- Directing
By Kim Leonard on November 7, 2021
- Major Awards:
- Best Picture
- Best Director
- Best Actress
- Best Supporting Actress
- Best Actor
- Best Supporting Actor
- Best Original Screenplay
- Best Adapted Screenplay
- Best Film Editing
- Best Visual Effects
- Best Cinematography
- Best Animated Short Film
- Best Animated Feature Film
- Best International Feature Film
- Best Costume Design
- Best Makeup and Hairstyling
- Best Production Design
We’ve talked quite a bit about the amount of thought that goes into Costume Design. We’ve talked about how costumes instantly convey information about the story’s setting, and about who the characters are.The Academy Award for Best Costume Design winners add their own flavor and style to the film, in some cases even a style that audiences wanted to emulate. In this post, we’re going to take a look at the 21st century Best Costume Design winners and see “who wore it best.” One thing you’ll notice immediately is that the films on this list are mostly period pieces, but there are a few standouts from other genres as well. Side note: to date, only three designers have ever won for contemporary stories. But all of these Best Costume Design winners know their way around a book of swatches no matter when the story happens.
JUDGING PROCESS
The Best Costume Design Oscar nominees are chosen by other Costume Designer and Art Director members of the Academy of Motion Picture Arts and Sciences. With so many period drama winners, it can be difficult to understand what the actual criteria are for choosing a Best Costume Design nominee.
One is that the designer must have “conceived” all the costumes in the show. But in ranking these winners, I’m going to consider the following:
- How well do the costumes inform us about the character(s) — 25%
- How well do the costumes serve the overall story — 20%
- Has the designer been innovative in some way — 30%
- Overall aesthetic — 25%
Don’t forget to let us know your thoughts in the comment section.
best costume design academy award
All best costume design Oscar Winners
- 2022 - Ruth Carter, Black Panther: Wakanda Forever
- 2021 - Jenny Beavan, Cruella
- 2020 - Ann Roth, Ma Rainey's Black Bottom
- 2019 - Jacqueline Durran,Little Women
- 2018 - Ruth E. Carter,Black Panther
- 2017- Mark Bridges,Phantom Thread
- 2016- Colleen Atwood, Fantastic Beasts and Where to Find Them
- 2015 - Jenny Beavan,Mad Max: Fury Road
- 2014-Milena Canonero, The Grand Budapest Hotel
- 2013 -Catherine Martin, The Great Gatsby
- 2012- Jacqueline Durran, Anna Karenina
- 2011- Mark Bridges, The Artist
- 2010- Colleen Atwood, Alice in Wonderland
- 2009- Sandy Powell, The Young Victoria
- 2008- Michael O'Connor, The Duchess
- 2007- Alexandra Byrne, Elizabeth: The Golden Age
- 2006- Milena Canonero, Marie Antoinette
- 2005- Colleen Atwood, Memoirs of a Geisha
- 2004- Sandy Powell, The Aviator
- 2003- Ngila Dickson & Richard Taylor, LOTR: The Return of the King
- 2002- Colleen Atwood, Chicago
- 2001- Catherine Martin and Angus Strathie, Moulin Rouge!
