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[…]
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[…]
Fred Williamson as Tommy Gibbs adopts the gangster codes of 1930s cinema in blaxploitation classic Black Caesar.
We chat to costume designer Gary Jones about his work on Oz the Great and Powerful.
Meryl Streep’s timeless Burberry trench coat is one of the most recognisable contemporary costumes of 1970s.
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.
Who might win for costume design at the Orange BAFTA Film Awards?
Hugo is Scorsese’s monument to wonder and excitement. Here Sandy Powell exclusively explains her costume choices to Clothes on Film.