This week’s costume news. Costume in The Cabin in the Woods is not grand, but it is very clever. All the teenage characters subtly evolve from one horror stereotype to another.

Interviews with directors and costume designers As Get on Up, director Tate Taylor’s look at the life of singing legend James Brown, hits UK screens we have some fantastic sketches to share of the film’s costuming. Costume designer for Get on Up is the one and only Sharen Davis, who previously worked with Taylor on The Help, although you may know her better for Devil in a Blue Dress, Dreamgirls, Ray and Django Unchained. Davis is absurdly talented and every single project she undertakes should be greeted with cheers by any costume fan. Get on Up with its collective of lowly, stage and civvie ensembles worn by Chadwick Boseman as…

A rundown of why Hollywood Costume at the V&A is the best event you will see all year. We have five copies of Liz Gregory’s movie dressmaking book Sew Iconic to give away. That’s right, five. The Debbie Reynolds costume collection is up for sale. Darn you, worldwide recession!

A brief glimpse at the costume world Mark Bridges created for Joker. The near future romance Her, written and directed by Spike Jonze, whose widely diverse resume ranges from the world of music videos to MTV’s Jackass to major motion pictures, brought together a creative team that costume designer Casey Storm refers to as “friends first, and co-workers second.” Storm and production designer K.K. Barrett create a soft, comfortable world of tomorrow. Shot on location around Los Angeles and Shanghai, Barrett avoided familiar locations to create a world that is accessible but not overtly recognisable. Our first introduction to the world feels very familiar. Seated in an office in a…

His Girl Friday (1940) is an old fashioned comedy with old fashioned dialogue. It thunders along like a washing machine on spin cycle, much like its central protagonist, Rosalind Russell as ace reporter Hildy Johnson (not first choice for casting by director Howard Hawks, but she earned her stripes so to speak). Russell is a hoot as she bounds back and forth between her boss and ex-husband Walter Burns (Cary Grant), soon to be new husband Bruce Baldwin (Ralph Bellamy) and key to her big scoop, patsy murderer Earl Williams (John Qualen). Hildy is tenacious and classy, although – and quite charmingly so – she is not graceful. Robert Kalloch…

Part 2 of our detailed look at the costumes in Tron Legacy, moving onto specific design elements created for individual characters.

Costume links of the week. The votes have been counted, the prizes dished out… Who might win for costume design at the Orange BAFTA Film Awards? Here’s our round-up of the big three costume design award nominations. With exclusive insight from Leesa Evans, Clothes on Film takes an overview look at the art of comedic costume in Bridesmaids.

Amongst staggering aural and visual assault, perhaps one of the quietest aspects of Dunkirk (2017, directed by Christopher Nolan) are its costumes – and this is to its credit. Dunkirk is the type of film that requires you to engage quickly with everything you see on screen. Jeffrey Kurland’s costume design is masterful in this regard. A sea of subtly differentiated green and brown with the pop of naval uniforms and briefly glimpsed civilian wear. This is 1940 at its most spare and rudimentary. Here, Jeffrey Kurland chats exclusively to Clothes on Film about his process for creating the world of Dunkirk: SPOILERS THROUGHOUT Clothes on Film: How did you……

Clio Barnard’s stark yet heart-wrenching film The Selfish Giant (2013, UK) offers two fantastic performances from its young stars in their acting debut. Matt Price discusses how his costume design for the film reflects the strong, relatable characters so well… It is lunchtime in London as costume designer Matthew Price shuffles into the Curzon, Soho. Recently collaborating with Clio Barnard on the Bafta nominated film, The Selfish Giant, reuniting after experimental documentary The Arbour, Price is surprisingly reserved about his work. “I wasn’t really sure if they’d take me on again,” he says of Barnard and producer Tracey O’Riordan. “The Arbour did quite well so I didn’t know if they’d…

We may have to eat our words, but as it stands 12 Years a Slave is unlikely to win the Best Costume Design Oscar. It does tick some of the necessary boxes: it’s period (mid 19th century), features both crinolines and cravats, and is part of the popular ballot. Yet being as the protagonist spends most of his time in just an increasingly distressed tunic shirt, the Academy may just feel costume designer Patricia Norris has really not worked hard enough. Flippancy toward the Academy aside, 12 Years a Slave remains a wonderfully rich costume experience. Every fibre leaps off the screen with detail and feeling. The cool weave of……