The Devil Wears Prada, Patricia Field
A designer's dream, Field (most well known for her work on HBO's Sex and the City) lucks out by costuming a contemporary film where the clothes themselves take centre stage. Luckily she takes the opportunity and runs with it, brilliantly assaying the journey each character (especially Andie) takes through the film and illustrating it in their wardrobe. Also, by using real couture Field creates an authentic fashion world instead of the deplorably fabricated ones we see on television. Miranda and Co. actually look like fashionistas and it gives them the credibility they need for the story to work. Bonus points for creating a singular style for each and every character (no two dress alike).
Dreamgirls, Sharen Davis
Another dream project for any designer. Davis gets to create literally hundreds of costumes for The Dreams, both on and off stage, encompassing over a decade of styles and fads and create them in all their dazzling technicolour glory thanks to the films 'shinier-is-better' mantra. Whilst Production Designer John Myhre is content to cut corners with curtains and lights, Davis is up to task and while it many not always be accurate to the era (neither is the music), it is always stunning.
Little Miss Sunshine, Nancy Steiner
I can sense a big 'WTF?' coming here, but give it a chance. One of my biggest problems with the costumer's branch of the Academy is how they constantly snub contemporary films (though they redeemed themselves by nominating two this year) in favour of period pieces. I'd like to announce that contemporary films have designers too and their job far harder to do and, most times, more impressive. See period pieces with their ornate costumes are definitely pretty but there is no attention paid to who is wearing the clothes. Switch those puffy pretty dresses around between actresses and it wouldn't make a difference, but in a film like Little Miss Sunshine it would be disastrous because each piece of clothing has been especially chosen for each character by taking into account their personality, income and how much attention they pay to what they wear. Look at Grandpa's leather waistcoat, Cheryl's low-key shirts and dresses, Olive's red cowboy boots, Richard's shorts and sandals look and Frank's crisp yet bland shirts. This is extraordinarily detailed work that does a lot to tell us who each character is.
Marie Antionette, Milena Canonero
So just after I dissed work on period pieces here I am nominating one myself. Yes, I think contemporary films are more of a challenge but period films that feature costumes this gorgeous deserve recognition (as they have, Canonero picked up an Oscar for her work). But these aren't your average period costumes. Not only is it an epic assignment for Canonero but it is breathtaking to watch how she devotes herself to Coppola's vision, creating candy-coloured dresses that speak volumes of the obscenity, arrogance, fun and wide-eyed wonder of the French Queen herself.
Prairie Home Companion, Catherine Marie Thomas
Beautiful, instantly iconic looks that never once overshadow the blissfully well-worn feeling of the film. The work is also nicely woven into the film: the way Yolanda chooses a top that gives her more cleavage, the Angel's white coat, Lola picking up her mother's shawl from before when she suddenly has to get on stage. Bonus points for Lily Tomlin's green jacket.
winners will be announced later
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