Is costume design important to the art of filmmaking? According to Michael E. Grost of Classic Film & Television, there’s no doubt about it. “One of the main reasons, historically, why people have gone to the theater, movies, opera, rock concerts, or watched TV and music videos, is to look at the beautiful clothes,” Grost says. “Such works create a utopia, in which everyone can look at the most spectacular fashions. These works share clothes with everyone. You do not have to be rich, or perfect looking, or a fashion plate yourself. You can learn all about costumes, and have a great time. These arts are democratic: they share part of the beauties of life with everyone."

Most actors appreciate the work of costume designers because it helps them get into the characters they portray. Steve Coogan, who plays Phileas Fogg in the remake of Around the World in 80 Days, claims that one of the main reasons he decided to do the part was because the clothes designed by Anna Sheppard were so good. “That’s a big governing factor when I play a part,” Coogan said. “It’s not just the script; it’s how good the clothes are. And the clothes in this film are really great!”

As a film critic, I’ve found that the right costume design can make even a mediocre movie enjoyable to watch. And that goes for small movies like View from the Top as well as for such big-budget epics as Troy and Cleopatra. When the costumes work, they help me get a sense of place and enhance my feeling for the characters. 

In the spirit of sharing the beauty of costume art, the Costume Designers Guild has donated a collection of sketches to the Margaret Herrick Library of the Academy of Motion Picture Arts and Sciences (AMPAS). Assembled by the Guild over the past 50 years, this impressive collection of almost 600 sketches includes costumes designed by such legendary designers as Orry-Kelly, Jean Louis and Edith Head. Contemporary designers like Julie Weiss (American Beauty), Judianna Makovsky (Pleasantville), and Albert Wolsky (Galaxy Quest) are also represented.  

Here are some of the costume drawings featured in this extraordinary collection:  Sheila O’Brien’s sketches for Joan Crawford in Humoresque and Johnny Guitar; Stephen Loomis’ work for Isaac Hayes in Escape from New York; Edith Head’s creations for Shirley MacLaine in Sweet Charity; Kirk Douglas’ Spartacus loincloth design by Valles; and Michael Wolfe’s outfits for Ava Gardner in Singapore.

According to Graphic Arts Librarian Anne Coco, most of the drawings are watercolors or gouache, but some pencil-only drawings are also included. Coco said that although the sketches won’t be available for general use until the collection has been inventoried, she’s willing to help “researchers with a serious purpose anytime.”

The Herrick Library already has several thousand costume design drawings. “The addition of the Costume Designers Guild Collection makes us the pre-eminent resource for this kind of material,” Coco stated. 

When announcing the Costume Designers Guild donation, the organization’s president, Dr. Deborah Nadoolman Landis, declared, “It’s comforting to know that the Academy Library will safeguard these treasures and make them available to designers and film scholars studying the central role that costume design plays in film.”

(Photo: Copyright © AMPAS)