Crafts Roundup: Costume Design

Costumers finally got their own branch this year, which mean they’re no longer lumped in with the other designers, so we’ll see how that impacts the nominations in two weeks. Not surprisingly, there’s an abundance of upscale period pieces (American Hustle, 12 Years a Slave, Lee Daniels’ The Butler, The Great Gatsby, Philomena, Inside Llewyn Davis). But even when dealing with the future (Her) there’s a retro vibe, save for the idiosyncratic and flamboyant The Hunger Games: Catching Fire (see our TOH! interview with Trish Summerville).

For costume designer Michael Wilkinson, channeling ’70s fashion was the obvious goal with David O. Russell’s American Hustle. But for con artists Christian Bale and Amy Adams, the key component was reinvention for survival, which found its way in the selection of their wardrobes. The characters not only lived large but took risks, mixing colors, prints, and fabrics. As a result, their clothes were less structured and had fewer underpinnings, with inspiration coming from disco and Halston. They walked tall and pretended to be comfortable in their own skin.

With 12 Years a Slave, veteran Patricia Norris, meanwhile, relied heavily on books that described where slaves got their clothes and discovered that the owners often provided castoffs. She had most of the clothes made on location in New Orleans. “By back-dating what people gave away by 10 or 20 years, that’s how we came up with what slave clothes looked like,” she explains. “Then I got the owners to look more in the correct period. And it was easier to make the owners and other white people more colorful and slaves to stay in beige and a greenish tone. Steve [McQueen] and I wanted Epps [Michael Fassbender] to look slightly romantic where the sleeves are puffier.”

Read the rest at TOH/Indiewire.

Posted on by Bill Desowitz in Below the Line, Clips, Costume, Movies, Oscar, Tech

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