Clothes from 1980s | Clothes on Film

Contributor Birdie McAra explores the fantabulously non-male gazey world of Birds of Prey.

The costume style evolution of Kathleen Turner in Romancing the Stone (1984).

The scruffy gumshoe style of Mickey Rourke in Angel Heart (1987). With very special trousers.

A brief glimpse at the costume world Mark Bridges created for Joker.

Brigsby Bear tells the bizarre yet charming tale of a young man, James Pope (Kyle Mooney), who was kidnapped as a baby and subsequently released into the world many years later with no knowledge of it beyond a non-existent kids television show. The film evokes a nostalgic view of the 1980s and, while is contemporary set, gently embraces that period in terms of its aesthetic. Costume designer for Brigsby Bear, Sarah Mae Burton, experienced in both television and film, has created a familiar yet distinctive vibe that feels entirely believable. Here she talks exclusively to Clothes on Film about her process: Clothes on Film: James Pope’s world for twenty five…

Despite being set in the present day, the world of Brigsby Bear (2017, directed by Dave McCary) is a cosy 1980s nostalgia affair. Most of what we see either comes from or belongs to another time. It is a very deliberate look that extends right across the production design and costumes. Separate from the overall costume design of Brigsby Bear (by Sarah Mae Burton), Stoopid Buddy Stoodios worked on the creation and execution of the actual Brigsby Bear suit. We chatted to David Brooks and Ben Bayouth from the studio to discover exactly how they arrived upon the distinctive finished article. Clothes on Film: What led Stoopid Buddy Stoodios to…

Cinema Paradiso is a beautiful examination of the relationship human beings have with film. This connection is explored through the story of a young boy and his friendship with the projectionist at the town’s local cinema. The strength of this friendship is only surpassed in intensity by the boy’s deep desire to become a part of the world of movie making. This is a story not about the medium of film in itself, but about the real people whose lives are illuminated by the stories it relates. As a tale primarily of ordinary Roma people, the costumes in Cinema Paradiso, as designed by Beatrice Bordone, help create a 1940s/50’s period…

Internal Affairs (1990) is an excellent stone cold thriller. The costumes are a subtle tease, revealing personal information that the characters never say out loud. Like many movies released in the late 1980s/1990s, Internal Affairs radiates uneasiness caused by shifting societal attitudes – anything that threatens a straight male chauvinist black-and-white world. Costume designer Rudy Dillon punches through this black-and-white world with ensembles that poke fun at the status quo and subsequently subvert them with eroticism, perhaps ironically using only a colour scheme of black and white. The straight white male chauvinist is Dennis Peck (Richard Gere), a police officer in Los Angeles who controls his colleagues by involving them…

There is a problem with the costumes in The Wolf of Wall Street, and it has nothing to do with the film itself but the coverage they have received. Namely, that this coverage is incorrect. Articles such as this one for Vogue France, or this for The Hollywood Reporter, or a ‘suit guide’ by Esquire, concentrate almost solely on Giorgio Armani’s contribution to the project with barely a mention of costume designer Sandy Powell. And this is the Sandy Powell by the way: 10 Oscar nominations and so well respected she has an OBE for services to the industry. It was Powell who costumed The Wolf of Wall Street, not…

American Psycho (2000, costume designer Isis Mussenden) is a late 1980s set film that highlights the importance placed on external appearance and the disparity that can lie between this and the true nature of a person. The ‘Psycho’ of the title, Patrick Bateman (played by Christian Bale) is outwardly flawless. He has an extreme and involved personal beauty regime, consisting of special shampoos, body washes, face masks and scrubs, complemented by a strict diet and exercise plan that he completes daily and without fail. He believes in looking after himself – or at least his external self. Beneath this perfectly glossy exterior is emptiness – a lack of humanity, of…

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…

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…