- 2000- Janty Yates, Gladiator
- 1999- Lindy Hemming, Topsy-Turvy
- 1998- Sandy Powell, Shakespeare in Love
- 1997- Deborah Lynn Scott, Titanic
- 1996- Ann Roth, The English Patient
- 1995- James Acheson, Restoration
- 1994-Tim Chappel & Lizzy Gardiner, The Adventures of Priscilla, Queen of the Desert
- 1993- Gabriella Pescucci, The Age of Innocence
- 1992- Eiko Ishioka, Bram Stoker's Dracula
- 1991- Albert Wolsky, Bugsy
- 1990- Franca Squarciapino, Cyrano de Bergerac
- 1989- Phyllis Dalton, Henry V
- 1988- James Acheson, Dangerous Liaisons
- 1987- James Acheson, The Last Emperor
- 1986- Jenny Beavan and John Bright, A Room with a View
- 1985- Emi Wada, Ran
- 1984- Theodor Pištěk, Amadeus
- 1983- Marik Vos-Lundh, Fanny and Alexander
- 1982- Bhanu Athaiya and John Mollo, Gandhi
- 1981- Milena Canonero, Chariots of Fire
- 1980- Anthony Powell, Tess
- 1979- Albert Wolsky, All That Jazz
- 1978- Anthony Powell, Death on the Nile
- 1977- John Mollo, Star Wars
- 1976- Danilo Donati, Fellini's Casanova
- 1975- Milena Canonero and Ulla-Britt Söderlund, Barry Lyndon
- 1974- Theoni V. Aldredge, The Great Gatsby
- 1973- Edith Head, The Sting
- 1972- Anthony Powell, Travels with My Aunt
- 1971- Yvonne Blake and Antonio Castillo, Nicholas and Alexandra
- 1970- Vittorio Nino Novarese, Cromwell
- 1969- Margaret Furse, Anne of the Thousand Days
- 1968- Danilo Donati, Romeo and Juliet
- 1967- John Truscott, Camelot
- 1966- (Color) Elizabeth Haffenden & Joan Bridge, A Man for All Seasons
- 1966 - (B&W) Irene Sharaff, Who’s Afraid of Virginia Woolf?
- 1965- (Color) Phyllis Dalton, Doctor Zhivago
- 1965 - (B&W) Julie Harris, Darling
- 1964- (Color) Cecil Beaton, My Fair Lady
- 1964 - (B&W) Dorothy Jeakins, The Night of the Iguana
- 1963- (Color) Renié, Vittorio Nino Novarese & Irene Sharaff, Cleopatra
- 1963 - (B&W) Piero Gherardi, 8½
- 1962- (Color) Mary Wills, The Wonderful World of the Brothers Grimm
- 1962 - (B&W) Norma Koch, What Ever Happened to Baby Jane?
- 1961- (Color) Irene Sharaff, West Side Story
- 1961 - (B&W) Piero Gherardi, La Dolce Vita
- 1960-(Color) Valles and Bill Thomas, Spartacus
- 1960 - (B&W) Edith Head and Edward Stevenson, The Facts of Life
- 1959- (Color) Elizabeth Haffenden, Ben-Hur
- 1959 - (B&W) Orry-Kelly, Some Like It Hot
- 1958-Cecil Beaton, Gigi
- 1957- Orry-Kelly, Les Girls
- 1956- (Color) Irene Sharaff, The King and I
- 1956 - (B&W) Jean Louis, The Solid Gold Cadillac
- 1955- (Color) Charles LeMaire, Love Is a Many-Splendored Thing
- 1955 - (B&W) Helen Rose, I'll Cry Tomorrow
- 1954- (Color) Sanzo Wada, Gate of Hell
- 1954 - (B&W) Edith Head, Sabrina
- 1953- (Color) Charles LeMaire and Emile Santiago, The Robe
- 1953 - (B&W) Edith Head, Roman Holiday
- 1952- (Color) Marcel Vertès, Moulin Rouge
- 1952 - (B&W) Helen Rose, The Bad and the Beautiful
- 1951- (Color) Orry-Kelly, Walter Plunkett and Irene Sharaff, An American in Paris
- 1951 - (B&W) Edith Head,A Place in the Sun
- 1950- (Color) Edith Head, Dorothy Jeakins, Elois Jenssen, Gile Steele and Gwen Wakeling, Samson and Delilah
- 1950 - (B&W) Edith Head and Charles LeMaire, All About Eve
- 1949- (Color) Leah Rhodes, Travilla & Marjorie Best, Adventures of Don Juan
- 1949 - (B&W) Edith Head and Gile Steele, The Heiress
- 1948- (Color) Dorothy Jeakins and Karinska, Joan of Arc
- 1948 - (B&W) Roger K. Furse, Hamlet
High Collars and High Drama
20. Elizabeth: The Golden Age (2007)
Best Costume Award • Costumes by Alexandra Byrne
It’s a time of intrigue and deception at the royal court of Elizabeth I (Cate Blanchett). The Spanish Armada is about to attack, and Liz’s own sister is plotting to assassinate her and take over the throne. But through it all, Elizabeth manages her emotions and remains strong and fearless.
