Welcome to class! My full-time job is working at a university, and I teach as well. One of my dreams has always been to teach a film class. Taking students through the world of cinema and helping them learn about the art form that I am so passionate about would be an amazing experience. But alas…I teach math. This series, “Lessons from the Wasteland,” is my opportunity to offer readers a curated watchlist to learn through doing (…watching movies). Each film on this list will highlight a filmmaker, sub-genre, filmmaking technique, or significant topic to broaden your cinematic horizons.
For this month, we have…
Costume Design
Breakfast at Tiffany’s (1961)
There are plenty of films about the fashion industry that highlight trends, but few actually influence the fashion trends of the time. Breakfast at Tiffany’s is a film about a young New York socialite who falls in love with her new neighbor. But there is a reason this film is more known for the fashion than for the actual plot…it is that impactful. The fashion that Audrey Hepburn shows off in this film just might even make you forget (for a bit) just how horrifically racist Mickey Rooney’s character is.
The first thing that most will picture from Blake Edwards film is that sleek dress that shines on Hepburn’s lean figure. The black dress. The black gloves. The opulent necklace with rows upon rows of jewels. The exuberant tiara in her hair. The long thin cigarette holder. This is the vibe. Hubert de Givenchy worked hand-in-hand with Hepburn to bring her attire to life in the film, which would go on to send ripples through the fashion of the time. But it is not just de Givenchy who brings great work to the film. Legendary costume designer Edith Head was the head of the costuming for the film. No lesson on costuming would be complete without mentioning and/or acknowledging Head’s name and work. She is one of the most decorated costume designers in the history of the Academy Awards, and was the single most influential figure for that aspect of film for decades. 35 nominations and 8 wins is absolutely insane. Few individuals have been as decorated. This is for a reason; just look at the wide range of high-end suits and dresses throughout the film. There is a distinct early ’60s style that will ripple throughout the decade in no small part due to this film.
Hepburn was a pop culture icon, and much of her attire in this film contributed to that. Outside of that iconic black dress number, she shines in a variety of different styles that would become iconic. The big hat and sunglasses combo is classy. The pink number with dress, cape, and tiara combination is to die for. Even a jean, sweater shirt, towel-in-hair combination is so comfortable yet charming. Hepburn is the canvas, and de Givenchy is the artist turning her into a fashion icon in every scene. Even Hepburn’s hair is quite versatile throughout the film…but that is a different article for another month. Even the men are dressed to the nines by Head, with some of the classiest and sharpest-looking suits you are going to find in ’60s cinema. There is a lot that works and doesn’t work about this Truman Capote-written classic, but it will always be an amazing showcase of top-notch fashion.
Barry Lyndon (1975)
If any period piece trapping isn’t accurate or effective, the whole cinematic experience just might fall apart. You don’t want your audience distracted by non-period-accurate elements, so they can be completely immersed in the story and characters. For many filmmakers, this is a tall order with plenty of research and detail necessary to make sure that these standards are met. Some choose to lean in a different direction and morph their own perspective, while others lean into a painstaking amount of detail to make them as accurate as possible.
With a filmmaker like Stanley Kubrick, notorious for his extreme behavior to get the films he wanted, you should not be surprised by the amount of accuracy that is seen in a film like Barry Lyndon. To set the scene, this historical drama captures 18th-century Europe, as an Irish rogue finds himself on a strange journey of idiocy and surprises that would make one think of Candid. The film captures a range of impoverished Irish society, military ranks, and the highest of English society. With such a range of different classes and society sects, Kubrick needed to explore a range of different costuming that would meet each element of this story with authenticity.
Milena Canonero and Ulla-Britt Söderlund accomplished something truly remarkable with the amount of effort they put into the costume design (which earned them Academy Awards for their trouble). There are many shots in the film ripped straight from famous paintings. This gave Canonero and Söderlund the tangible basis for their impressive costuming work. Thomas Gainsborough and Sir Joshua Reynolds were a pair of the biggest influences for the designs, especially for the English aristocratic sequences of the film.
