Some costume links to delight and amuse. Game of Thrones A preview of Daenerys’ ‘cruel dress’ revealed in this week’s episode. Judging from the pic it looks to be a sexual tease of some sort.[…] The top half of Ben Affleck’s new Batsuit has been revealed, as created by costume designer Michael Wilkinson for the barely in production Batman vs. Superman. At first this black and white Bats looks kind[…] Two weeks of costume stories. Sheena Napier DTSFT cover this prolific costume designer’s chat at the V&A. And if you’ve not heard of Ms Napier we’ll just say: Backbeat, Poirot, Enchanted April. Sandy Powell Nice[…] SPOILERS Despite all the hoo-ha…

Despite being set in the present day, the world of Brigsby Bear (2017, directed by Dave McCary) is a cosy 1980s nostalgia affair. Most of what we see either comes from or belongs to another time. It is a very deliberate look that extends right across the production design and costumes. Separate from the overall costume design of Brigsby Bear (by Sarah Mae Burton), Stoopid Buddy Stoodios worked on the creation and execution of the actual Brigsby Bear suit. We chatted to David Brooks and Ben Bayouth from the studio to discover exactly how they arrived upon the distinctive finished article. Clothes on Film: What led Stoopid Buddy Stoodios to…

Brigsby Bear tells the bizarre yet charming tale of a young man, James Pope (Kyle Mooney), who was kidnapped as a baby and subsequently released into the world many years later with no knowledge of it beyond a non-existent kids television show. The film evokes a nostalgic view of the 1980s and, while is contemporary set, gently embraces that period in terms of its aesthetic. Costume designer for Brigsby Bear, Sarah Mae Burton, experienced in both television and film, has created a familiar yet distinctive vibe that feels entirely believable. Here she talks exclusively to Clothes on Film about her process: Clothes on Film: James Pope’s world for twenty five…

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…

Clothes and costume related movie news The latest book by fashion historian, and now TV presenter Amber Butchart (A Stitch in Time on BBC 4 – second season please), is a comprehensively researched stroll through the best dressed folk ever to[…] Daphne du Maurier‘s original novel My Cousin Rachel apparently does not specify the exact period in which it’s set, but implies some time toward the end of the 19th century on the Cornish coast. This[…] When Arnold Scaasi opened his couture salon in 1964, he soon became a couturier to the stars. He was already a favoured designer for Barbra Streisand when he famously dressed her for the 1969…

MILD SPOILERS Costume designer Michael Wilkinson’s main accomplishment with American Hustle has largely been overlooked in favour of praising him as some kind of vintage stylist with an eye for provocative gowns and desirable heels. The truth is he has carefully brought to life a world, not of parties and glamour, but cheap sex and dirty desperation. The costumes in American Hustle do tell a story, particularly through their ever darkening colour palette, yet Wilkinson’s deftest skill is reflecting an era when fashion was as confused as the politics surrounding it. American Hustle is an unapologetic tale of low down dirty double-crossers whose clothes, like them, were a lie. A…

Here’s a bit of justified promotion for an event you will absolutely want to see: fashion historian, DJ for Jazz FM, author and Clothes on Film contributor, Amber Jane Butchart, teams up with your very own editor, Christopher Laverty, for an exquisite evening entitled on 28th March in London. Taking place at the sumptuous, gorgeous, you-really-should-have-been-there-by-now British Library, Amber and Christopher present two separate talks pertaining to the 1920/30’s Jazz Era before coming together to answer questions from the audience. After that, there will be cocktails and period frivolities courtesy of The Vintage Mafia. It all starts at 6.30 pm and finishes around 10.30, so plenty of time to be…

Note from the Editor: You may have noticed that Clothes on Film has not been updated as frequently recently. We’ve had some excellent analysis and a few strong interviews, but in general content has been considerably lighter than usual. Well there is a reason for this… I have recently signed my first publishing deal to produce a book about, unsurprisingly, clothes in film. Specifically this will be a book about fashion in film. Apologies if this reads a tad vague; I promise more details will follow in the coming months. I will say now, however, that it is not just another tome describing pretty dresses or sharp suits in movies,…

In 1935, Fred Astaire and Ginger Rogers made cinema history with their most successful film partnership, Top Hat. However, it wasn’t Astaire’s headgear that got people talking; it was Rogers’ ostrich feather dress worn in the Oscar-nominated song ‘Cheek to Cheek’. The fact remains that this is quite possibly the most memorable, beautiful and romantic musical number ever captured on film, and Rogers’ dress contributes to this greatly. Whenever Astaire and Rogers dance, they are making love without undressing, without even kissing in the majority of their films; “they is angels” remarks unfairly condemned criminal Kofi as he fulfils his dying wish of watching the lovers perform ‘Cheek to Cheek’…

The secret is finally out, and it had to be Vogue who made the announcement for their September issue, because this is not something that could just slip out under the radar: Miuccia Prada provided Carey Mulligan’s gowns as Daisy Buchanan for The Great Gatsby. Vogue interviewed Prada who exclusively revealed that she was not directly influenced by the story’s 1920s setting but rather tweaked her own designs (some 40 dresses) to be reflective of the period. Prada, who is granddaughter of the label’s founder Mario, has already worked with The Great Gatsby director Baz Luhrmann three times before, so her involvement should not come as too much of a…