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Powell on the set of "The Irishman"by Cláudio Alves
Some auteurists would have you believe that only directors among filmmakers have a distinctive style, a visual language transversal to all their projects. People like Sandy Powell, one of AMPAS' favorite costume designers, defy this logic. Her films share an aesthetic ethos and her taste is ever-present. Notice, for instance, how Powell has a penchant for saturated contrasting colors and bold patterns, often filling the frame with a cacophony of clashing prints. Her approach is so characteristic, in part, because busy textiles aren't something that normally works on camera.
Too much visual information can often distract the audience, dispersing the focus instead of guiding the eye with careful purpose. Powell, however, is capable of making it all work and her films are always bursting at the seams with complicated motifs, be it moiré silks or paisley wools, sequined brocades or floral cotton. Most of all, Powell loves plaid...
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STORMY MONDAY (1988)
Every time I watch a trailer and notice an abundance of quadrangular geometrics in the costumes, my mind immediately goes to Powell and I rush to IMDB to see if the designs are indeed her doing. In case you don't believe me, I've compiled a gallery of images from 1988 onward. Join us, won't you, as we venture in this odyssey through the plaid-tastic cinema of Sandy Powell. Click on the images to make them bigger...
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ORLANDO (1992)
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ROB ROY (1995)
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VELVET GOLDMINE (1998)
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HILARY & JACKIE (1998)
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THE END OF THE AFFAIR (1999)
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FAR FROM HEAVEN (2002)
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GANGS OF NEW YORK (2002)
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SYLVIA (2003)
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THE AVIATOR (2004)
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MRS. HENDERSON PRESENTS (2005)
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THE YOUNG VICTORIA (2009)
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SHUTTER ISLAND (2010)
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HUGO (2011)
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THE WOLF OF WALL STREET (2013)
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CINDERELLA (2015)
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CAROL (2015)
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WONDERSTRUCK (2017)
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HOW TO TALK TO GIRLS AT PARTIES (2017)
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MARY POPPINS RETURNS (2018)
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THE IRISHMAN (2019)
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THE GLORIAS (2020)
This piece was inspired by the arrival of Carol to Netflix. Go check out what's probably the apotheosis of Powell's use of plaid in costume design.