Horror Costuming: Stoker

by Cláudio Alves

We carry part of our parents with us at all times. Whether through the body their genetics defined, or the mind molded and perchance scarred by their influence, their absence, their love, we are made in their image. Some might rejoice in that intrinsic truth, others resent it. Park Chan-wook's only English-language feature, Stoker, understands this with caustic assuredness. From its opening salvos, the script and images call attention to matters of blood and descendence, materializing the familial bonds through costume design…

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The Best Costumes of 1965

by Cláudio Alves

Last month, before the 1938 Best Supporting Actress Smackdown, Nathaniel and I discussed what could have been the Costume Design Oscar lineup had the category existed back then. Now, before the '65 Smackdown, I return to the topic of costuming and the Academy Awards. This time, though, there are actual nominees to consider, both for black-and-white films and color pictures. Furthermore, we know some of the runners-up that came close to the nomination.

Before the reveal of my personal Best Costume Design ballot for 1965, let's examine AMPAS' choices…

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Horror Costuming: The Skin I Live In

In October, we'll be celebrating the excellence of costume design in horror cinema.

by Cláudio Alves

Pedro Almodóvar's 19th feature harkens back to a time two decades earlier when the Spanish director was one of European cinema's most shameless provocateurs, an enfant terrible willing to rub the face of polite society in utter tastelessness, jolly amorality, and lustful perversity. Adapted from a novel by Thierry Jonquet, The Skin I Live In is a sordid tale that mixes melodrama with horror, handsome mad scientists and beautiful Frankenstein monsters. More than anything, as its title suggests, this is a film about skin and the places people inhabit…

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Emmy Review: Contemporary Costumes

by Cláudio Alves

The Creative Arts Emmys are upon us but, before their double ceremony, there's still time to look at the last Costume category for narrative programs. This particular awards race is focused on contemporary-set narratives, a sort of design challenge seldomly celebrated by other organizations like the Oscars. Due to some new rules, this lineup of seven contenders is also the biggest one in any costume category throughout Emmy history. Let's see who wins out of this supersized selection…

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Costume Design in 1938. A Discussion with Nathaniel and Cláudio

by Nathaniel R and Cláudio Alves

Holiday, The Adventures of Robin Hood, The Great Waltz

For the first time ever as a Smackdown supplement -- the 1938 event arrives tomorrow night -- we're giving you two entire additional categories: we discussed Best Picture and now we bring you Best Costume Design. 'But wait,' the Oscar experts amongst you instantly protest. 'Best Costume Design didn't exist yet in 1938. The category wasn't created until 1948!.' This is true so Cláudio and I, who are both obsessed with this particular craft, thought we'd just create it early. Which films should have been nominated for this prize back in 1938 since the category should have existed from the very first ceremony. (You can't make movies without costumes. At least not ones that hope to find MPAA favor or, in '38, approval from the Hayes Code.)

At the end of this discussion we'll each present our two ballots for "should haves" and "would haves" to reflect our own preferences and how we think The Academy might have voted...

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