It’s a brief that Costume Designer Alexandra Byrne sticks to. Liz’s dresses are always stunning and she really does look like she could sink the entire Armada with a swoop of her fabulous gowns. But while they’re lovely, I don’t see much innovation in the costumes for this follow-up to Shekhar Kapur’s 1998 Elizabeth.
15%
characters
25%
story
5%
innovation
10%
aesthetic
55%
OVERALL SCORE
The Good
- Realistic, takes you there
- Everything looks authentic
- Elizabeth’s wardrobe always stands out
The Bad
- VERY similar to the first Elizabeth
- Nothing unexpected
- N/A
Best Costume Design Oscar Winners
Conclusion
Elizabeth’s dresses are eye-catching and stand out in every scene. But apart from that, this is standard Elizabethan period fare.
Another Period
19. The Duchess (2008)
Costume Design Oscar Winners • Costumes by Michael O’Connor
This biopic about Georgina Cavendish, Duchess of Devonshire stars Keira Knightly, with Ralph Fiennes as the Duke. The Duchess marries the Duke of Devonshire at just 18, essentially under contract to provide him a male heir. But Georgina was so much more than a Duke’s wife. She was a person in her own right who championed political causes and was an accomplished novelist and playwright.
She was basically “Princess Diana” generations before Diana was born. In fact, The Duchess was Diana’s great-x4 aunt. Like her famous ancestor, Lady/Princess Diana was constantly scrutinized by both the public and the royal family, not the least of which for her wardrobe.
This meant Costume Designer Michael O’Connor had to make a point of making Georgina the object of everyone’s, if not affection, certainly their attention. He does a good job on that task, but overall this is just another Georgian drama, with lots of wigs and ruffles and lace.
20%
characters
25%
story
10%
innovation
10%
aesthetic
65%
OVERALL SCORE
The Good
- Historically accurate
- Features the title character well
- Great hair and makeup as well
The Bad
- A bit of a flat color palette
- Repetitive
- N/A
Academy Award for Best Costumes
Conclusion
Costume Designer Michael O’Connor does a good job of making The Duchess stand out from the Georgian crowd, but I think he could’ve done a lot more.
Fun fact: Princess Diana’s family always called her “Dutch.”
Shiny, Shiny
18. The Great Gatsby (2013)
Academy Award Winning Costumes • Costumes by Catherine Martin
Director Baz Luhrmann has a pretty distinct look to his work. Every story he tells is viewed with a slightly fantastical eye, and The Great Gatsby is no exception. Catherine Martin’s dream-like design infuses the Jazz Age period costumes with a little more sparkle than was probably accurate, a little more sophistication, and a lot more of them in general.
Only Toby McGuire’s Nick is given the working class treatment, in his standout earth tones and flat, natural fabrics. But it works, since the story about a group of rich socialites ruining each other’s lives is told from Nick’s point of view.
15%
characters
20%
story
15%
innovation
15%
aesthetic
65%
OVERALL SCORE
The Good
- Fantasy in the design
- Sparkles! Work well with a high contrast look
- Nick, the only working bloke, stands out
The Bad
- Standard Jazz Age looks
- Nearly all the characters are wealthy
- No contrast with other working class characters
Oscar-Winning Costume Design
Conclusion
Catherine Martin could’ve done a little more to hint at the mysterious past that Jay Gatsby (Leonardo DiCaprio) hides himself from.
Russian Revolution
17. Anna Karenina (2012)
Best Costume Award Oscars • Costumes by Jaqueline Durran
The eponymous Anna (Keira Knightly again) is happily married to the much older Alexei Karenin (Jude Law). But she falls in love with someone more age appropriate, Count Vronksy (Aaron Taylor-Johnson), which sets society’s tongues a-wagging. What makes Director Joe Wright’s version of Anna Karenina different is that the entire story takes place on a big stage.
As part of this aesthetic, Costume Designer Jaqueline Durran had to bring an element of the static, the “never been outdoors” to her work. She uses a sort of “matte finish” color palette and fabrics, making the scene look almost like a 19th century illustration or a distant memory. It’s an effective technique.
