The animated couture of "Over the Moon"

by Cláudio Alves

As computer animation evolves, the making of these features becomes ever more complex. A few decades ago, it might have seemed silly to have cinematographers collaborating with cartoon filmmakers, but that's no longer the case. Roger Deakins, for instance, had a crucial part in making the How to Train Your Dragon movies look the way they did. The same goes for costume design.

Once upon a time, what an animated figure wore was, more or less, inseparable from character design and you rarely had a specific costume department in such productions. With films like Disney's Frozen and Laika's gigantic stop-motion projects, there's increasing space for costume designers in the making of animated movies. The latest example is Netflix's Over the Moon…

Click to read more ...

Horror Costuming: Bram Stoker's Dracula

by Cláudio Alves

For the past few weeks, I've been exploring the greatness of costume design in the realm of horror cinema. None of the movies we discussed, not even those somewhat embraced in the awards circuit, got many golden laurels for their feats of costuming. That's, unfortunately, what usually happens to cinematic excellence that happens to manifest outside the boundaries of prestige drama. However, there are always a few exceptions that prove the rule. Such is the case of Francis Ford Coppola's 1992 adaptation of Bram Stoker's Dracula. The picture won three Academy Awards, including the prize for Best Costume Design.

The creations of the late Eiko Ishioka are some of the weirdest and most spellbinding costumes ever made for cinema and, as far as I'm concerned, she's the greatest recipient of my favorite Oscar. Michael has recently explored his first foray into the dark marvels of Dracula, and Jason has previously explored Eiko's Oscar win. Nonetheless, I couldn't let Halloween go by without revisiting this most wondrous of big-screen wardrobes. Join me on this deep dive into the nightmarish fantasy of Eiko Ishioka's Dracula…

Click to read more ...

Sandy Powell ❤️ plaid

Powell on the set of "The Irishman"by Cláudio Alves

Some auteurists would have you believe that only directors among filmmakers have a distinctive style, a visual language transversal to all their projects. People like Sandy Powell, one of AMPAS' favorite costume designers, defy this logic. Her films share an aesthetic ethos and her taste is ever-present. Notice, for instance, how Powell has a penchant for saturated contrasting colors and bold patterns, often filling the frame with a cacophony of clashing prints. Her approach is so characteristic, in part, because busy textiles aren't something that normally works on camera.

Too much visual information can often distract the audience, dispersing the focus instead of guiding the eye with careful purpose. Powell, however, is capable of making it all work and her films are always bursting at the seams with complicated motifs, be it moiré silks or paisley wools, sequined brocades or floral cotton. Most of all, Powell loves plaid...

Click to read more ...

Horror Costuming: Us

by Cláudio Alves

Many a great horror movie gained its place of honor in film culture partly due to its images of evil. There's Hannibal Lecter muzzled like a mad dog, Leatherface in a taxidermized mask, Dracula's sharp tuxedo, and other such sartorial miracles of materialized malevolence. Jordan Peele's Us adds another unforgettable sight to this gallery of rogues. With their red jumpsuits and golden shears, the Tethered are one of cinema's newest and most complex monstrosities, as memorable as they are frightening…

Click to read more ...

Horror Costuming: Suspiria

A special miniseries for Halloween by Cláudio Alves

Costume sketches by Giulia Piersanti

As cinephiles, we're often too quick to condemn the idea of the remake. But remakes can often be illuminating. A good remake is a conversation made of echoes refracted through cinema and cultural history and time, as valuable, in its own way, as the original picture.

Luca Guadagnino's Suspiria is perhaps the supreme example of this. Instead of replicating Dario Argento's 1977 post-Giallo masterpiece, Guadagnino and his team have created an entirely new work that further explores themes only glanced at in the first movie. Even its look is excitingly different, autumnal and chilly where the previous film was carnivalesque and hot-blooded. One could write about the perfection of Sayombhu Mukdeeprom's cinematography or Inbal Weinberg's scenography, but, today, you're invited to reflect on the work of costume designer Giulia Piersanti…

Click to read more ...