In the first of a two-part special, we examine how important costumes from the Alien films are in contextualising primal terror.

Part 2 of our examination into how the Alien films have used costume design to contextualise primal terror. In the first of a two-part special, we examine how important costumes from the Alien films are in contextualising primal terror.

In the first of a two-part special, we examine how important costumes from the Alien films are in contextualising primal terror.

A fun glimpse at the bizarre fashions to expect in Catching Fire thanks to costume designer Trish Summerville. Lord Christopher Laverty 1 Comment 8 Mar ’13 23 Sep ’11 15 Apr ’13

A fun glimpse at the bizarre fashions to expect in Catching Fire thanks to costume designer Trish Summerville. Lord Christopher Laverty 1 Comment 4 Jun ’10 20 Aug ’10 14 Dec ’12

Part 2 of our examination into how the Alien films have used costume design to contextualise primal terror. In the first of a two-part special, we examine how important costumes from the Alien films are in contextualising primal terror.

From stills of this film alone you could easily be forgiven in thinking that I am Love (Io sono l’amore, 2009) was set during the 1960s. The designer clothes draped worn by lead members of the Recchi family, as selected by costumer Antonella Cannarozzi, are generally minimalist, in plain colours with little embellishment. I am Love is actually set in Europe around 2000, but its central characters are trapped as the well-heeled repressed of the sixties. Just as sexual, artistic and cultural expression was blossoming, the old guard struggled to make sense of this new world so regressed even more vehemently into their old one. The Recchi’s seem to live……

This week’s costume biggies. The Great Race Karen Noske analyses the exceptional work of Edith Head for Natalie Wood. Breaking Bad Emma Fraser looks at Lydia’s blue coat (and her influence on Todd’s clothing) in recent episodes. Downton Abbey Caroline McCall keeps the Downton ladies covered up. Kristin M. Burke The veteran costume designer tackles the increasing problem of internet haters critiquing work they do not understand. Cinema and Clothes By Dal Chodha, with a teeny contribution by yours truly. Rush Much better interview with costume designer Julian Day than the last one we linked to. Masters of Sex Ane Crabtree on her late 1950s designs for the Showtime drama.…

MILD SPOILERS The hoodie has as much to say about it’s wearer as, say, the white t-shirt does. By which I mean that, depending on context, it can say anything. The white t-shirt can imply clean, erotic, the worker – or a combination of all three. In the eyes of contemporary media, the hoodie largely suggests youth. Shady youth, someone not keen to reveal their identity because they are planning on robbing you or worse. Put the hoodie on a black man and it is pretty much akin to walking down the street in a striped jumper with a sack marked ‘swag’. Luke Cage is not set to change that…

This week’s costume biggies. The Great Race Karen Noske analyses the exceptional work of Edith Head for Natalie Wood. Breaking Bad Emma Fraser looks at Lydia’s blue coat (and her influence on Todd’s clothing) in recent episodes. Downton Abbey Caroline McCall keeps the Downton ladies covered up. Kristin M. Burke The veteran costume designer tackles the increasing problem of internet haters critiquing work they do not understand. Cinema and Clothes By Dal Chodha, with a teeny contribution by yours truly. Rush Much better interview with costume designer Julian Day than the last one we linked to. Masters of Sex Ane Crabtree on her late 1950s designs for the Showtime drama.……