15%
characters
20%
story
20%
innovation
15%
aesthetic
75%
OVERALL SCORE
The Good
- Aesthetic like memory or a picture
- Crisp, clean lines and textures
- N/A
The Bad
- Fur
- Pretty standard “Russian novel” fare
- N/A
Academy Award for Best Costume Design
Conclusion
It’s incredibly difficult to put a new spin on the 19th century Russian novel, but this version is a pretty solid effort.
Young and Restless
16. The Young Victoria (2009)
Best Costume Design Oscar Winner • Costumes by Sandy Powell
If Queen Victoria weren’t such a fascinating woman, there probably wouldn’t be so many versions of her story. But she was fascinating, not the least for being madly in love with her husband, Prince Albert (Rupert Friend), whom she met through an arranged marriage.
Costume Designer Sandy Powell was fortunate to have access to the royal archives and even Queen Victoria’s (Emily Blunt) wedding dress and coronation robes. She does a beautiful job of re-creating the queen’s wardrobe no matter what the occasion. But that also lowers her innovation score.
20%
characters
20%
story
5%
innovation
15%
aesthetic
60%
OVERALL SCORE
The Good
- Intricate research
- Beautifully made, everything pops
- Interesting print choices
The Bad
- Seems like just copies of archived clothing
- We’ve seen it before
- N/A
Academy Award for Best Costume Design
Conclusion
I’m not really sure where the Costume Designer’s ideas come in, since most of these gowns and cravats, etc were all “conceived” in the past. But they are beautiful and you do feel transported to the period.
Flight or Fight
15. The Aviator (2004)
Academy Award for Best Costume Design • Costumes by Sandy Powell
A biopic of the crazed genius who founded TWA Airlines, Howard Hughes (Leonardo DiCaprio again) that takes place at the height of the Hollywood studio system (Hughes was also a film producer), from the last gasp of the Jazz Age all the way to Post WWII.
This film is an earlier gig by Costume Designer Sandy Powell, in which she takes on recreating some of the most iconic looks of the Studio era. She was also tasked with having to come up with a color palette to match the imitation two-strip color processing that Director Martin Scorsese uses for certain scenes.
20%
characters
20%
story
20%
innovation
10%
aesthetic
75%
OVERALL SCORE
The Good
- Challenging color palette
- Historically accurate
- Cool to see these looks in color
The Bad
- Not a very cohesive aesthetic
- N/A
- N/A
Multiple Oscar Winners
Conclusion
Howard Hughes was a deeply psychologically wounded man. I think it would have been interesting if Powell could’ve somehow depicted Hughes’s various neuroses through fabric or silhouette choices.
Cake Party
14. Marie Antoinette (2008)
Best Costume Design • Costumes by Milena Canonero
Writer/Director Sofia Coppola really wanted to humanize the larger than life figure who came to be known as Marie Antoinette (Kirsten Dunst). Who is best known for her utter disregard for the regular French folks as they starved and suffered and launched the French Revolution. To that end, Best Costume Design winner Milena Canonero uses colors that pop — pastels and frills emphasizing the queen’s youth and naïveté and youthful indiscretion.
It matches the modern era soundtrack to give the queen a real personality, as well as more dimension than we normally see on this subject matter.
20%
characters
20%
story
20%
innovation
15%
aesthetic
75%
OVERALL SCORE
The Good
- Unique take on the period
- Pastels with natural fabrics pop
- N/A
The Bad
- Historical inaccuracies
- Would like to have seen more “regular” people’s wardrobe for contrast.
- N/A
Best Costume Design Academy Award Winners
Conclusion
Canonero’s costumes really help us understand the moods and mindset of the very young queen and her courtiers.
Ghosted
13. Phantom Thread (2017)
Best Costume Award Winner • Costumes by Mark Bridges
I don’t really care for abusive characters, so Paul Thomas Anderson’s venture into the world of 1950s haute couture is not my personal cup of tea. But the costumes are, naturally, stunning.
Here, Reynolds Woodcock (Daniel Day-Lewis) is a tortured genius who can’t separate his past traumas from his current reality. Best Costume Design winner Mark Bridges succeeds in the daunting task of creating couture looks that infuse this sense of loss into each bespoke gown.
