70s Fashion on Criterion

by Cláudio Alves

The relationship between fashion and cinema is a complex one, with influence going both ways. Sometimes, runway shows take their cues from the glory of the silver screen, while costume designers can find inspiration on the pages of Vogue. In cases such as the collaboration between Audrey Hepburn, Edith Head and Hubert de Givenchy, it's a multifaceted symbiosis where couture and cinema walk hand in hand to the benefit of both. These dynamics aren't exclusive to the Golden Age of Hollywood and the big studios, of course. Just look at the great style icons of the 70s moviedom...

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Posterized: The Wondrous Work of Ruth E Carter

For today's Posterized, a special birthday treat. We've only covered themes, sub-genres, directors and actors in this series so today a first... a costume designer. Today is the 60th birthday of Oscar winner Ruth E Carter (Black Panther) and she's designed so many important pictures over the years (including multiple Spike Lee classics) that she's definitely worth celebrating in this form.

We're still not over her bizarre Oscar snub for Dolemite Is My Name last season but let's look back on the whole feature film career in movie poster form.

How many of her 51 feature films have you seen? 

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The modernity of Little Women's costumes

by Cláudio Alves

Last Sunday, the great Jacqueline Durran became a two-time Academy Award winner thanks to Little Women. As the umpteenth costume designer to tackle Louisa May Alcott's classic tale, Durran had the challenge of dressing these well-known characters in a bold reinterpretation. Eschewing the strict historical accuracy with which Collen Atwood tackled the subject in 1994, Jacqueline Durran evoked the fashions of the 1860s by infusing them with character-specific idiosyncrasies and a general sense of 21st-century modernity.

Her designs are not as bound to their filmmaker's contemporary styles as the Little Women of 1933 or 1949. However, there's no denying that the current iteration of the March sisters is filtered through the sensibilities of artists living in the 2010s… 

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Justice For Horror Movie Costumes!

by Jason Adams

Outside of the sort of sex parties lovingly depicted by Stanley Kubrick in Eyes Wide Shut the majority of us only get to dress up in costumes once per year, on the high unholy night of Halloween. And like Lindsay Lohan in Mean Girls I am personally of the mind that bloody brides are the only way to go -- forget Sexy Pirates or Princess Dresses, I wanna be Frankenstein's Monster! I wanna be Freddy Krueger. I wanna be the May Queen from Midsommar or the Untethered from Us.

Which brings me to a realization I had during last night's Oscar ceremony's opening number with Janelle Monae... 

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Defending The Irishman's costumes

by Cláudio Alves

While we may love to criticize the Academy, sometimes we're also a little bit to blame for the perpetuation of their prejudices. For instance, Oscar watchers love to deride the way voters confuse "Best" with "Most". This is especially true in Best Costume Design, where period work rules and contemporary styles are locked out. Still, when a movie is nominated for a wardrobe that's not very glamorous or showy, that prioritizes male attire instead of women's fashion, the grumblings take on another color. Suddenly, it's as if such design work is lesser because it isn't showy.

It's not erroneous to criticize the costume branch for being so myopic this year, having only singled out Best Picture nominees. However, to look at the costumes of The Irishman and say they're unworthy of praise is utter nonsense…

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