For the first half, Kubrick’s film puts his protagonist through many situations which highlight plenty of the military regalia of the British and French. Many key plot points involve taking on identity and rank, so those details of the different military outfits are essential to the plot. What is quite awe-inspiring is the opulence that comes to life in the second half of the film, which highlights the extremes of high society attire. The opulence and detail pop off the screen. The most significant element of the film is the unbelievable journey that Redmond Barry goes on and how his lot in life changes. And how do you express these changes? The costuming.
Ran (1985)
There are so many different cultures from across the world and history that can be brought to life on the silver screen. Some cultures’ attire might be minimalist, or they can be grand and impressive in their design. Some cultures have been combined with futuristic narratives like Black Panther and Dune. Ancient Aztec and Egyptian cultures have been highlighted in their own cinematic ways. But one of the most well-explored period cultures in cinema has been feudal Japan.
The works of Akira Kurosawa, Hiroshi Inagaki, and Masaki Kobayashi all made their imprint on the Jidaigeki genre (period Samurai films). One of the most gorgeous of them all came from the mind of Kurosawa in 1985: Ran. This film leveraged the works of William Shakespeare (specifically King Lear) to bring a dramatic tale to life focused on the ever-complex process of succession. When telling a story of monarchy, you know you must put in a lot of effort to capture the opulence of their attire. Ran is so specific and unique compared to a film like Barry Lyndon, as Japanese culture has quite specific elements that make it truly special.
Emi Wada won an Academy Award for her immense work (quite the pattern so far), and it was certainly deserved. Wada’s work accomplishes two key features: first, bringing 16th-century Japan to life in all of its regal slant for the characters in the film, and second, injecting a poetic, operatic, and bold symbolism that would reinforce the adapted work brought to life by Kurosawa. One of the most impactful ways to reimagine a story is centering it around a new context, and that is what happened in the translation of King Lear to Ran. Kurosawa needed his costume designer to bring detailed authenticity to the film, and that is exactly what Wada accomplished with her work.
One of the most significant elements in Ran is the color-coding of the costume design. Each of the three sons is defined by clear color design; a bold and vivid gold for the eldest in stark contrast with the aggressive middle brother (and his fierce red) and the more grounded blue of the more loyal youngest son. Eventually, Lord Hidetora loses his mind and shifts towards a striking white that reflects the ghostly nature that this once powerful lord finds himself after such trauma and betrayal. The scale of the production was immense, as 1400 handmade costumes were needed for the production with a steady mixture of gorgeous robes and sturdy armor.
Kurosawa’s epic had a staggering $12 million budget for the time, but you can see every penny on screen. There were no computer-generated extras here…every soldier and servant had hand-crafted costumes that looked so authentic and tangible on screen. They just don’t make films like this anymore, which is all the more tragic for audiences and creatives.
The Lord of the Rings (2001-2003)
J.R.R. Tolkien’s Middle-earth coming to life in Peter Jackson’s The Lord of the Rings trilogy is still one of the grandest achievements ever put to film. Few movies have the scale, creativity, culture, and mythology that go into the world-building for Jackson’s trilogy. It’s one of the many reasons why this series still holds up so well over 25 years later from its production. It was one of the grandest creative undertakings in the history of film. There are so many different cultures, locales, creatures, and terrains that needed to be specifically designed and brought to life. One of the biggest undertakings of the film fell on the shoulders of Ngila Dickson and Richard Taylor. They had to design, from scratch, thousands of different costumes with a wide range of cultural influences. Each of these costumes was hand-made and weathered, which is one of the most miraculous elements of this entire production. Each race has its own distinct influences, while groups of races from differing nations have their own specific tilts. Not only are they unique, but they have specific purposes and draw upon real-life parallels to bring some meaning, utility, and authenticity to them. The Hobbits have a rustic, country aesthetic inspired by 18th-century English tailoring, featuring waistcoats, frock coats, and half-masked, chopped-off trousers. They are the first culture the audience is introduced to, and these design choices make sense for a group who are isolated country folk with little outside influences.
