INTERVIEW
As one half of the first costuming team I ever noticed as a young movie fanatic, interviewing JENNY BEAVAN was a special treat. She's currently enjoying her ninth Oscar nomination for her work on The King's Speech. This is her third solo nomination. She and her former partner John Bright costumed the Ishmael Merchant & James Ivory period dramas that I grew up obsessing over: A Room With A View, Howard's End, Maurice and the like. When Jenny and I spoke to discuss her current Oscar run for The King's Speech, however, it was less period drama and more modern comedy. "I'm guessing as to what you're saying" she told me while technical difficulties had us both comically shouting into our phones / computers until the situation was resolved.
We began at the beginning.
Merchant/Ivory is after all, a very good place to start, both for a young film buff in the 80s and a costume designer embarking on a huge career in the movies. "That was my start in the whole thing," Beavan recalled, noting that the films were great fun to do.
The Merchant & Ivory Days
John Bright's name was peppered throughout her conversation. In fact, she had just seen him earlier that day. I had long wondered why they stopped working together. "We were known as Jenny Bright and John Beavan," she says about their close partnership. "I mean, he is just one of my absolutely best friends and also my most important collaborator. Believe me we're still collaborating. Just not so officially."
As it turns out Bright owns and runs Cosprop, a hugely important costume house which specializes in period wear, an enormous job in and of itself though he still does the odd film. I mention how much I love his work on the ravishing The White Countess (2005) with elicits a barrage of superlatives from Beavan. "Absolutely brilliant!"
Howards End (1992), a masterpiece.
We discuss a particular moment in Howards End that I'm very fond of. The Schlegel sisters (Emma Thompson and Helena Bonham-Carter) walking home one evening run into Mr Wilcox (Anthony Hopkins). One can't get enough of the beauty of that movie. The clothes are so modest but there's such sensuality to them and something so resonant and bohemian about the sisters. Beavan credits the screenplay with the specificity that makes character costuming easier and the actresses with the film's modernity.
Beavan, having logged a lot of time in costume dramas, thinks there's real power with staying utterly within period. If you step away from the period, she explains "it looks wrong and then you get a sort of worry in the audience." Producers, particularly the America ones, she shares, don't like to see hats in the movies. And sometimes you just have to use hats. "Everybody wore hats up until the 1950s in England!" she says with feigned exasperation.
My grandmother would never go out without a hat on. She wouldn't have felt dressed.
After the golden period of the Merchant/Ivory films, Beavan's official partnership with John Bright ended and the designer got a chance to "fly a bit more my own." That's what one might call an understatement.
READ THE REST for thoughts on Helena Bonham Carter's style, "finding" Sherlock Holmes and more.
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Thursday, September 5, 2013 at 12:35PM 
JA from MNPP here - want to feel old? Well here ya go - in two months time Bill Condon's Gods & Monsters is turning 15 years old. Fifteen! Some of you were probably barely even born, but I was in college working at the local movie-house and man, that movie bowled me over. It's easily my favorite thing that Condon's ever done, but then it was about movies, monsters, and prime Brendan Fraser's towel half falling off while he wore a gas mask, so it was pretty much made just for me. And remember how McKellen brought a hot young thing as his date to the Oscars? McKellen totally should have won the statue that year though. (Let us not speak of who did.)
