Nanny McPhee

Nic Ede designed the costumes for Nanny McPhee, which is set in a "picture-book" late Victorian, in a small village at the edge of London. The color scheme is very vibrant, like a great big Easter party.





The dad has a green suit and brown vest. It is very clean and fit.
The rich Aunt is the one who gives them money, and certainly dresses like she has money.
The dress she is wearing here looks like a corset and very Victorian. She is all about etiquette and what is proper. She dresses very proper.



Here they are wearing more muted colors, but they still follow the style.




Nanny Mcphee always wears black. She wears the same thing the entire movie. She has her crooked cane and a cape, but the most notable feature, the one that changes, is her face. Her warts, crooked teeth, and her giant nose, all disappear and she becomes more beautiful as the children progress.

The children are wearing blue, yellow, and pink. It adds to the magical feel. The colors are very alive.




On the left is Mr. Brown in a gray suit. It's very plain. He has the most simple outfit. His bride-to-be is probably the most outlandish. She has a bit of a bo-peep look (with a sheep and everything). Definitely not a traditional wedding dress. Her dresses have a corset and come out full on the skirt.
The aunt looks suitable for a wedding in a light blue and Victorian dress and hat. The children match the bride in bright, springy green and pink ribbon.
On the right is the maid. She was taken in by the aunt (who thought she was one of the children) and taught how to be a lady. Before, she wore pale colors and an apron. Now she wears a shiny blue dress and white gloves. She walks tall and proper.
On the far right is the cook. She has an apron and wears a striped white and orange shirt with rolled-up sleeves. Her hair looks like she has been working hard, under a military-looking hat (she was once a cook in the army).





In the end scene, snow starts to fall and everyone's clothes turn white. The maid is now the bride, and her dress now looks like a beautiful wedding gown. The only one not in white is Nanny Mcphee. The white is such a big contrast. It could symbolize things being complete or starting over, with a clean slate, like a new beginning.

Overall, I really liked this movie. Costume-wise it was really nice that they differed from the norm and entertaining to see how far they would go with color. Most of the time the costumes helped develop the characters, but occasionally it was just a distraction.
I was wondering why they wouldn't have Nanny McPhee change clothes at all, which I hadn't really noticed before (except in the last scene where she is the only one not in white). Nanny McPhee doesn't change like the other characters do. Her clothes reflect that she stays constant. Her face changes, which is in reflection of the Brown family, but she doesn't learn anything new or have a change in heart. She is basically the same person from the beginning of the movie to the end, and her clothes are a reflection of that.


Emma Thompson's makeup:
http://www.dailymotion.com/video/xrhzmo_emma-thompson-becomes-nanny-mcphee_shortfilms

The Devil Wears Prada

 Patricia Field designed the costumes for the 2006 drama/romance with Anne Hathaway and Meryl Streep. The wardrobe was $1 million worth of clothing, with $12,000 handbags and $40,000 fur coats (With a costume budget of $100,000). There were about 60 different costumes for Streep's character, Miranda Priestly. 4 out of every 10 pairs of shoes were Prada. A lot were platform, giving her more height. Miranda wore clothes that weren't so trendy, but still high end. Andrea, the assistant, played by Anne Hathaway, starts out not knowing anything about fashion, but when she starts to change her appearance, her clothes were more "recognizable".
When Andrea changes her clothes, she also gets a new haircut, more makeup and accessories, and they also note the difference her shoes make.
                                                                                    Ugly sweater and plaid skirt.
 
 Emily, the first assistant.

always new everything.

Zoolander

My friends decided to watch Zoolander (the first one), which I had never seen before. It was very strange, but hilarious. My favorite part was the costumes! These male models are complete idiots, who obviously think they look stylish, but just look ridiculous. So what they wear totally completes their characters.

