Designing for “The Artist,” Bridges faced the unusual challenge of making sure all the tones of the costumes remained strong in the black and white film. He especially focused on the textures of the fabrics to make them really pop. Earning his first Oscar, Bridges feels he approached “The Artist” with the same passion he’s applied to his entire body of work. “Some of these projects go straight to DVD, others go to the Academy. This film caught everyone’s imagination. It verifies the mystery of this business.” Bridges’ next projects include reteaming with directors David O. Russell on “Silver Linings Playbook,” and he also worked with Paul Thomas Anderson on “The Master.” He’s currently shooting “Captain Phillips.”
With previous BAFTA and Royal Television Awards to her credit for historical costume designs, Buxton was a natural choice to create the outfits worn by the servants and aristocracy populating “Downton Abbey.” Her close attention to detail resulted in her first Emmy win in 2011. “I often succeed in finding panels of fabrics that relate to or are from the period, then build the dress or suit around them,” says Buxton. She would also work with the d.p. to ensure that intricate details such as period lace could be captured. “I do try to spend the money where the costume appears on screen.”
Clapton’s costumes for HBO’s “Game of Thrones” rely on specific color palettes for each storyline. Her research includes studying historical tribes, timelines and cave paintings. She also delves into the characters’ personalities. “I consider what makes each one tick, their mental state, and the effect they have on one another in order to give each one depth and richness,” she says. And she carefully follows the stories as they shift from season to season, and the characters shift with them. Her attention to detail extends to making sure each peice has been weathered sufficiently to tell the story authentically. In the past Clapton has worked with REM, Coldplay and on “Sense and Sensibility.” Up next: season three of “Game of Thrones.”
After finishing work on Danny Boyle’s “127 Hours,” Larlarb jokingly told her boyfriend the only thing she’d consider next were the Olympics. Someone must have been listening, because soon thereafter Boyle, with whom she also worked on “The Beach,” “Sunshine” and “Slumdog Millionaire,” called and asked her to design for the July 27 Opening Ceremonies. For the occasion, Larlarb created and fitted costumes for close to 10,000 performers. “I cannot believe we actually did it,” she says. “With the Olympics work behind her, Larlarb says she’s in dire need of a vacation, but admits she’ll never turn Boyle down. “Because he’s so generous in his collaboration with me, it inspires me to come up with the goods even when I’m beyond exhausted.”
With only an assistant, Maginnis designed the costumes for the debut season of “Smash” — 150 of them every eight days for 10 principal characters, 20 dancers and 10 to 20 day players. ” ‘Smash’ was enormous in every way,” says Maginnis. “The juicy part was creating musicals, for which I got to go back to my Broadway and opera training. It was long, hard days but I never had so much fun.” Her working philosophy: reading a script like an actor would and defining the authenticity of a character. She also worked on HBO’s upcoming “Muhammad Ali’s Greatest Fight,” helmed by Stephen Frears.