20%
characters
20%
story
20%
innovation
15%
aesthetic
75%
OVERALL SCORE
The Good
- Beautiful bespoke garments
- Costumes are front and center
- Cool to see how these gowns are made.
The Bad
- Silhouettes are all kinda the same
- Not a lot of variation in color palette
- N/A
Best Costume Design Academy Award Winners
Conclusion
Mark Bridges’s work here is quite beautiful and serves the story well.
Sister, Sister
12. Little Women (2019)
Costume Design Oscar Winner • Costumes by Jaqueline Durran
Writer/Director Greta Gerwig made this version of the famous novel quite personal. The title characters all have life goals, especially the rebellious Jo (Saoirse Ronan). But no matter how talented or skilled at their respective passions, these young women must ultimately marry well if they are to have any chance at happiness in life.
Jaqueline Durran conveys these societal restrictions well by physically confining the March sisters in corsets and tight jackets. But at the same time, the girls are their most liberated, both literally and figuratively, when they are together performing and just being a family.
20%
characters
20%
story
10%
innovation
15%
aesthetic
70%
OVERALL SCORE
The Good
- Historically accurate
- Each sister has her own style
- N/A
The Bad
- Hard to see anything new
- N/A
- N/A
21st Century Best Costume Design Oscar Winners
Conclusion
Jaqueline Durran does a great job of illustrating through her design the daily oppressions of a woman in the 19th century faced; and that despite having intelligence and aspirations of her own, she will always be restricted to being someone else’s property.
Chained Male
11. Gladiator (2000)
Academy Award Winning Costumes • Costumes by Janty Yates
The gladiator’s job was to fight to the death with a variety of weapons. Janty Yates had to create costumes that would allow the actors and stunt performers to move freely, while at times still appearing as if they were restricted by their garments.
Yates also did a good job distinguishing between the rulers, the slaves, and everyone in between. But I feel like it isn’t anything we haven’t already seen.
20%
characters
20%
story
10%
innovation
15%
aesthetic
65%
OVERALL SCORE
The Good
- Takes action into account
- Good distinction between ruling class, plebs, and slaves
- Nice details for each character
The Bad
- Been there, done that
- Not enough “royal” colors
- N/A
Academy Award for Best Costume Design
Conclusion
With historical dramas, it’s tough to bring something new to the look of the costumes. Audiences will expect certain things that go with the genre. But Yates could’ve taken a tip from HBO’s Rome and used a lot more color, especially for the Emperor and his family.
Fan Fiction
10. Memoirs of a Geisha (2005)
Best Costume Award Oscars • Costumes by Colleen Atwood
The great Colleen Atwood wins again with this historical drama set in the rigid and competitive world of pre-war geisha culture. Zhang Ziyi plays the eponymous geisha who begins life in abject poverty and is sold into the world she will inhabit for the rest of her life.
Atwood’s costumes reflect the structure of the geisha ranking system through the colors and accessories of each kimono; its ritual and pageantry with elaborate robes used solely in performing; and the necessity to succeed in that world or else end up back on the street.
20%
characters
20%
story
15%
innovation
20%
aesthetic
75%
OVERALL SCORE
The Good
- Stunning work
- Meticulously researched
- N/A
The Bad
- Nothing really bad
- N/A
- N/A
Oscar-winning Costume Design
Conclusion
The costumes were meticulously researched and it shows.
Run of the Mill
9. Moulin Rouge! (2001)
Best Costume Design • Costumes by Catherine Martin and Angus Straithie
An earlier Baz Luhrmann/Catherine Martin collaboration, this one even more fantastical and romantic. This is a jukebox musical, but it’s also a fairy tale. The costumes are reminiscent of a music video, but also the period of the story. They fit seamlessly (no pun intended) into the overall look of the film.
20%
characters
20%
story
15%
innovation
20%
aesthetic
75%
OVERALL SCORE
The Good
- Shiny, shiny
- Stand-out colors
- Fits the overall design aesthetic
The Bad
- Very dark palette
- N/A
- N/A
Best Costume Design Oscar Winners
Conclusion
The sparkles definitely sparkle, but the overdark palette is a little too much.