The Men in the film have such a distinct range. Aragorn is introduced as a ranger, whose clothing is less showy with a weathered, utilitarian slant to it (along with camouflage for their lives primarily in the wilderness). The armor of Gondor and Rohan relies on realistic steel, brass, and leather, blending traditional blacksmithing with intricate period detailing. But they stand out in their own ways due to the cultural flourishes. With more gold and brown, Rohan features designs heavily infused with horses, which reflects their cultural attachments to their equestrian companions. Gondor is more sterile with its grey and silver, but adorned with the gorgeous Tree of Minas Tirith that is detailed on every piece of armor. Elvish clothing is more ethereal, with a strong sense of elegance and regality. Flowing, soft, and gorgeous, their clothing shows their distinct difference in attitude while highlighting their strong connection to nature through smaller details. 12.5 million individual rings were crafted by Weta Workshop to create a sea of chainmail for so many of these battle-worn costumes.
There are so many other details, with armor highlighting the specific needs of each race. The Uruk-Hai are born and bred for war, and are covered in the thickest and most sturdy of metals. The costuming is also used to craft such specific characters. The Witch-King’s helmet is so distinct, with its sharp points and minimalism that makes this being entirely haunting and intimidating. The armor and helmet of Sauron are sharp and terrifying. Even the different staves of the wizards reflect their connections and personalities. The leaf broaches become significant because they are the collective symbol of the Fellowship.
The Lord of the Rings is a lesson in its own right when it comes to the power of costuming. The way that race, culture, personal traits, and age can be reflected so distinctly is fascinating, and Jackson’s trilogy does it all with immense flair and power.
Mad Max: Fury Road (2015)
What film has the most unique and detailed costume design of all time? It’s a bold statement…but when films like Mad Max: Fury Road exist, such statements can and should be made. Tackling a futuristic world is something quite challenging. Usually, there is no basis for it. There are two approaches you can take. One, you have to explore advancements and get creative with where you think humanity will take clothing. But the other is leveraging the present world and seeing how a dystopia can evolve (or devolve) what already exists for its use. The utilitarian need for a twisted and dangerous wasteland certainly opens the door for creativity and design.
Jenny Beavan accepted her Academy Award donning a sharp and vibrant jacket that channels the key element that has given the world of Mad Max its distinct personality: leather. There would be no leather-clad dystopias without the work of Dr. George Miller and company. This distinct trend for post-apocalyptic design has rippled through pop culture for the last 45 years. But the work by Beavan for Fury Road is on a whole other level. There is a practicality and utilitarian approach to the design, as all the characters have scrounged the desolate world for scraps and parts to bring these outfits to life. This specific apocalypse is also car-forward, so there are plenty of motor vehicle motifs drizzled throughout the film, including actual car parts being used for armor and other adornments.
The most iconic of all these designs is the one for our titular anti-hero. The weathered and worn black leather jacket with football shoulder pads immediately makes you think of Mad Max. The most impressive design in this film, though, is the disturbing regalia of warlord and cult leader Immorton Joe. His breathing apparatus is hidden behind an animal jaw (with actual teeth). He conceals his decaying and tumor-covered body with a clear and molded plastic vest that he adorns with military medals. This faux valor is representative of his dictator bravado that is as artificial as his costume. The most significant new character is Imperator Furiosa, whose iconic mechanical arm and leather straps and belt make her instantly recognizable. The practical mechanic’s jumpsuit she wears reflects the resourceful and tough nature of the character. The Wives have the most distinct clothing, with their flowing and graceful white gowns that represent their purity in this stark and disturbing world.
Each character and faction throughout has their own distinct and crazy costumes that bring personality to even the smallest of roles. The Doof Warrior is one of the most memorable characters, strapped to his flamethrower guitar as he wears the face of his dead mother and a red pajama jumpsuit. That is just the tip of the iceberg when it comes to the wild world that Miller and company brought to life. Few films have such unique, distinct, and bold costuming, and that makes Fury Road one of the crowning achievements of cinematic costume design and execution.
Also see: Marie Antoinette, The Fifth Element, Titanic, The Adventures of Robin Hood, Moulin Rouge!
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