. Anderson’s adaptation of The Three Musketeers affords just the briefest, intensely edited peek at those 17th century costumes in motion. It’s a lace and linen fest. Alexandre Dumas père’s original story of The Three Musketeers takes place in France before the opulent reign of Louis XIV. This is important because in costume terms the overall style was considerably more sober than in both Henry VIII’s Tudor reign and the French sartorial dominance of the world that was to follow. During the 17th century, fashion was ever changing and evolving, though judging by this…