Grace Kelly (as Lisa Fremont) wears five separate outfits in Rear Window (1954) including one negligee. Three of these are exceptional standouts, each neatly representing a different sector of 1950s women’s fashion: dress, casual and tailored. All will be covered in time, but for now let’s start with the ‘fresh from the Paris plane’ dress, as designed by Edith Head, unquestionably the most famous movie costumer of all time; known for her clean and elegant ‘taste maker’ style: Fitted black bodice with deep V cut down to the bust and rear to the small of the back, off the shoulder neckline, cap sleeves. Here Head actually seems to pre-date the…

Innovative costume designer and art director Eiko Ishioka has died aged 73. Ms Ishioka will surely be best remembered for her Oscar winning costumes in Bram Stoker’s Dracula (1992), which included Vlad III the Impaler’s (Gary Oldman) eye-popping suit of armour that resembled the structural configuration of human muscles and provocative Gothic dresses worn by The Brides. Tokyo born Eiko Ishioka also designed costumes for 2011 fantasy drama Immortals. Regular collaborator, director Tarsem Singh, known for his judicious use of extravagant headwear, employed Ms Ishioka to create an array of imaginative ensembles based on Greek mythology. A modest résumé of ten feature films takes nothing away from Eiko Ishioka’s influence…

Filmmaker and costume designer Sophie Black recounts her personal interpretation of Heathers, a film defined by vivid visual interpretation. It is just a coincidence that the first time I saw Michael Lehmann’s Heathers (1988) was within hours of the first time I saw David Lynch’s Blue Velvet (1986), and I immediately made comparisons between the two films which I may have not noticed otherwise. More people are quick to compare Heathers to the work of Tim Burton, because of the associates he had on the film (producer Denise Di Novi and star Winona Ryder, to name but two) and the fact that the candy-coloured suburban setting mirrors that of Edward…

Directed By: Tom Hooper Starring: Colin Firth, Geoffrey Rush, Helena Bonham Carter The King’s Speech is a majestic tale set in a world of buttoned-up repression and austere buildings that creak as much as their inhabitants. Tom Hooper’s direction is confident and explicit. There is little subtext beyond the obvious contrast with our current royal family and the media control over their lives. Opting for reflection rather than display, plus no doubt hampered by a minuscule budget, costume designer Jenny Beavan speculates the 1925–39 setting rather than recreates it. For example, Colin Firth as frustrated King George VI, or ‘Bertie’ to those he held dear, was a Naval officer, a…

So much has been written about H.R. Giger’s justly-renowned xenomorph design that the human costume design in the Alien movies goes largely unnoticed, argues film critic Simon Kinnear. In the first of a two-part special, we revisit the saga on Blu-ray to look at just how important these costumes are in contextualising primal terror. Traditionally, costume designers in science-fiction movies depicted the future as being utilitarian, uniform and very clinical: think of Forbidden Planet (1956) or 2001: A Space Odyssey (1968) for good examples of the space-faring look. The early 1970s saw a slight sea-change when Dark Star (1974), the John Carpenter film scripted by future Alien creator Dan O’Bannon,…

The 1945 cinematic adaptation of Mildred Pierce, directed by Michael Curtiz and starring, of course, Joan Crawford, is a very different beast to the 2011 HBO mini-series starring Kate Winslet. In all honestly it is not as good, but more significantly it is very different in terms of costume. Interestingly enough the mini-series, which is evidently a period piece, is closer in terms of historical accuracy than the near contemporary set Crawford version. This is not the be all and end all, because while Winslet’s Pierce may feel more real in terms of costume and setting, Crawford’s is arguably more fun. If for no other reason than to exemplify how…

Directed by Jon Favreau Starring: Robert Downey Jr., Mickey Rourke, Gwyneth Paltrow Summer blockbuster season has officially kicked off with one of the most anticipated releases of the year – Iron Man 2. The first Iron Man was a surprise hit of 2008, it resurrected Robert Downey Jr.’s career and even made AC/DC cool again. Taking a different tact to The Dark Knight, it kept the tone light and went down a storm with critics and fans alike. Two years later, we have the sequel. The story picks up six months after events of the first film; Tony Stark (Robert Downey Jr.) is trying adjust after revealing his secret identity…

Moments of sartorial significance, and that glimmer of recognition that we feel upon seeing an onscreen outfit worn more than once are found throughout Smooth Talk, Joyce Chopra’s underseen 1986 adaptation of a Joyce Carol Oates short story. The film is rife with all the monotony of life and charming ensembles we expect of a teenage girl in the summer, yet it simultaneously offers complexity and creepiness. Laura Dern plays Connie, an ingénue spending her days as an “unfinished girl, waiting for completion of some sort” (Quart 74). In her essay, “Smoothing Out the Rough Spots: The Film Adaptation of ‘Where Are You Going, Where Have You Been?’” Rebecca Sumner…

Ann Roth’s Emmy nominated costume design for Mildred Pierce has received considerable press, mainly for Kate Winslet’s richly tailored suits and Evan Rachel Wood’s glamorous Katharine Hepburn-esque lounge ensembles. Yet the show’s outwardly dowdy housedresses and waitress uniforms are just as interesting. Further to our earlier essay on the former, we shall analyse the displaced sex appeal of the latter. The sex appeal of the uniform, in this case Mildred’s plain white cotton waitress uniform, buttons at the front, trimmed in brown gingham with a simple rever collar, is entirely one-sided. Lecherous customers grope Mildred as if they have somehow earned the right. These men are aroused by Mildred’s uniform,…

Costume designer Ann Roth, arguably one of the greatest of her craft still working in Hollywood, has costumed director Steven Spielberg’s latest The Post, and by the looks of this first trailer we are in for a muted treat: What we have are gentlemen sporting classic collar points with moderate spread, sometimes short sleeve (always with a chest pocket – a very American touch) and medium breadth neckties. The occasional kipper, but this 1971 is a very different world than, say, The Deuce (costume designer Anna Terrazas). Most of the male cast are are old school in their style of dress. The 1960s is far from leaving their wardrobes. As…