Framed
8. The Grand Budapest Hotel (2014)
Best Costume Design Oscar Winner • Costumes by Milena Canonero
Milena Canonero’s costumes for The Grand Budapest Hotel are an intricate part of Director Wes Anderson’s overall design concept. The colors are both muted — representing that we are looking at someone’s memory — but also manage to pop out from the background when needed.
20%
characters
25%
story
15%
innovation
20%
aesthetic
85%
OVERALL SCORE
The Good
- Storybook quality
- Consistent look
- N/A
The Bad
- Flat, non dimensional fabrics
- N/A
- N/A
Oscar Winning Costumes
Conclusion
Canonero’s costuming perfectly blends with Wes Anderson’s signature style. But the downside is that they tend to blend into the set and make everything look flatter than it needs to.
Hell Hath No Fury
7. Mad Max: Fury Road (2015)
Academy Award for Best Costume Design • Costumes by Jenny Beavan
What do people wear in a world where there are no longer the resources for such luxuries as clothing? Costumer Jenny Beavan gives us a pretty good idea. Her work here in George Miller’s most recent installment of his Mad Max franchise represents the total loss of humanity in this vast wasteland.
Beavan creates the perfect visual representation for the backstory of a world where human beings have been reduced to commodities to be used or traded. And pre-menopausal women are the most valuable commodity of all.
20%
characters
25%
story
20%
innovation
20%
aesthetic
85%
OVERALL SCORE
The Good
- Visually represents desperation of the setting
- Consistent with overall design
- Fabrics chosen for the backstory
The Bad
- Ever so slightly predictable
- Maybe one or two things could have popped
- Could have been a little more innovative
Oscar Winning Costume Design
Conclusion
Jenny Beavan had the opportunity to show a slightly different look in this 21st century installment. Many things about it were right on the money, but she could have done a little bit more.
Beastly
6. Fantastic Beasts and Where to Find Them (2016)
Best Costume Design • Costumes by Colleen Atwood
Fantastic Beasts should be a Costume Designer’s dream. It takes place in a universe where two distinct worlds co-exist, side by side, without ever really colliding. One a flashy, period drama; the other a world of both fantasies and nightmares.
For this film, Atwood relied a lot on the period — the 1920s. But she was still able to give a magical twist that made it easy to distinguish between Wizards and Muggles, Witches and No Mag’s.
This is also the first installment of a Harry Potter franchise where we get to see America and her magical population. Needless to say, expectations were rather high, but Atwood did not disappoint.
25%
characters
25%
story
20%
innovation
20%
aesthetic
90%
OVERALL SCORE
The Good
- Clear who was magical and who wasn’t
- Loved the colors
- A new setting but still very much a part of the existing universe
The Bad
- A tiny bit “done that”.
- Would like to have seen more use of patterns
- N/A
Costume Design Oscar Winners
Conclusion
Colleen Atwood is equally at home in both the rational and magical worlds. Fantastic Beasts gives her the meaty opportunity to show her talents off.
All That jazz
5. Chicago (2002)
Best Costume Award Winner • Costumes by Colleen Atwood
An earlier Colleen Atwood endeavor is the big-budget adaptation of the renowned stage production by the great Bob Fosse and Fred Ebb. With former choreographer Rob Marshall at the helm, Chicago swept the Oscars that year, in no small part due to Atwood’s costuming.
Here we have a story — a musical — that takes place in the 1920s. Every character is a dancer, a showman/woman, a con. The costumes brilliantly reflect that these people live in the real world, but occasionally exposit details through song and dance.
20%
characters
25%
story
20%
innovation
25%
aesthetic
90%
OVERALL SCORE
The Good
- Shiny!
- Beadwork!
- Great contrast between the reality and song & dance sequences
The Bad
- A teensy bit predictable
- I don’t care for tights
- N/A
Oscar Winning Costume Design
Conclusion
Once again, we see how Colleen Atwood seamlessly weaves together both the real and the fantastical in the same telling.
Sketchy
4. The Artist (2011)
Costume Design Oscar Winner • Costumes by Mark Bridges
It’s a skill all of its own to choose fabrics and silhouettes that come through on Black and White film, and Costumer Mark Bridges has this in spades. Without dialogue to reveal character, costume design takes over. Bridges perfectly understands this and lets the clothes do all the talking.
