Clothes on Film were fortunate enough to be invited to a display of costumes from the latest adaptation of Murder on the Orient Express (2017), plus interview its costume designer Alexandra Byrne. An Oscar winner[…]
SPOILERS From a costume point of view, and therefore a character point of view, The Grand Budapest Hotel (directed by Wes Anderson) is all about uniforms; those worn by men and women in official capacities[…]
A fortnight ago to the day, Clothes on Film creator and editor Christopher Laverty joined fashion historian Amber Jane Butchart to give one of two talks and a Q&A chat at The British Library in[…]
Costume designer Mark Bridges described There Will Be Blood (2007) as his most challenging film, referring to the difficulties he faced in transporting costumes to the remote location in West Texas, after director Paul Thomas[…]
Here’s a bit of justified promotion for an event you will absolutely want to see: fashion historian, DJ for Jazz FM, author and Clothes on Film contributor, Amber Jane Butchart, teams up with your very[…]
The glossy costume world of gangster squad is faithful to history, but not a slave to it.
Costume designer Margot Wilson talks exclusively to Clothes on Film about her impeccable work on Lawless.
Tom Hardy heralds dawning of the knitwear anti-hero. Margot Wilson discusses her use of the cardigan for Lawless.
The glamorous look of the mid-1930s threads its way through dual love stories in W.E.
Hugo is Scorsese’s monument to wonder and excitement. Here Sandy Powell exclusively explains her costume choices to Clothes on Film.
The displaced sex appeal of uniforms in Mildred Pierce.
Clothes on Film talk exclusively to costume designer of The Artist, Mark Bridges.