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Review: Les Misérables | Clothes on Film – Part 28777
Starring: Hugh Jackman, Russell Crowe, Anne Hathaway Directed By: Tom Hooper Lingering death scenes, honourable gentlemen with puffed out chests, a little girl in rags sweeping the floor; to say Les Misérables takes itself very, very seriously is an understatement. Victor Hugo’s original novel is not known for its slapstick either (the clue is in the title), yet director Tom Hooper’s adaptation is so earnest as to verge on parody. This is Carol Reed’s Oliver! only with a good deal more rain and tears, and a lot less Oom-Pah-Pah. To Hooper’s credit, Les Misérables never strives to be something it is not. Dramatic musical theatre on a grand scale should…
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Doctor Who: A Contemporary Costume Evolution | Clothes on Film – Part 35381
Doctor Who, the quirky British sci-fi television series about a time travelling alien and his friends, premiered in 1963. Since then there have been twelve Doctors (and a War Doctor), each with their own unique looks to match their unique and often eccentric personalities. With the debut of the Twelfth Doctor fast approaching, this post takes a look back at the three Doctors we’ve seen so far (not including the War Doctor) on Doctor Who since it was rebooted in 2005 (or New Who, as some like to call it) and guesses at what we can expect from Doctor number twelve. Christopher Eccleston as the Ninth Doctor Who. Costume designer:…
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archive | Clothes on Film
Note from the Editor: You may have noticed that Clothes on Film has not been updated as frequently recently. We’ve had some excellent analysis and a few strong interviews, but in general content has been[…] Privacy & Cookies: This site uses cookies. By continuing to use this website, you agree to their use. To find out more, including how to control cookies, see here: Cookie Policy
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website | Clothes on Film
Note from the Editor: You may have noticed that Clothes on Film has not been updated as frequently recently. We’ve had some excellent analysis and a few strong interviews, but in general content has been[…] Privacy & Cookies: This site uses cookies. By continuing to use this website, you agree to their use. To find out more, including how to control cookies, see here: Cookie Policy
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Bridesmaids Q&A: Comedy Costume | Clothes on Film – Part 20792
Exclusive to Clothes on Film, Leesa Evans explains the tricky art of dressing six very different comic characters in Bridesmaids, i.e not overselling the humour. Leaning primarily to comedy, Leesa Evans has been lead costume designer on over twenty films, including American Pie (1999) and Josie and the Pussycats (2001). She has also worked with producer Judd Apatow several times, e.g. Forgetting Sarah Marshall (2008), Get Him to the Greek (2010) and now Bridesmaids (2011, directed by Paul Feig). “I have a great working relationship with Judd Apatow,” Evans confirms “When he asked me to design the film I was thrilled to do it”. Crammed with about as much riotous…
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Drive: Red Band Trailer. Amazing | Clothes on Film
Clothes on Film really has nothing to say about this red band trailer for Nicolas Winding Refn’s retro thriller Drive. Except that we are desperate to get our eyes on Erin Benach’s costume design. The white quilted bomber jacket worn by Ryan Gosling’s ‘driver’ is intriguing enough, but what about the gloves? According to journalist and costume aficionado Guy Lodge, who has already seen Drive at Cannes, “It is really a film *about* gloves”. We’re fascinated already. Drive is released on 23rd September. Get behind us in the queue. © 2011 – 2018, Lord Christopher Laverty.
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Beautiful Oppression: Tilda Swinton in I am Love | Clothes on Film – Part 35265
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…
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Rear Window: Miss Lonelyheart's Green Dress | Clothes on Film – Part 2744
Of course Rear Window (1954) wasn’t all about Grace Kelly… Just a quick mention then for Miss Lonelyheart played with such empathy by Judith Evelyn, and her dashing green dress. This outfit might look passé compared to the haute couture of Grace Kelly’s Lisa, yet it is probably what her character was wearing eighteen months earlier: Emerald green evening dress with large wing collar and a full skirt that ends just below the knee. As with Grace Kelly’s wardrobe Judith Evelyn’s dress was designed by Edith Head, director Alfred Hitchcock’s favourite costume designer. Not 100% certain of the dress’ fabric – possibly silk taffeta, or even rayon taffeta being as…
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Debbie Reynolds' Costume Collection Up For Auction | Clothes on Film – Part 19540
Since the 1960s, show business legend Debbie Reynolds has been stockpiling and promoting the preservation of Hollywood costumes, props and other memorabilia. Now she is selling her whole collection… CLICK HERE two download a PDF of the catalouge. The auction is to be held in several stages by Profiles in History, a leading dealer of autographs, manuscripts and vintage signed photographs. Costumes featured in the first sale include: Gene Kelly’s 3-pc wool herringbone suit by Walter Plunkett for Singin’ in the Rain (1952), Audrey Hepburn’s embroidered lace ‘Ascot dress’ from My Fair Lady (1964) designed by Cecil Beaton, Adrian’s gingham test dress for Judy Garland used for the first two…
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The Essential Nature of Simple Costume in Locke | Clothes on Film – Part 35739
Locke (2013, costume design by Nigel Egerton) is a film unique in its restrictions – it takes place in real time, has only one character and only one setting. Ivan Locke (Tom Hardy) is driving somewhere important, and over the course of the film’s 85 minute running time, his life gradually begins to crumble around him as he desperately tries to salvage it. The controlled environment – the inside of his car – and the fact that the only character we actually see is Ivan himself means that interest in him is the only way of maintaining an audience’s attention with such limited visual stimulation. Ivan is the only character…