What’s more, from the cloche hats and sequined sparkles, to the silk ties and wool suits, we can see the details in the fabric of these garments so clearly, we sometimes forget we’re looking at them “sans colour.”
20%
characters
20%
story
25%
innovation
25%
aesthetic
90%
OVERALL SCORE
The Good
- Perfect choice of fabrics and silhouettes
- Costumes stand out
- N/A
The Bad
- A tad predictable for the era
- Fur
- N/A
Best Costume Design
Conclusion
When it comes to revealing character — crucial when there is no dialogue to help in that regard — Designer Mark Bridges proves that clothes do make the man.
Down the Rabbit Hole
3. Alice in Wonderland (2010)
Academy Award Winning Costumes • Costumes by Colleen Atwood
Here’s our friend Colleen Atwood again. We only need to see the human-sized playing card army to know why she was awarded her fourth Oscar on our list for Best Costumes.
The period is essentially Victorian. But as this is also pure fantasy, Atwood draws on a variety of eras, with their signature silhouettes and fabrics, to make us believe that this topsy turvy world could actually exist if we were to allow ourselves to fall down the rabbit hole.
No design is too over-the-top. Every detail is significant and calls our attention to it. This work is just about as bold as it comes and Atwood’s win was well-deserved.
20%
characters
25%
story
30%
innovation
20%
aesthetic
95%
OVERALL SCORE
The Good
- Wonderful fantasy incarnations
- Incredible attention to detail
- Hilarious and terrifying
The Bad
- N/A
- N/A
- N/A
Academy Award for Best Costume Design
Conclusion
There is a reason Colleen Atwood makes this list four times, and Alice in Wonderland perfectly exemplifies everything about her work.
Crowning Achievement
2. Lord of the Rings: Return of the King (2003)
Best Costume Design • Costumes by Ngila Dickson and Richard Taylor
Arguably the biggest challenge for Costume Design in this epic saga is that there is almost too much story to tell. There is the richly detailed backstory of both the universe of each character and of each realm. There is also the story at hand from the perspective of each participant in it.
In this final installment of the Lord of the Rings trilogy, the Oscar-winning work of Ngila Dickson and Richard Taylor is impossible to take as commonplace. Here we see our heroes in the midst of “the battle for Middle Earth,” while also getting a long look at each of the worlds, bursting with history, of both the Elves and the Rohirrim.
The costuming reflects all of this, from the full battle armor worn by all of our heroes and their enemies, to the diaphanous gowns worn by the Elf queens, Arwyn and Galadriel, to the formal best worn by everyone honoring the king’s coronation.
25%
characters
25%
story
20%
innovation
25%
aesthetic
95%
OVERALL SCORE
The Good
- Distinct look for each People
- Distinct armor for each enemy
- N/A
The Bad
- Why didn’t they just ask the eagles in the first place?
- N/A
- N/A
Costume Design Oscar Winners
Conclusion
This film swept the awards that year, likely to honor the entire trilogy. The costumes were stunning in their authenticity to the source material, and the Academy let Dickson and Taylor know.
Wakanda Forever
1. Black Panther (2018)
Academy Award for Best Costume Design • Costumes by Ruth E. Carter
Wakanda is a world so far in advance of our own that even the clothing they wear is like magic. Costume Designer Ruth Carter combined the ancient with the future, the mundane with the magical, to give us a unique wardrobe for all the royalty and splendor of Wakanda.
25%
characters
25%
story
20%
innovation
25%
aesthetic
100%
OVERALL SCORE
The Good
- Old African garments with super high tech
- Function and form perfectly combined
- N/A
The Bad
- N/A
- N/A
- N/A
Academy Award for Best Costume Design
Conclusion
Ruth Carter is only the first Black Costume Designer to win an Oscar since the Academy Awards began. #RepresentationMatters.
UP NEXT
Best Hair and Makeup Oscar Winners
Now that we've done a comprehensive review of the Academy Award for Best Costume Design, let's continue our Oscar series with hair and makeup. Naturally, a fantastic costume isn't actually complete without equally stunning hair and makeup to complete the look. Up next, we run through the Best Hair and Makeup winners and rank our favorites.
