Clothes on film

Eiko Ishioka’s dresses for Mirror, Mirror featured in an app? Sure, anything that gets people taking about costume. With exclusive insight from costume designer Catherine Marie Thomas, we analyse Sandra Bullock’s low volume, big impact wardrobe in The Proposal. Innovative costume designer and art director Eiko Ishioka has died aged 73. The most exquisite fashion promo ever made. Watching Jane Eyre on location makes for an enriching experience. First look at Jenny Beavan’s late Victorian-with-a-twist costumes in action. With exclusive insight from Leesa Evans, Clothes on Film takes an overview look at the art of comedic costume in Bridesmaids. Two trends in women’s fashion for 2011 are prints and turbans,…

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……

Starring: Leonardo DiCaprio, Mark Ruffalo, Ben Kingsley Directed By: Martin Scorsese Only daft final act revelations offer release from Scorsese’s cinematic madhouse; otherwise the smart, scary onslaught of insane ideas and imagery is inescapable. Does a film need a satisfying story to succeed? It’s a question worth asking of Shutter Island (2010) because, by any sane criteria, its narrative is founded on one of the most ludicrous premises in memory – a suspension bridge of disbelief that comes crashing down the minute it is revealed. And yet, aptly considering Martin Scorsese’s film is in part a loving tribute to Hitchcock, Psycho has a rubbish ending too, and it doesn’t stop…

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…

Here are a few images from the film that you have probably seen already. The costume style adopted by the movie – which is proving unusual to say the least. Guy Ritchie is steering his Holmes away from the traditional, stuffier image of Basil Rathbone or Jeremy Brett.

Clothes from films set during 1940s This emerald green dress from Atonement could be the most famous item of clothing on film in the last decade. Hildy is tenacious and classy, though she’s not graceful.

It is with huge anticipation that we take an exclusive look at FilmCraft: Costume Design by Deborah Nadoolman Landis, arguably the most important person in the costume industry today. As costume designer for Raiders of the Lost Ark (1981), Coming to America (1988), Burke and Hare (2010), and many other well known titles, in addition to former two-term president of the CDG, academic scholar and now museum curator, Nadoolman Landis is ideally placed to write such a book. It reads to us like an update of her similarly titled ScreenCraft volume from 2003, but is not officially intended as such. This all new publication features a detailed introduction, plus interviews…

Costume design is more than just period – much more. Contemporary costume has an even tougher job of defining character and establishing setting. Yet every once in a while a period film comes along with clothes, hats and accessories so impeccably researched and realised on screen that it is impossible not to get swept along in the majesty of the past. Predominately early 1930s set Lawless is one such example. Costume designer Margot Wilson (The Thin Red Line, The Proposition, The Road), has created one of the richest costume palettes of 2012, and all in a believable real world setting. Speaking exclusively to Clothes on Film, Ms. Wilson talks us…

Just days behind our first glimpse at Prince of Persia, we have a teaser trailer for Clash of the Titans. It’s certainly loud.

The week in costume design. Costume colours in House of Cards are symbolic of vulnerability and power. Analysing the sometimes tense relationship between fashion and costume design. Our thoughts on the costume design in the season 6 premiere of Mad Men. Now the major award ceremonies are over we have a summary of the big costume design winners. Or should that be big winner? Anna Karenina. Clothes on Film were granted a private tour of world-renowned Angels the costumiers. Clothes on Film on the costume design for HBO’s immense fantasy series, Game of Thrones. The votes have been counted, the prizes dished out… A brief but worthwhile and exclusive clip…