Throughout much of Wall Street (1987), Michael Douglas as Gordon Gekko dresses as sharp as a tack, wearing perhaps two really great shirts: the renowned ‘Gekko shirt’ in blue with white contrast collars and cuffs and an appealing variation on the Gekko, a pink and white Vichy check – again with white collars and cuffs. Both embody the corrupting authority of a 1980s power outfit: immaculate and comfortable, yet loud and in your face. Disrespectful. Douglas adopts the former signature look for his first big reveal as Gekko: Med blue shirt with white contrast turn-down collar and white French cuffs. Two-tone blue narrow stripe braces. It was costume designer Ellen…

Costume designer Jacqueline Durran discusses her unusual approach for Anna Karenina – 1870s Russia via 1950s couture. Forgive the self-promotion as we draw your attention to Clothes on Film’s inclusion in book ‘Hollywood Costume’ edited by Deborah Nadoolman Landis. A rundown of why Hollywood Costume at the V&A is the best event you will see all year. Banana Republic have teamed up with Anna Karenina costume designer Jacqueline Durran to create an exclusive collection inspired by the upcoming movie. We have five copies of Liz Gregory’s movie dressmaking book Sew Iconic to give away. That’s right, five. Looking so sexy that the finished film can be nothing but a huge…

In honour of The Times’ film critic Kevin Maher’s list of iconic movie rebels, we take a look at what it truly takes to make a tough guy in cinema. What constitutes a tough guy, as in ‘man’, on film is usually a traditional interpretation of masculinity. There is always room for the sensitive hero in a sweater and slacks, but for those who watch movies as ingrained wish fulfilment, the sexy and sweaty man’s man needs suitable attire to reflect his personality. But it is not just about the garments themselves. A jacket is a jacket, but a leather jacket is a symbol. A wax jacket on the other……

In honour of The Times’ film critic Kevin Maher’s list of iconic movie rebels, we take a look at what it truly takes to make a tough guy in cinema. What constitutes a tough guy, as in ‘man’, on film is usually a traditional interpretation of masculinity. There is always room for the sensitive hero in a sweater and slacks, but for those who watch movies as ingrained wish fulfilment, the sexy and sweaty man’s man needs suitable attire to reflect his personality. But it is not just about the garments themselves. A jacket is a jacket, but a leather jacket is a symbol. A wax jacket on the other……

Arriving amidst much excitement is a series of sketches by Prada for their collaboration with costume designer Catherine Martin on The Great Gatsby. Vogue exclusively broke the images. Vogue of course is a fashion magazine and Prada is a fashion label; The Great Gatsby is a film and what the characters wear within it are costumes. There is overlap because The Great Gatsby director Baz Luhrmann apparently brought Prada on board, or more specifically their creative director Miuccia Prada to work alongside Catherine Martin, Luhrmann’s wife. To all intents and purposes this is a partnership. Perhaps to those unfamiliar with the intricacies of costume design it may unfold thus: Miuccia…

Want another look at Janty Yates’ costume design for Robin Hood? Thought you might. Lord Christopher Laverty 9 Comments 25 Oct ’18 25 Feb ’13 20 Jan ’14

An uncomfortable watch, Rabbit Hole is nonetheless essential viewing. Lord Christopher Laverty 1 Comment 28 Jan ’11 27 Nov ’09 9 Dec ’10

This week you may have missed… Ingenious Costume Design Good list from Rebecca Clough at Den of Geek of ingenious movie costume design. And while we’re about it, congratulations to another of their regular writers, Ryan Lambie, for his FDA Richard Attenborough Blogger of the Year Award. Inside Llewyn Davis Kristin M. Burke has a chat with the Coen brothers’ regular costume designer Mary Zophres. The Hunger Games: Mockingjay Part 1 Trish Summerville out, Kurt & Bart in for the third Hunger Games movie. Odd after Summerville being such a successful choice, but we get the feeling this is most intentional. Cash hungry producers have realised Katniss’ costume designers are……

Live and Let Die (1973, directed by Guy Hamilton) is a fantasy Blaxploitation movie made in the wake of Shaft and Sweet Sweetback’s Baadasssss Song (both 1971). Roger Moore’s first stab at James Bond pitted his tightly buttoned jackets and high waisted trousers against a bevy of colourful, flared, snap-brimmed seventies street wear as commanded by corrupt diplomat/New York drug kingpin, Dr. Kananga/Mr. Big (Yaphet Kotto). For the first time in his existence the world’s foremost super spy would be all but invisible. Except that there were attempts to update 007’s image in line with the fashions of the day. Some worked; Moore in a black short sleeve silk shirt…

The second installment (part one HERE) of our extensive interview with Austin Powers trilogy costume designer Deena Appel, this time focusing on The Spy Who Shagged Me (1999, again directed by Jay Roach). Things change up in The Spy Who Shagged Me, for in addition to costuming the modern and swinging sixties world of Austin Powers, his character also travels to 1969, i.e. the ‘hippie era’. The first film was a tremendous success and Appel’s contribution solidified her as the only person who could return to costume this fabulous, vibrant landscape. Speaking exclusively to Clothes on Film, and providing never before seen or published costume sketches from the movie, Deena……