The Art of Costume Design in Film: A Journey Through Character and Story

Exploring Iconic Wardrobe Choices

Darth Vader's mask. The red dress inPretty Woman. The iconic poncho in The Man With No Name trilogy.* These aren’t just costumes. They're characters, images irrevocably connected to the films they were part of. Each piece carries a dynamism essential to the character’s presence and often to the arc of the story itself. Even calling them costumes seems out of place because they feel so real.

For me, working with costume is one of the most exhilarating parts of directing. No question or brainstorm is too small or too big. Every choice matters. Every detail contributes. I see wardrobe as an essential palette in a director’s visual arsenal, a tool that carries the audience seamlessly through a character’s journey. It is not just what they wear; it's who they are and how they evolve and communicate through texture, color, shape, and shadow.

Wardrobe in film is not simply decoration. It is the architecture of the story. In fact, it can tell the story without the character speaking a single word. It can instantly indicate danger, vulnerability, authority, or rebellion. When it's done right, it becomes a realness that is inseparable from the storytelling. In these moments, the audience experiences cinematic truth.

The Legacy of Costume Design

In the history of costume design, one name that immediately comes to mind is Edith Head. She is still the most decorated costume designer, with a staggering eight Oscars and thirty-five total nominations over her storied career. Head could define characters in a single image, from Grace Kelly in Rear Window, where her refined dresses against James Stewart's messy pajamas indicated refinement and logos, to Audrey Hepburn in Sabrina, where wardrobe becomes a vehicle of transformation and identity. Head even inspired a character in The Incredibles called Edna Mode.

Other luminaries, such as Orry-Kelly (Some Like It Hot), Patricia Norris (Twin Peaks, Scarface), Sandy Powell (Shakespeare in Love, Gangs of New York), and Ann Roth (The English Patient, Birdman, Barbie), prove that costume has always been central to cinematic storytelling, even defining eras, genres, and mythologies.

Audrey Hepburn in Sabrina 1954. Costume Design by Edith Head

Modern Masterpieces in Costume Design

Recent films continue to demonstrate the power of wardrobe and the versatility of their designers. Dune (2021) by Jacqueline West and Bob Morgan, although heavily influenced by Dune (1984) (Bob Ringwood), shows how hierarchies can wield power in different arenas. The militaristic still suits in Arrakis contrast sharply with the flowing robes and face masks of the Bene Gesserit, creating a visual narrative that speaks volumes.

Films like Sinners (Ruth E. Carter) and Poor Things (Holly Waddington) use clothing to reveal hidden truths about identity and status, in very different and powerful ways. Parasite (Choi Se-yeon) employs subtle contrasts, such as pristine Park family uniforms against the chaotic and worn clothing of the Kims, to underscore class divisions. La La Land (Mary Zophres) uses wardrobe to translate music and mood. Mia’s iconic yellow dress during the dance number signals hope and joy, while her pastel ensembles in quiet, everyday scenes underscore her contemplation and yearning.

Some other favorites from my mental catalogue include David Bowie’s Labyrinth (Brian Froud and Lisa Fowle), Pirates of the Caribbean (Lindy Hemming), The Grand Budapest Hotel (Milena Canonero), Willy Wonka and The Chocolate Factory (Helen Colvig), Gone with the Wind (Walter Plunkett), and The Wizard of Oz (Gilbert Adrian).

Willy Wonka and the Chocolate Factory 1971.

Contemporary Visionaries in Costume Design

Currently, Shirley Kurata is the contemporary costume designer I admire most. In Everything, Everywhere, All at Once, she flips between the ordinary and the fantastical with breathtaking precision. Evelyn and Joy's relationship shows the ever-shifting dynamics of a parent/child relationship. As they cross multidimensional timelines, their wardrobe reflects the many facets of who they are, who they could be, and who they imagine themselves to be. That's an intensely tall order for a costume designer, but Kurata made the transitions seem effortless, as each outfit embodied the time, purpose, and theme of the character.

The Impact of Costume on Storytelling

Kurata's work in Opus is equally precise and imaginative. A character working in a hyper-structured office might sport sharp, geometric silhouettes in muted tones, signaling discipline and restraint. In contrast, another character in a creative studio bursts with layered textures and unexpected color clashes, hinting at unorthodox thinking and spirited energy. The attention to detail extends to accessories, shoes, and subtle color harmonies. Everything tells a story about who the character is, how they move through their world, and the relationships they navigate.

What makes Kurata extraordinary is how human her work feels. Each outfit is purposeful, expressive, and nuanced, yet playful and inventive. Watching her bring the language of fashion into cinematic storytelling is like witnessing a dialogue between art, character, and story—a dialogue that guides the audience without a single word. And, if you haven't seen her fashion work, it's a must look up! She is a fashion visionary!

Marilyn Fitoussi in Emily in Paris is a close second, and for good reason. She does not just elevate Emily's wardrobe into iconic status; she builds a wardrobe ecosystem around Emily, communicating story and personality at every frame. Emily’s wardrobe is this fantastic mixture of old-school Hollywood, Paris chic, and modern innovation. And, Emily's world is layered with fashion nacre.

Emily in Paris 2020-

Each costume choice, whether it's someone on the street, one of the many fashion designers with their own style, her colleagues at work, or the staff at Gabriel's restaurant, Fitoussi paints a Parisian fashion universe stratified with depth and cohesion. It feels like watching some great classic movie with Cary Grant. It's timeless. I really hope we get to see her take on a feature film or period piece soon.

The Connection Between Costume and Character

When I'm writing my characters, I always imagine the types of things they wear. It's not only a memorable way to visualize them and the world they inhabit; it often informs the types of conversations they have, the confidences they project or conceal, and ultimately some of the choices they will make.

It could be a scarf, a pair of shoes, a flowery bracelet that's a family heirloom, or a shiny pair of sunglasses caught in a rearview as they roar down a desert highway. All these details are intentional, and when done right, they can be difference-makers in how a film's story comes to life—or doesn't.

Costume and wardrobe matter. The talented people who bring these elements to the screen are an indispensable part of our industry. They weave the fabric of storytelling, creating connections that resonate deeply with the audience.

In the end, isn't it fascinating how a simple piece of clothing can carry so much weight? It can evoke emotions, tell stories, and even shape destinies. That's the magic of costume design in film.