Oscar's and Film Fashion

Oscar's and Film Fashion

Oscar statue care of the Irish Film Institute

This weekend marks the 89th Academy Awards.  Red carpet glamor is always a great deal of fun to watch.  All the beautiful dresses and finery. Seeing who is wearing what! 

I also love watching which movie wins best costumes. I love fashion in movies, and the nominees this year have include great pieces! 

The nominees this year include:

La La Land, Mary Zophres

This modern nostalgic film has great style. Zophres says "I wanted women in the audience to be wooed by Ryan, and the men to feel romantic about Emma."

    La La Land inspired pieces in the shop



    Fantastic Beasts and Where to Find Them, Colleen Atwood

    The wizarding world takes the streets of 1920s New York. "I based the costumes heavily on a lot of period research and then within the world of magic and magical people I used the period, but I did little tweaks to it."

      Fantastic Beasts inspired pieces in the shop:



      Florence Foster Jenkins, Consolata Boyle  

      The story of real-life heiress Foster Jenkins takes place in the 1940s.  “Florence expressed herself in her clothes because she loved decoration… She dressed in quite a childish, theatrical way, even in her daily life. There wasn’t that much difference between her performance clothes and what she wore in her daily life.”

         Florence Foster Jenkins inspired pieces in the shop:



        Allied, Joanna Johnston

        Beginning in 1942 Northern Africa, the story of a French Resistance fighter and a Canadian intelligence officer. "I had this idea of doing it in a slightly old-fashioned Hollywood way that would lift it."

          Allied inspired pieces in the shop:



          Jackie, Madeline Fontaine.  

          The story of Jacqueline Kennedy following the 1963 assassination of President Kennedy. "[The director] wanted Natalie to incarnate Jackie, and we had to help."  "The creativity aspect of Jackie was very different than other projects I’ve worked on. There are so many pictures and references, so much in the collective memory. We had to stick with reality and existing documents, and we had to work from the reality of the documentary that was made at the time, but then also to the reality of what we were shooting.”


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