By Glenn Dunks.
Cinderella. Mirror Mirror. Bright Star. I Am Love. Australia. Marie Antoinette. The list goes on.
The costume design branch so commonly gives films their single solitary Oscar nomination that it’s become a prognosticator mission of sorts to figure out which couture creations the branch will extend this particular honor to. They are also the branch most likely to ignore critical and commercial receptions and nominate based purely on the craft and that’s why we love them. Perhaps it is because costume designers have spent decades being the frills-and-sequin-loving daughter of Oscar when all he wanted was sons, but they use their unique privilege more wisely than others (we’re looking at you, composers!)
It was obvious, then, to me which film I should be championing here and it is Marion Boyce and Margot Wilson for The Dressmaker...
A film that embraces its central fashion themes and serves up a cavalcade of gowns, formal wear, and farming bush-wear that saw it beat out last year’s Oscar winner Jenny Beavan at the ‘Australian Oscars’ when they competed side-by-side in 2015. It is, to quote myself, the cinematic equivalent of Betsy Johnson designing an haute couture line for Dior.
With primary costume design by Boyce and additional Kate Winslet frocks by Wilson, it’s in a unique position of having two nominees whose work definitely feel of equal weight. Winslet’s va-va-voom day-wear is every bit as important as Sarah Snook’s pleated billowing sleeve dress which is as important as Liam Hemsworth’s white cotton undershorts.
Okay, they might be most important of all. Part of costume design is knowing when to undress your actors, after all.
Say what you will about the film – and lord knows, reception to Jocelyn Moorehouse’s first film in eighteen years has been as all over the place as the film itself (I thought it a treat) – but the costume design takes its rare moment in the sun as a film about fashion and delivers on all counts. This is a film about (among many other things) rival couturiers, so one would hope for divine decadence, but when juxtaposed against the harsh Australian landscape, they shine even brighter with a spotlight on heavily textured and embroidered fabrics, feminine silhouettes on young and old, unexpected colors (that divine golden chartreuse draped gown with feather fascinator!), and well-weathered football guernseys and masculine slacks and hats on the gents. Like The Devil Wears Prada and Coco Avant Chanel, The Dressmaker is a film that shows what goes into the making of the clothes its characters wear and I hope the costume branch takes note and recognizes these two exceptional talents.
With a US box office gross over just over two-million (dwarfed by it’s local takings of $20mil, making it the 11th biggest Australian film of all time), it’s hardly in an envious position for buzz and attention. But it’s certainly more than Madonna’s W.E., Charles Shyer’s The Affair of the Necklace, or Ralph Fiennes’ The Invisible Woman, two other costume branch saves. The Dressmaker just makes sense as a nominee.
Cinderella. Mirror Mirror. Bright Star. I Am Love. Australia. Marie Antoinette. The list goes on.
The costume design branch so commonly gives films their single solitary Oscar nomination that it’s become a prognosticator mission of sorts to figure out which couture creations the branch will extend this particular honor to. They are also the branch most likely to ignore critical and commercial receptions and nominate based purely on the craft and that’s why we love them. Perhaps it is because costume designers have spent decades being the frills-and-sequin-loving daughter of Oscar when all he wanted was sons, but they use their unique privilege more wisely than others (we’re looking at you, composers!)
It was obvious, then, to me which film I should be championing here and it is Marion Boyce and Margot Wilson for The Dressmaker. A film that embraces its central fashion themes and serves up a cavalcade of gowns, formal wear, and farming bush-wear that saw it beat out last year’s Oscar winner Jenny Beavan at the ‘Australian Oscars’ when they competed side-by-side in 2015. It is, to quote myself, the cinematic equivalent of Betsy Johnson designing an haute couture line for Dior. With primary costume design by Boyce and additional Kate Winslet frocks by Wilson, it’s in a unique position of having two nominees whose work definitely feel of equal weight. Winslet’s va-va-voom day-wear is every bit as important as Sarah Snook’s pleated billowing sleeve dress which is as important as Liam Hemsworth’s white cotton boxer shorts.
[pic]
Okay, they might be most important of all.
Say what you will about the film – and lord knows, reception to Jocelyn Moorehouse’s first film in eighteen years has been as all over the place as the film itself (I thought it a treat) – but the costume design takes its rare moment in the sun as a film about fashion and delivers on all counts. This is a film about (among many other things) rival couturiers, so one would hope for divine decadence, but when juxtaposed against the harsh Australian landscape, they shine even brighter with a spotlight on heavily textured and embroidered fabrics, feminine silhouettes on young and old, unexpected colors (that divine golden chartreuse draped gown with feather fascinator!), and well-weathered football guernseys and masculine slacks and hats on the gents. Like The Devil Wears Prada and Coco Avant Chanel, The Dressmaker is a film that shows what goes into the making of the clothes its characters wear and I hope the costume branch takes note and recognizes these two exceptional talents.
With a US box office gross over just over two-million (dwarfed by it’s local takings of $20mil, making it the 11th biggest Australian film of all time), it’s hardly in an envious position for buzz and attention. But it’s certainly more than Madonna’s W.E., Charles Shyer’s The Affair of the Necklace, or Ralph Fiennes’ The Invisible Woman, two other costume branch saves. The Dressmaker makes sense as a nominee.
Recent FYCs: Jackie's Original Score, Lucas Hedges Supporting Actor, Lily Gladstone Supporting Actress, Moonlight's Original Score, Love & Friendship's Screenplay, The Dressmaker's Costume Design, Jackie's Production Design, Toni Erdmann's Original Screenplay, Denis Villeneuve Director