David Robinson was the costume designer for this show, saying "It was great to do a comic spin on the fashion world." It mixed "glamour with utter outrageousness."
For the "Derelicte" fashion show, they went looking through and collected garbage. They got an old doll from the 30s at a flea market.
Robinson noted that Milla Jovovich (a model and actress who plays Katinka) could act in anything, because she is also a model.
My favorite costume is the snakeskin suit (which matches his suitcase). But the contrast is so great as he walked to his family's coal-mining town.











Will Ferrell had to wear real corsets! He died his hair platinum blonde (3 times). His outfits always have an M or his character's name "Mugatu".


Matilda, the Journalist, is the voice of reason.

Oz the Great and Powerful

Gary Jones

This unusual arrangement was instigated by director Sam Raimi, keen to create a cohesive fantasy world. Jones’ costumes are, like most fantasy genre designs, a mix of period and architectural influences – roughly late Victorian/early 20th century and Art Deco (Eastern and Asian influence). They are not avant-garde; say in the inimitable style of late, great costume designer Eiko Ishioka, but more restrained overall.
Glenda has three changes during the film, though her costumes are all quite different, becoming less feminine and more ‘armour like’ as she reaches her confrontation with the other witches. The outfit on display at Selfridges is the last she wears in the film, her ‘celebration dress’, so any battle elements are discarded in favour of soft, poufy shapes.

Evanora's only costume for Oz, apart from a black dress seen during the finale when she also wears leggings beneath her skirt – presumably so she can fly above the camera while retaining her modesty. Finishing on the hips, this long and light crepe silk skirt has an uneven hem rising toward the left knee. It is covered by swirls of light green thread holding tiny transparent discs, cubes, and Swarovski Crystals.
The bodice is even more attractive as it follows a 1930s evening gown style with gentle V that is offset slightly to the left. Crystals and similar appliqué condense near the bust, which is lined in black lace popping into view above a cluster of heavy white beading. The collar is made entirely of emerald green feathers. Black feathers sprout from each shoulder giving off a militaristic air. She also has an emerald pendant.




Theodora/The Wicked Witch
"Theodora’s Givenchy throwback."

They had to test her dress to see if she could run in it. She could but they decided it didn't need as many layers or such a wide circumference.










Glinda's first dress. Although pink is used for tulle underskirts in her final ensemble, Glinda does not hark back to the more fragile characterisation of The Wizard of Oz (1939). Indeed at one point her bodice is intended to resemble armour.

Theodora's riding outfit, with a twist on the classic Victorian costume. Here she is active, romantic and just a little bit tomboyish.

Fashionista Revenge

Jill M. Ohanneson is known for her work on Revenge (2011), Bill & Ted's Excellent Adventure (1989) and 40 Days and 40 Nights (2002). Her work in ABC's hit series, Revenge, is what really caught my attention. Set in The Hamptons as a tragic story of drama and revenge, the series costumes and fashion is everything you would dream it to be.

I was able to find several interviews and articles in which Jill talks about the shopping, designing and altering for the show's wardrobe. From the looks of the clothes, one would think that they just buy everything from high end designers for every episode, but that is completely untrue.





This is an excerpt of inside magazine:

“Almost everything that goes on our principal actors gets altered, from head to toe,” she said. “Men’s suits are altered up one sleeve and down the other and up the back and sides. All the dresses are brought in to within an inch, actually a fraction, of their body.” Each actor has their own mannequin to match their figure!

Jill says that this altering/fitting process is very important to the show. Most of the characters are very powerful and wealthy personalities and this must be transmitted not only through their acting, but also through the clothes they are wearing.

“We tailor everything to make it work with the actors’ bodies. All the principals have their clothing tailored. That’s how you make someone look powerful. If your clothes fit you perfectly, you feel more authoritative and you carry yourself differently. “


The mannequins on the right, belong to three of the main characters of the show (Victoria Greyson, Emily Thorne, and Nolan Ross).

For these same reasons, no major clothing items are ever worn more than once. Every episode and its clothes must stand alone and make a grand impression each week to keep alive that Hampton's atmosphere.

