Contributor | Clothes on Film – Part 2

George Lazenby’s fashionable Bond is sartorially similar to Daniel Craig in Skyfall.

The costumes of Rumble Fish express the importance of teenage dress codes before the segregating journey into adulthood.

Armour and indecisiveness: Audrey Hepburn is more than a little black dress in Breakfast at Tiffany’s.

The religious and cultural significance of the costume design in foreign language Oscar winner A Separation.

The subtle differentiation of character through costume design in Moon.

“Fashion victim” or “ensemble-y challenged”. Examining the legacy of Mona May’s costume design for Clueless.

Edith Head’s costume design for Vertigo demonstrates the power of clothes in forming identities on-screen.

The glamorous look of the mid-1930s threads its way through dual love stories in W.E.

Gena Rowlands’ costumes as Gloria evocate character through a fashionable capsule wardrobe.

With exclusive insight from costume designer Catherine Marie Thomas, we analyse Sandra Bullock’s low volume, big impact wardrobe in The Proposal.

Ruth E. Carter’s work on Do the Right Thing is a masterclass in how costume can influence the look and feel of a film.

Groundbreaking film La Dolce Vita offers a conflicting portrayal of masculinity.