We examine the design of the Tron Legacy light suits in detail including their creation, construction and symbolism.

We examine the design of the Tron Legacy light suits in detail including their creation, construction and symbolism.

We examine the design of the Tron Legacy light suits in detail including their creation, construction and symbolism.

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…

The costume style evolution of Kathleen Turner in Romancing the Stone (1984). Chances are you have not seen Snowpiercer yet due to its limited availability and release fiasco. If so, skip this interview and watch the film first. Go in clean, because Snowpiercer really is as good as everyone’s telling you. Based on the French graphic novel Le Transperceneige, it is essentially a dark (often literally) sci-fi thriller about a perpetual motion train carrying the last remnants of society after a global ice age. Themes of cruelty, disparity and sacrifice abound, and strong, sometimes horrific visual references bombard the screen. The exceptional costume design by Catherine George ties all this…

We examine the design of the Tron Legacy light suits in detail including their creation, construction and symbolism.

Oi! Costume! The Fifth Element Jean Paul Gaultier’s original costume for when Prince was cast as outrageous Ruby Rhod. The Hunger Games: Catching Fire A few more words with Trish Summerville about one of the most anticipated costume films of the year. Downton Abbey Caroline McCall discusses challenges of working on the show. Noticed all the purples and blacks worn by Lady Mary this season? That’s because she is still in mourning. Catching Fire Jennifer Lawrence wanted to wear “everything” apparently. Understandable from what we’ve seen of the costumes so far. Video: Ms Summerville explaining even more about those Katniss and co costumes. Exciting, exciting… Costume Cafe Podcast Lauren Delany…

This week’s costume design news. Mad Men “She buys her clothes two sizes too small, more 50’s than 60’s.” – Janie Bryant knows her Joan. Yves Saint Laurent Costume designer Madeline Fontaine’s predictably difficult job costuming the immaculate biopic. …and sticking with Yves, HERE‘s Kate Muir’s article inspired by the film for The Times featuring Clothes on Film ed Christopher Laverty. Sunday in New York Another stunning analysis by Kay Noske, this time focusing on Jane Fonda’s enviable wardrobe as ’the only 22 year old virgin left in the world’. Hannibal Part 2 of Hello Tailor’s in-depth analysis. Even if you can’t be bothered to read the article (though you…

Let’s get this straight: Peaky Blinders is not Boardwalk Empire. It’s a post World War I gangster drama, during roughly the same time period (1919 as opposed to the early 20’s), it’s gritty, features loyal yet warring brothers, is as cool as ice chips and doesn’t pull any punches. However Boardwalk Empire is set in the attractive seaside landscape of Atlantic City, USA, while Peaky Blinders is set in Birmingham. The whole palette is different too. Boardwalk is colourful and vibrant, Peaky is dark and dingy. Evidently this extends to the clothes. You wouldn’t have got far walking around Birmingham in an orange silk shirt and camel coat; this was……

From Chris Laverty’s regular column ‘Fabric of Cinema’ for Arts Illustrated magazine, here is an abridged version of the most recently published essay ‘A Migration of Talent’. The current issue of Arts Illustrated focuses on those that have moved across geographical boundaries to expand the scope of their work. It has long been the norm for costume designers from the UK to relocate, not necessarily permanently, to Hollywood. Their careers have been forged by the demands of the business they compete in. But what would have happened if, say, Sandy Powell (Shakespeare in Love), or Joanna Johnston (Who Framed Roger Rabbit) had never worked beyond these shores? How would their……