Each character has their own separate closet. Emily has the biggest overall wardrobe, but Nolan's closet is the one with the most pairs of shoes.
The wardrobe also has its own accessories closet and their tailoring department.

On a more specific note, I will talk about how Emily Thorne's clothes help give depth to her character. In the show Emily lives a double life, to everyone she is a graceful, wealthy, new arrival at the Hamptons, while in the shadows she is doing dangerous tasks to infiltrate and destroy those who took away her father.

Thats why whenever she is in public she will be wearing beautiful dresses and sometimes tailored suits, but in reality she is the most comfortable when she is in jeans and a t-shirt.

The 100

Katia Stano designed the costumes for the TV show The 100. The show takes place in a post-apocalyptic world. "Think a Game of Thrones/The Hunger Games mash up".
"There's no Barneys, no Nordstrom, no Target," Stano says. "So everything that has been left over from the post-apocalyptic war has been [torn] to shreds and they have re-purposed everything."

"One of the most asked about items are the bomber jackets that the cast are wearing, they look vintage and second hand, but they’re only from H&M! With the cuffs and collars frayed, stitching pulled and re-worked. Some of them have even been turned inside out to expose the quilted, orange padding, whereas the majority have the navy jackets. It’s a small detail that the fandom have picked up on, but it’s the details such as that one – which distinguish the ‘insiders’ and ‘outsiders’ of the group – that are appreciated by hardcore fans."




Here, Clark is using an airplane like buckle from the drop-ship as a buckle across her chest. Tires and scrap metal are used as armor, animal skin is used as thermal wear and odd bits of material are used as weapon holsters.







Their clothes out in space.

A Sea of Fabric

Penny Rose is a costume designer who has worked in the film industry since the 1970s. Rose was nominated for the BAFTA Award for Best Costume Design three times for the films Evita (1996), Pirates of the Caribbean: The Curse of the Black Pearl (2003), and Pirates of the Caribbean: Dead Man's Chest (2006).

Many of the costumes featured in the Pirates of the Caribbean series are worthy of praise, but my all time favorite is definitely Captain Jack Sparrows look. It looks so washed out and raggedy, but the whole costume is composed of several elements that have given Sparrow his identity. Some of the pieces are:

* woven blue-gray eight-button jacket with flared, pleated tails and
        oversize slit cuffs
* distressed 12-button aubergine linen vest
* oversize, open-necked cream linen shirt with billowing sleeves
* faded brown cotton button-fly pants with buttoned, buckled cuffs
* distressed brown leather belt with oversize antique-finished buckle
* distressed brown suede knee-high boots with 10-inch cuffs
* cream-colored sash with red stripes
* fingerless medium brown glove with wrist strips
* frayed black rag with striped accents

The costume of this costume is very well known and spread online thanks to the fact that one of the costume replicas worn by a stuntman was auctioned.



Some other very noteworthy costumes are the golden gown that Elizabeth wears at the beginning of the movie (Curse of the Black Pearl) and Tia Dalma's dress (Dead Man's Chest). The dress that was washed away in the sea for the first movie was actually also auctioned online, and thanks to this many people have been able to replicate it incredibly accurately. The fabric reportedly is Chelsea Sable and the lace on the sleeves is English Net. Both of these fabrics are available online.

Tia Dalma's outfit is very much the opposite of this gown, it is a simply raggedy dress with accesories to finish the look. However the treatment that the fabric seems to have received is marvelous.



There also seems to be several layers of fabric that were used to make the textile that the dress seems mostly made out. I particularly like that even though this dress looks so decayed and aged it still keeps that look that goes in hand with the time the movie is set on. It is still very conservative and with lots of details in the finishing.

The costumes in this movie all look so very cool and make you wanna be each and every one of the characters, and I think that is an important thing that good costumes can achieve. You wanna be certain characters to look at yourself in their clothes and that makes you root for them even more.

