Costume colours in House of Cards are symbolic of vulnerability and power. Lord Christopher Laverty 1 Comment 20 Oct ’10 15 Mar ’13 28 Jul ’17

Rooney Mara’s Lisbeth will be a style icon. Lord Christopher Laverty 4 Comments 8 Dec ’10 29 Jun ’12 27 Nov ’09

Rooney Mara’s Lisbeth will be a style icon. Lord Christopher Laverty 4 Comments 6 Feb ’17 27 Mar ’13 24 Sep ’10

With exclusive insight from costume designer Aggie Guerard Rodgers, we investigate the story behind Harry Caul’s distinctive plastic raincoat. Amy Westcott talks exclusively to Clothes on Film about her process on Black Swan, that Oscar snub and the recent controversy surrounding herself and Rodarte.

Rooney Mara’s Lisbeth will be a style icon. Lord Christopher Laverty 4 Comments 29 Jun ’12 12 Jun ’09 5 Sep ’13

SPOILERS Despite all the hoo-ha over films such as Blue Jasmine and Stoker contemporary is still pretty much overlooked as a form of costume design. If it’s invisible, well, nobody notices it, and if it’s designer it becomes all about ‘the fashion’ (OMG TOTES WANT THOSE SHOES). We are currently in an age when costume design means period and sci-fi. It comes to the extent that if a costumer wants to tell a story through contemporary attire, he/she needs either a director with a key grasp of semiotics, or one that doesn’t care less about semiotics and offers a degree of autonomy. Watching About Time we presume that Richard Curtis…

With exclusive insight from costume designer Aggie Guerard Rodgers, we investigate the story behind Harry Caul’s distinctive plastic raincoat. Lord Christopher Laverty 4 Comments 17 Mar ’10 19 Oct ’10 24 Jan ’20

Rooney Mara’s Lisbeth will be a style icon. Lord Christopher Laverty 4 Comments 11 Jan ’11 15 Mar ’13 23 Feb ’10

SPOILERS Despite all the hoo-ha over films such as Blue Jasmine and Stoker contemporary is still pretty much overlooked as a form of costume design. If it’s invisible, well, nobody notices it, and if it’s designer it becomes all about ‘the fashion’ (OMG TOTES WANT THOSE SHOES). We are currently in an age when costume design means period and sci-fi. It comes to the extent that if a costumer wants to tell a story through contemporary attire, he/she needs either a director with a key grasp of semiotics, or one that doesn’t care less about semiotics and offers a degree of autonomy. Watching About Time we presume that Richard Curtis…

With exclusive insight from costume designer Aggie Guerard Rodgers, we investigate the story behind Harry Caul’s distinctive plastic raincoat.