Issue link: http://digital.copcomm.com/i/635454
26 The Costume Designer Winter 2016 Excellence in Period Film Kate Hawley Crimson Peak Edith's "Nancy Drew" dress best represents the themes Guillermo del Toro was exploring in this film. In the second act at Allerdale Hall, the colour palette is heightened—the gold of her dress is symbolic of the wealth of Buffalo that the Sharpes so desperately need. It is also representative of a canary in a coalmine, standing out against the decaying cyans and blues of the Sharpes and their environment. Edith's dress is much more modern than the dated clothes worn by the Sharpe siblings. The sleeves are a constant theme of her silhouette and imagery. Here, the flowers bloom and grow as she falls in love, becoming the butterfly in their gilded decaying cage. The black bow is a reminder of mourning the loss of her father. ACD: Renee Fontana Odile Dicks-Mireaux Brooklyn The Yellow Dress was the costume that I felt represented the turn- ing point in Eilis's journey and life in New York. She has found her confidence, she is comfortable working at Bartocci's, she has met Tony, and has passed her exams. She can look forward to new thoughts and dreams and a possible future in the United States. The colour of the dress, buttercup yellow, shines out like sunshine and suggests these ideas. I liked its simplicity and when Saoirse put it on, she felt it was more womanly than her earlier costumes, no longer the young girl but now a young woman. ACDs: Ellen Crawshaw, Carmen Alie Paco Delgado The Danish Girl My favorite costume is the cream suit Lili/Einar (Eddie Redmayne) wears when s/he is transitioning from her male body to a more female appearance. The suit is made of silk with a very nice weight and great movement. The color is soft and the jacket has waistline shaping, more proper for a woman than a man. Underneath, the generous-collared silk blouse is very dual in aspect. It is not a female garment totally—and not a male one either. It is its ambiguity that makes it powerful. Because of it, two rogues beat up Lili/Einar, as they are incapable of discerning whether they are confronting a masculine woman or an effeminate man, showing how clothes can affect people's perception—sadly, even to the extent of inciting violence. ACD: Sally Turner Oscar nominated Sandy Powell Carol I think the most iconic costume in the film is Carol's fur coat worn with the coral scarf and hat in the department store the first time she meets Therese. I wanted the fur to exude luxury and wealth without being flamboyant, so it was important to me for it to be a light colour. It needed to stand out from the crowd and be instantly recognizable. However, I don't think I can talk about the fur coat in isolation, as equally iconic is Therese's yellow and red beret and plaid scarf. I never intended this to be an iconic look … it was chosen when I found it in a vintage fair and knew instantly it belonged to Therese. Somehow it ended up becoming a memorable look. ACDs: Christopher Peterson, Meghan Corea Oscar nominated Daniel Orlandi Trumbo The most iconic costume in Jay Roach's film Trumbo is Bryan Cranston as Dalton Trumbo visiting the set of an Edward G. Robinson film he wrote. It sets the scene, Hollywood 1947, while it shows Trumbo's slightly eccentric and flamboyant style. Trumbo is at the top of his game … bright turquoise shirt, natty tweed jacket, and two-tone shoes. His personal style becomes a great counterpoint to his nemesis Hedda Hopper and her own unique style. Brooklyn/Fox Searchlight Pictures, TSG Entertainment/Kerry Brown, Crimson Peak/Universal Pictures/Kerry Hayes, Carol/The Weinstein Company, StudioCanal, Trumbo/Bleeker Street/Hilary Bronwyn Gale, The Danish Girl/Focus Features.