Posted by Chris Laverty – September 18, 2009 Second in a two part journey through the Giorgio Armani fashions of The Untouchables (1987). Sean Connery’s character Malone prefers a more relaxed style of dress to Elliot Ness, as illustrated the first time we see him out of beat uniform in civvies: Norfolk jacket in brown twill tweed. Light green shirt with pointed collars and single button cuffs. Red cable knit waistcoat. Brown tweed peaked cap. Dark green loose fitting wool trousers. Black lace-up leather shoes. More…

Posted by Chris Laverty – September 4, 2009 The Untouchables (1987) director Brian De Palma’s prohibition era Chicago crime thriller is remembered for, amongst other things, Sean Connery’s accent, the controversial Ennio Morricone score, that Battleship Potemkin scene with the pram, plus a rather lavish Giorgio Armani designed wardrobe. And if this is how cops dressed in the 1930s, it is a wonder anybody wanted to be a gangster. More…

Posted by Chris Laverty – September 4, 2009 The Untouchables (1987) director Brian De Palma’s prohibition era Chicago crime thriller is remembered for, amongst other things, Sean Connery’s accent, the controversial Ennio Morricone score, that Battleship Potemkin scene with the pram, plus a rather lavish Giorgio Armani designed wardrobe. And if this is how cops dressed in the 1930s, it is a wonder anybody wanted to be a gangster. More…

Posted by Chris Laverty – September 18, 2009 Second in a two part journey through the Giorgio Armani fashions of The Untouchables (1987). Sean Connery’s character Malone prefers a more relaxed style of dress to Elliot Ness, as illustrated the first time we see him out of beat uniform in civvies: Norfolk jacket in brown twill tweed. Light green shirt with pointed collars and single button cuffs. Red cable knit waistcoat. Brown tweed peaked cap. Dark green loose fitting wool trousers. Black lace-up leather shoes. More… Posted by Chris Laverty – September 4, 2009 The Untouchables (1987) director Brian De Palma’s prohibition era Chicago crime thriller is remembered for, amongst…

Posted by Chris Laverty – August 4, 2009 Denim in cinema has been popularised by some of the great screen icons of the twentieth century. From Marlon Brando (The Wild One, 1953) to Steve McQueen (Junior Bonner, 1972), from Paul Newman (Cool Hand Luke, 1967) to John Travolta (Urban Cowboy, 1980), from Grace Kelly (Rear Window, 1954) to Brigitte Bardot (And God Created Woman, 1956). Similar to the business suit, denim is a sartorial way of life that confers immediate personality on someone without them having to do or say a word; this personality has evolved through time and trends, though one facet remains the same: rebelliousness. More…

Posted by Chris Laverty – August 14, 2009 Part two in a three part sartorial analysis of denim as symbolic recognition for character on film, this time focusing on Audrey Hepburn in Two for the Road (1967). Women in Denim: Audrey Hepburn left behind her Givenchy comfort zone in decade-spanning dramedy Two for the Road to wear a veritable catwalk of trendy outfits by the hottest designers of the day. And amongst these Quant shifts and Courrèges sunglasses, Hepburn also wore jeans which, onscreen at least, she had seldom done before. More…

Posted by Chris Laverty – August 22, 2009 Third and final part of a sartorial analysis examining denim as symbolic recognition for character on film – focusing on The Parallax View (1974) starring Warren Beatty. Action Man: By the mid-1970s denim had been accepted as day wear for everyone, though still remained intrinsically associated with adolescent ‘drop out’ culture. More…

Posted by Chris Laverty – January 27, 2010 Yes, amazingly, Anna B. Sheppard’s much talked about work on Inglourious Basterds has been overlooked by the Costume Designers Guild (CDG). Though this is not the only surprise announcement… Marina Draghici has been given the nod for Precious, which is perhaps a shock considering the very ordinary costumes worn by the cast (including queen diva Mariah Carey no less). Yet this is what costume design is all about; sometimes intentionally visible, sometimes intentionally invisible. The Costume Designers Guild, and this next point is reassuring given their name, can clearly tell the difference. The CDG separate their nominations into three categories: Period, Contemporary…

Posted by Chris Laverty – January 21, 2010 Here is the just announced list of nominations for BAFTA 2010, paying special attention to Best Costume Design because that is what we do here. Four nods for Coco avant Chanel and, perhaps inevitably, Avatar, although not for costume design. The Hurt Locker gets a thoroughly well deserved shout for Best Film, though again costume design misses out. Period dominates then, as per the norm. Big hitters below: COSTUME DESIGN Bright Star – Janet Patterson Coco avant Chanel (Coco Before Chanel) – Catherine Leterrier An Education – Odile Dicks-Mireaux A Single Man – Arianne Phillips The Young Victoria – Sandy Powell BEST…

Posted by Chris Laverty – January 21, 2010 Here is the just announced list of nominations for BAFTA 2010, paying special attention to Best Costume Design because that is what we do here. Four nods for Coco avant Chanel and, perhaps inevitably, Avatar, although not for costume design. The Hurt Locker gets a thoroughly well deserved shout for Best Film, though again costume design misses out. Period dominates then, as per the norm. More…