© 2010, Clothes on Film 25 Jun ’10 Pretty Woman (1990) is your typical Hollywood rags to riches story. Vivian Ward (Julia Roberts) is a young woman who finds herself down and out; struggling financially, unable to make the rent and ‘forced’ to sell her body on the street. By dramatic coincidence she happens to enter the car (and world) of newly single, and rich, businessman Edward Lewis (Richard Gere) Vivian’s transformation from prostitute to elegant lady of luxury is highlighted through her clothes. Costume designer Marilyn Vance-Straker and her team created an array of stylish and contemporary outfits, beginning with the white and blue revealing dress with thigh-high boots…

© 2010, Clothes on Film 25 Jun ’10 Pretty Woman (1990) is your typical Hollywood rags to riches story. Vivian Ward (Julia Roberts) is a young woman who finds herself down and out; struggling financially, unable to make the rent and ‘forced’ to sell her body on the street. By dramatic coincidence she happens to enter the car (and world) of newly single, and rich, businessman Edward Lewis (Richard Gere) Vivian’s transformation from prostitute to elegant lady of luxury is highlighted through her clothes. Costume designer Marilyn Vance-Straker and her team created an array of stylish and contemporary outfits, beginning with the white and blue revealing dress with thigh-high boots…

In Blake Edwards’ Breakfast at Tiffany’s (1961, costume supervisor Edith Head), based on the novella by Truman Capote, we get to know Holly Golightly, a mysterious woman-child with a troubled past who refuses to belong to anyone or anywhere. The film reveals much about Holly’s character through its allusions via costume, attests Lisa Magnuson. Holly is presented as young, frightened and damaged; someone who, like a cat, lashes out when others get too close. Holly’s iconic Givenchy dress seen in the opening scene with its thick, cumbersome necklace and yoked back, arguably the most famous costume in film history, represents Holly’s current status as a call girl. The dress consumes…

In Blake Edwards’ Breakfast at Tiffany’s (1961, costume supervisor Edith Head), based on the novella by Truman Capote, we get to know Holly Golightly, a mysterious woman-child with a troubled past who refuses to belong to anyone or anywhere. The film reveals much about Holly’s character through its allusions via costume, attests Lisa Magnuson. Holly is presented as young, frightened and damaged; someone who, like a cat, lashes out when others get too close. Holly’s iconic Givenchy dress seen in the opening scene with its thick, cumbersome necklace and yoked back, arguably the most famous costume in film history, represents Holly’s current status as a call girl. The dress consumes…

Costume designer Catherine Marie Thomas proves that Sandra Bullock’s character in The Proposal (2009, directed by Anne Fletcher) does not need a closet full of clothes to make her mark. Here Catherine Marie Thomas discusses exclusively with Jill Burgess for Clothes on Film just why the film is so special to her. Margaret Tate (Sandra Bullock) is a big shot New York book editor, making life hell for her assistant Andrew Paxton (Ryan Reynolds). One morning Margaret is informed by her bosses that she has lost her visa status and will be deported to her native Canada. When Andrew appears to whisk her away from the meeting, Margaret announces to…

Costume designer Catherine Marie Thomas proves that Sandra Bullock’s character in The Proposal (2009, directed by Anne Fletcher) does not need a closet full of clothes to make her mark. Here Catherine Marie Thomas discusses exclusively with Jill Burgess for Clothes on Film just why the film is so special to her. Margaret Tate (Sandra Bullock) is a big shot New York book editor, making life hell for her assistant Andrew Paxton (Ryan Reynolds). One morning Margaret is informed by her bosses that she has lost her visa status and will be deported to her native Canada. When Andrew appears to whisk her away from the meeting, Margaret announces to…

Costume designer Catherine Marie Thomas proves that Sandra Bullock’s character in The Proposal (2009, directed by Anne Fletcher) does not need a closet full of clothes to make her mark. Here Catherine Marie Thomas discusses exclusively with Jill Burgess for Clothes on Film just why the film is so special to her. Margaret Tate (Sandra Bullock) is a big shot New York book editor, making life hell for her assistant Andrew Paxton (Ryan Reynolds). One morning Margaret is informed by her bosses that she has lost her visa status and will be deported to her native Canada. When Andrew appears to whisk her away from the meeting, Margaret announces to…

Costume designer Catherine Marie Thomas proves that Sandra Bullock’s character in The Proposal (2009, directed by Anne Fletcher) does not need a closet full of clothes to make her mark. Here Catherine Marie Thomas discusses exclusively with Jill Burgess for Clothes on Film just why the film is so special to her. Margaret Tate (Sandra Bullock) is a big shot New York book editor, making life hell for her assistant Andrew Paxton (Ryan Reynolds). One morning Margaret is informed by her bosses that she has lost her visa status and will be deported to her native Canada. When Andrew appears to whisk her away from the meeting, Margaret announces to…

The perfection of a rose-tinted past, Doris Day’s costumes in Pillow Talk (1959) are some of the most exquisite ever worn on screen. They personify her immaculate character and symbolise the remnants of a dying era; opulence, optimism and the changing face of urbanised fashion. Costume designer for Pillow Talk was Bill Thomas, although, as became standard with Doris Day pictures, he was not directly responsible for creating her outfits. That job fell to celebrated costume/fashion designer Jean Louis, earning him a ‘Gowns By’ credit on the film. Louis was known for his stylish and often deceptively simple garments, including most famously Rita Hayworth’s strapless black sheath in Gilda (1946).…

The perfection of a rose-tinted past, Doris Day’s costumes in Pillow Talk (1959) are some of the most exquisite ever worn on screen. They personify her immaculate character and symbolise the remnants of a dying era; opulence, optimism and the changing face of urbanised fashion. Costume designer for Pillow Talk was Bill Thomas, although, as became standard with Doris Day pictures, he was not directly responsible for creating her outfits. That job fell to celebrated costume/fashion designer Jean Louis, earning him a ‘Gowns By’ credit on the film. Louis was known for his stylish and often deceptively simple garments, including most famously Rita Hayworth’s strapless black sheath in Gilda (1946).…