At this point in the Oscar Outlook, most of the nominated films have already been discussed. The Academy likes to reward films that are technically strong across the board by acknowledging each discipline individually, and it makes sense. If the costume design in a film is distracting or lacking, every other aspect of the film can get dragged down in the process, making it less likely to receive at-large love from the voters. The nominees this year in costume design didn’t drag their films down at all. In fact, they made them better.
In the past year, “Barbie” was the film that used clothing most effectively in the film and in the wider culture. If you went to see “Barbie” in theaters, I really hope you wore pink. In the film itself, the many outfits that Barbie and Ken dolls have worn over the years are treated with a winking reverence, creating a sense of nostalgia for those who are familiar with Barbie lore. The woman behind the costume department was Jacqueline Durran, who won an Oscar for Greta Gerwig’s most recent film, “Little Women.”
From one Jacqueline to another. Jacqueline West did the costumes for “Killers of the Flower Moon,” a project that required accurate period work for the Osage characters, as well as the money-hungry vultures in suits. Dressing the Osage characters was probably the more interesting task, as they are at a strange crossroads between tradition and conformity in the context of the film.
Unlike every other one of its nominations, “Oppenheimer” is probably the least exciting option in this category. On the surface, it’s basically a “men in suits” nomination, though I do like some of the smaller touches. Some of them, such as J. Bob’s poorly fitting military uniform and Bob Downey’s posh white tie, are highlights. While the costumes aren’t flashy, the lede here stays true. The restrained costuming enhances the overall “Oppenheimer” experience.
And on the other side of the flashy spectrum is “Poor Things.” With every new phase of Bella Baxter’s development, she is given a distinct look that reflects the state of her freedom and social status. Some of the side characters, like Kathryn Hunter’s brothel owner, are draped in fantasy clothing rather than strict, period-appropriate Victorian stylings. The whole world of “Poor Things” is oozing with off-kilter energy, and the costumes go a long way in creating that.
“Napoleon” is more bound by the style of its time period than “Poor Things.” This nomination is in line with other period pieces depicting the early 19th century, the best of which I think is “Amadeus,” which also happens to be my favorite movie. I bring that latter point up because I really dig the costumes of that era, so any film that brings them to life is of interest. From what I have gathered, the costume department on “Napoleon” nailed it.
There are 48 nominations between these nominated films, meaning there is a high concentration of heavy-hitters in the category. This is to say that the Academy will have to choose between a number of its darlings. For that reason, a name check victory is practically impossible. This one should come down to what the Academy actually perceives as the highest accomplishment of the year, just as it should be.
