The Film Experience

by Cláudio Alves

In 1986, at the 58th Academy Awards, Best Costume Design was the fourth category to be presented. The honor befell on Audrey Hepburn, who received a standing ovation upon her appearance. The shortlisted artists made up a prestigious lineup that included Oscar winners from years past, like Albert Wolsky and Milena Canonero. Considering Out of Africa's dominance over the night, one might have supposed its period fashions had the win in the bag. However, the Academy's long love affair with Japanese costuming bore fruit for a second time. Akira Kurosawa's last great epic, Ran, won its first and only Oscar, a merited recognition of Emi Wada's efforts. The designer had spent three years creating the thousands of pieces required by the bellicose narrative, using historically accurate techniques and custom textiles to produce a painterly masterpiece of color, motion, and striking silhouettes.

As we remember Wada's much-deserved triumph, we do so in mourning. Her family announced that the 84-year-old costume designer died earlier this month, leaving behind a legendary career in Asian film, theater, and TV…

Born in Kyoto, Emi Wada grew up within a world where traditional artisanship was valued. The ancient capital's craftsmen would be a crucial resource in the future when the designer constructed gigantic period wardrobes using handmade textiles that perpetuated centuries-old techniques. Nevertheless, the Kyoto-born Wada didn't start as a designer for stage and screen. Her first vocation was painting, something she shared with future collaborator Akira Kurosawa. Indeed, Emi Wada studied painting in college and only started to work in set, effects, and costume design after meeting her husband, who worked in theater. From then, the jump to cinema was almost inevitable.

Perusing Emi Wada's filmography leads to many of Asian cinema's greatest masters. Despite her Japanese nationality, the designer has worked in films from various origins, including Chinese, Korean, Taiwanese, and even some British productions. Kurosawa trusted her to resurrect the majesty of feudal lords of war, fools, and dreamy apparitions, while Peter Greenaway had Wada create libidinous fantasies of kinky couture. Zhang Yimou and Wada painted the screen with bright colors and historical fantasy. With Ann Hui, Wada evoked the elegance of days gone, and with Nagisa Oshima, she masked homosexual desire with regimented attire.

Despite a multiplicity of individual visions from a panoply of auteurs, Emi Wada was always able to deliver dazzling creations. In later years, as she grew disillusioned with modern cinema, the designer took refuge on stage where her love for texture and expressive color, formal pageantry, and stilted poise had space to grow, to thrive. So, as we say a teary farewell, here's a sample of her work in film. Feast your eyes on all this beauty: