Clothes on film

Some official images have surfaced for X-Men: First Class. The sixties costumes vibe is not excessive, however.

17 Mar ’11 / WATER FOR ELEPHANTS TM and © 2010 Twentieth Century Fox Film Corporation.  All rights reserved.  Not for sale or duplication. © 2011, Lord Christopher Laverty. By Lord Christopher Laverty 0 Comments

Some official images have surfaced for X-Men: First Class. The sixties costumes vibe is not excessive, however.

The religious and cultural significance of the costume design in foreign language Oscar winner A Separation. Contributor 4 Comments 15 Aug ’11 24 Mar ’11 10 Jul ’13

It’s the most celebrated, the most special, the most significant watch of all time; Rolex is symbolic of many things in the movies: style, wealth, attitude, and perhaps most importantly, taste. That is not to say a Rolex is elitist, but rather that the wearer on screen, anyone from James Bond to Steve McQueen, is someone possessed of the knowledge that there is no better. Rolex is the pinnacle. The history of Rolex on film is not nearly as interesting as the scope of its wearers and how this simple act of either subtle or ostentatious display can define character. Take James Bond, a man whose breeding was forced upon……

Does costume design exist in animated film? Simulation supervisor for Brave, Claudia Chung, discusses its creation, processes and role in the finished movie. Disney has just released a new international trailer for Brave. Delightful, it is.

Teenage, 50’s diner-style wear at its stereotypical best. Save for it’s funky 70’s Barry Gibb disco theme tune, you might be forgiven for thinking it was 1959 at Rydell High. Grease (1978) bursts with pep, which the company to this day pertain to be genuine fun. They spent all day in character on set; obvious to the viewer as the chemistry between everyone at Rydell is so apparent. When the 50’s costumes, by Albert Wolsky, arrived on set, the cast were apparently overjoyed. This article focuses on Betty ‘Rizzo’, captivatingly played by Stockard Channing; not only the most complex character (many say she stole the film) but in costume terms…

Author Caroline Young has just released a fascinating new book entitled Hitchcock’s Heroines (published by Insight Editions). It celebrates and studies the women in Hitchcock movies; their influence, semblance and iconography. What’s more, Young also examines the role costume design plays with these women, both the characters and the actresses who played them, and how they can be interpreted as far more than just ‘icy blondes’. Here we have an extract of the book exclusively for Clothes on Film: Kim Novak’s grey suit the colour of San Francisco fog in Vertigo, Grace Kelly as the too-perfect woman in Rear Window, and Janet Leigh’s black and white sets of underwear to……

Baz Luhrmann and Catherine Martin bring us the twenties reloaded. Warner Bros. have released two images from The Great Gatsby. Not much to see, but it is difficult not to be drawn in by the promise of costume luxury. First and second look actually. And now a title too.

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…