As Contessa Teresa ‘Tracy’ Di Vicenzo in On Her Majesty’s Secret Service (1969), Diana Rigg embodied a complex and charming, if sadly terminal ‘Bond girl’. Decked in glamorous, era-specific trends by Marjory Cornelius, Rigg’s costumes were subtly symbolic of her tomboyish nature, culminating in a memorably daring wedding ensemble. Glamour and symbolism were director Peter Hunt’s idea; he intended a return to the more distinguished Bondian elements of dress and production design as established in Goldfinger (1964). Acknowledged for his dapper style on set, Hunt even sent new 007 George Lazenby to his own tailor. Lazenby’s Bond is one of the sharpest attired in the series, principally because he reflects…

Author Caroline Young has just released a fascinating new book entitled Hitchcock’s Heroines (published by Insight Editions). It celebrates and studies the women in Hitchcock movies; their influence, semblance and iconography. What’s more, Young also examines the role costume design plays with these women, both the characters and the actresses who played them, and how they can be interpreted as far more than just ‘icy blondes’. Here we have an extract of the book exclusively for Clothes on Film: Kim Novak’s grey suit the colour of San Francisco fog in Vertigo, Grace Kelly as the too-perfect woman in Rear Window, and Janet Leigh’s black and white sets of underwear to…

Director Guillermo del Toro’s Pacific Rim was always bound to be a detailed visual feast of FX, sets and costume design. Nonetheless the real main players in this film wear no costumes at all, the kaiju (Japanese for ‘strange beast’) and the tower-block sized Jaeger robots (German for ‘hunter’) built to defend Earth from their attacks. As such it fell to costume designer Kate Hawley, fresh from The Hobbit’s design team, to emphasise the humanity of Pacific Rim’s smaller-scale, flesh and blood characters. Hawley’s job was made extra difficult because most of these characters are involved in the military Pan Pacific Defence Corps, and yet we arrive (intro excluded) at…

Directed By: Rob Marshall Starring: Johnny Depp, Penélope Cruz, Geoffrey Rush This fourth entry into the Pirates of Caribbean franchise is frustrating, dark (literally) and only occasionally thrilling. For the reason a Pirates movie normally redeems itself, this one fails; Johnny Depp as Jack Sparrow has finally become the irritating wiseass who just won’t leave the party. Early on, Jack is a lovingly familiar presence. Following a pursuit through 18th century London, he sheds his recognisable silhouette of billowing linen-silk tweed coat, stripping to an equally billowing linen shirt. As most of the film is set on land, costume designer Penny Rose has ensured he is more rock ‘n’ roll…

Basic Instinct is a movie that even its director Paul Verhoeven has described as “nonsense”, yet one cannot argue with the impact of the white dress Sharon Stone wears for the interrogation scene. Plus there is far more going on here than an absence of underwear. When this erotic thriller was released in 1992 it was notorious long before projectors whirred to life. Picketed on set by gay and lesbian groups in San Francisco for what they considered to be a stereotypical and offensive view of homosexuality, the film was lucky to have gotten made at all. Of course this was before the furore over that close up, not to…

The green suit worn by Tippi Hedren as Melanie Daniels in The Birds (1963) has become increasingly symbolic in recent years as we delve ever deeper into the semiotics of film. In this case it is hardly surprising as Hedren only wears three costumes in total; the suit is so visible we cannot fail to draw meaning from its presence. But what was director Alfred Hitchcock trying to say with it, and more importantly, why? If you visited the V&A’s Hollywood Costume exhibition (now closed in London but moved to Australia and the U.S.), seeing The Birds’ suit would likely have stuck in your mind. It was given prominent placing…

MILD SPOILERS Solo: A Star Wars Story (2018) is far and away the most ‘A New Hope-like’ film in the series yet. In terms of tone, sure, but particularly costume. What costume designers Glyn Dillon and David Crossman have so expertly achieved with Solo is making a contemporary looking movie set during the late 1960s. Star Wars: A New Hope was released in 1977 which puts Solo’s timeline around a decade before, or likely just over. But hang on, isn’t this a science fiction movie? What does when it’s made have to do with the space opera world being brought to life on screen? Well the seventies in particular was…

In Proof of Life (2000), a kidnap thriller set in fictional South American country Tecala, Meg Ryan plays Alice Bowman, one of the least convincing hippies ever committed to film. On Alice, hippie seems like a passing trend rather than a lifestyle choice. Meg Ryan’s costumes are a mix of sarong skirts with embroidery, cotton vests, tie-dyed t-shirts, big belts, linen shirts, waist cincher, leather jacket, waistcoat, sandals, even a matelot sweater. Add in a $300 hairdo with a generous application of lip gloss and Alice Bowman, all in all, looks pretty fresh considering her husband has been trapped in captivity, or quite possibly dead, for several months. Proof of…

As a preamble for costume designer Kristin Burke’s upcoming analysis of Rosemary’s Baby (1968), here is an (edited) chat we had about the film, US/UK insults, rude knitting and the Virgin Mary. It’s worth a read. Kristin Burke: So what I thought was interesting about your review was that it focused on fashion – I think that the film was terribly fashionable, especially for the time. At first glance, the meaning, the purpose of the costumes was lost for me in terms of its fashion. And you really addressed it in talking about Mary Quant. Chris Laverty: You’re right; I did see it as a fashion movie, at least on…

File under ‘seriously intriguing’, mainly because it is in part a period piece, here is our first decent, non grainy scanned look at Chris Evans as Steve Rogers, aka Captain America, courtesy of Entertainment Weekly. Captain America: The First Avenger is directed by Joe Johnston, adapted/written by Joss Whedon and most tantalising of all for this particular site, costumed by Jeffery Kurland (Inception) and Anna B. Sheppard (Inglourious Basterds). Quite how this panned out in practical terms, i.e. did Sheppard handle the period costumes and Kurland modern day, is something we will close in on nearer the release date. Judging by the early official images that turned up before Christmas,…