Author Caroline Young has just released a fascinating new book entitled Hitchcock’s Heroines (published by Insight Editions). It celebrates and studies the women in Hitchcock movies; their influence, semblance and iconography. What’s more, Young also[…]
Locke (2013, costume design by Nigel Egerton) is a film unique in its restrictions – it takes place in real time, has only one character and only one setting. Ivan Locke (Tom Hardy) is driving[…]
From stills of this film alone you could easily be forgiven in thinking that I am Love (Io sono l’amore, 2009) was set during the 1960s. The designer clothes draped worn by lead members of[…]
A preview of Clothes on Film editor Christopher Laverty’s article on the vibrant costume design of Dick Tracy for Arts Illustrated magazine. Truly unique, Dick Tracy is as close to a comic strip brought to[…]
Director Brian De Palma has made movies heavily influenced by Alfred Hitchcock before, but Passion (2012) is the first one whose characters look like they stepped out of one of Hitchcock’s classic films. Karen Muller-Serreau’s[…]
The near future romance Her, written and directed by Spike Jonze, whose widely diverse resume ranges from the world of music videos to MTV’s Jackass to major motion pictures, brought together a creative team that[…]
Here is a brief extract from editor Chris Laverty’s third ‘Fabric of Cinema’ column for international periodical Arts Illustrated. The main reason for a plug is the subject matter discussed: colour, without doubt one of[…]
Filmmaker and costume designer Sophie Black recounts her personal interpretation of Heathers, a film defined by vivid visual interpretation. It is just a coincidence that the first time I saw Michael Lehmann’s Heathers (1988) was[…]
Costume designer Michael Kaplan reminisces with Clothes on Film about creating dark tourist Marla Singer in Fight Club.
Oz is here and as far as fantasy costume is concerned, you are in for some surprises.
Les Misérables is drenched in costume symbolism, specifically revolutionary red, white and blue. Subtle was never its intention.
The Phantom of the opera demonstrates that the colour, size and shape of a character’s costumes can communicate on a subliminal level.