Up Next: Best Hair and Makeup →
Showcase your vision with elegant shot lists and storyboards.
Create robust and customizable shot lists. Upload images to make storyboards and slideshows.
Learn More ➜
GET STARTED FOR FREE
About
- Blog
- Support
- Tutorials
- Templates
- Press
- Terms
- Privacy
Learn More
- Featured On
- Careers
- StudioBinder Partners
- Contact
Featured Blog Posts
- Ultimate Guide to Call Sheets
- How to Break Down a Script (with FREE Script Breakdown Sheet)
- The Only Shot List Template You Need — with Free Download
- A Better Film Crew List Template Booking Sheet
- Best Storyboard Softwares (with free Storyboard Templates)
Compare
- Movie Magic Scheduling
- Gorilla Software
- Storyboard That
- Celtx
FREE Master Classes
- Advanced Filmmaking TechniquesA visual medium requires visual methods. Master the art of visual storytelling with our FREE video series on directing and filmmaking techniques.
- TV Writing and DevelopmentWe’re in a golden age of TV writing and development. More and more people are flocking to the small screen to find daily entertainment. So how can you break put from the pack and get your idea onto the small screen? We’re here to help.
- Making It: From Pre-Production to Screen
Latest
- What Is a Plot? Types of Plot, Definitions, and Examples
- 50+ Types of Camera Shots, Angles, and Techniques
- How to Make a Music Video Storyboard: A Step-by-Step Guide
Made by Leanometry
©2024 STUDIOBINDER INC.
' ).css( {position: 'fixed',zIndex: 999992,top: 0,left: 0,width: '100%',height: '100%',opacity: '0.3',background: '#000',display: 'none'} ).appendTo( 'body' );}$overlay.fadeIn( 300 ).find( '.tcb-popup-close' ).hide();$target.css( {display: 'none',visibility: '',zIndex: 999993,left: '50%',top: '50%',background: '#000',boxShadow: '0 10px 25px rgba(0,0,0,0.5)'} );var $ifr = $target.find( 'iframe' ),is_custom = false;if ( $target.hasClass( 'tcb-custom-video' ) ) {is_custom = true;if ( ! $target.data( 'tcb-video-player' ) ) {var _id = $target.find( '.wp-video-shortcode' ).attr( 'id' );if ( typeof mejs !== 'undefined' && mejs && mejs.players && mejs.players[ _id ] ) {$target.data( 'tcb-video-player', mejs.players[ _id ] );} else {$target.data( 'tcb-video-player', $target.find( 'video' )[ 0 ] );}}} else if ( $ifr.length && $ifr.attr( 'data-src' ) ) { //$ifr.attr( 'src', $ifr.attr( 'data-src' ) );}$body.css( 'overflow', 'hidden' );$target.show( 300, function () {$ifr.attr( 'src', $ifr.attr( 'data-src' ) );$ifr.removeAttr( 'data-src' );$overlay.find( '.tcb-popup-close' ).fadeIn( 200 );if ( is_custom && config.p.a ) {/* autoplay video */$target.data( 'tcb-video-player' ).play();}} );function close_it() {$overlay.find( '.tcb-popup-close' ).hide();$document.off( 'keyup.videoPopup' );$overlay.fadeOut( 300 );$target.hide( 300, function () {if ( ! $ifr.attr( 'data-src' ) ) {$ifr.attr( 'data-src', $ifr.attr( 'src' ) );} $ifr.removeAttr( 'src' );if ( is_custom ) {try {$target.data( 'tcb-video-player' ).pause();$target.data( 'tcb-video-player' ).setCurrentTime && $target.data( 'tcb-video-player' ).setCurrentTime( 0 );} catch ( e ) {console.log( 'Cannot pause video' );}}} );$body.css( 'overflow', '' );}$overlay.off( 'click.videoPopup' ).on( 'click.videoPopup', function () {close_it();} );// Return on ESCThriveGlobal.$j( document ).off( 'keyup.videoPopup' ).on( 'keyup.videoPopup', function ( e ) {if ( e.keyCode === 27 ) { // ESC keyclose_it();}} );return false;};
Copy link
Copy