Frequencies

Also called, OXV: The Manual. Everyone takes a test that determines their luck, their frequency. Zak has a negative number, so he is literally out of sync with nature. Marie has an ultra high frequency, so she is highly intelligent. Everything works out for her. She randomly finds 200 pounds on the ground, which is the exact change she needed for an item she purchased. The downside to her high frequency is she has no emotions. The luckier you are, the less you care.
Zak and Marie are complete opposites. They can only meet for 60 seconds, and then nature starts to rebel. Clouds start forming above Zak's head and begins to only rain on him. The next time they meet, a plane flies overhead and begins dropping luggage all around him. Zak is in love with Marie, but she is only using him for experiment.
The costume designer, Milica Todorovic
Trailer:
https://www.youtube.com/watch?v=pmSfzixf314
music video:
https://www.youtube.com/watch?v=kTPbG7imt8g

In the school, once they find out what frequency they are, they have to wear ties with the color that resonates with their frequency. It's a way of knowing who's who. Zak wears red, Marie wears purple. These colors stick with them even after school.
Zak almost always wears red, when he doesn't he wears black and white. Marie always wears purple until her frequency changes (except pink on their date).

Zak, through his teenage years, looks disorganized. His hair is long like a boy in a boy band. His tie looks like he keeps loosening it and wringing it.
Zak's best friend, Theo, is exactly in the middle, so he wears blue. His dad wears blue as well.


Marie's father doesn't seem to follow any color scheme. When you first see him he wears red, but later he wears blue. Her mother first wears a dark purple shirt. Overall she just looks very formal and expensive.
When Marie is conducting her experiment, she tries flirting. She wears a knee length skirt and you see her unbutton the top of her blouse and loosen her lavender tie. She even fiddles with her hair a bit. She wears a white dress for the dance but has purple flowers.

Marie-Curie Fortune

Isaac-Newton Midgeley (Zak)

Theodor-Adorno Strauss (Theo)

Leonardo's Butterfly

Jenny Beavan (born 1950 in London, England) is an English costume designer. She has won an Academy Award and has been nominated eight times, most recently for The King's Speech. Beavan also received a Tony Award nomination for Best Costume Design for the play Private Lives.
She is a graduate of the London-based Central School of Art and Design.

This time I would like to particularly discuss Beavan's work in the film "Ever After, A Cinderella Story". This movie is to this day my favorite adaptation of the Cinderella Fairy Tail.



I will start by talking about my favorite costume in the movie. This dress, most commonly named "Breathe" is simply one of the most beautiful creations. The details in the bodice and the sleeves are extremely intricate , yet the shape of the dress to me remains very simple and elegant.

I found a website that talks in particular detail about the construction and embroidery that was used for the dress. This images show some of the impressive hand sewing techniques that were used to create this impressive work of art.

The movie itself tries to be a portrayal of the "true" Cinderella story, that being not having a fairy god mother that uses magic, but this dress looks indeed very magical and helps bring that element of magic to the film without departing from its intentions.

The dress and the makeup bring about a very feminine look, but to me the wings are what showcases some of that inner strength that Danielle shows throughout the film. The wings arent angel or really butterfly looking, they have all these pointy ends that to me look sorta devilish. So even there in that flamboyant detail, the dress is balanced and really shows the true identity of the character.










In direct contrast to this dress we have Danielle's everyday, or work clothes. I love the fabric that they used for this, it looks so rough and cheap. A perfect fit for someone who is working as a servant.







The last costume I will talk about is her courtier costume. These are supposed to be clothes from Danielle's mother fit for a day in the Royal Court. Because of this, the outfit should be something that sort of doesnt really look like her, but that she is still able to wear and look beautiful on.

This dress looks very appropriate for the time and it flows beautifully. This image shows some other costumes wore by extras and minor characters. The time setting in the movie is that of Medieval France and I think that the costumes remain loyal to the time setting throughout the entire movie.