New York Times:
There’s another Oscar-related clothes issue currently getting Hollywood all worked up: the fight for equal pay being waged by the members of the Costume Designers Guild. Costume designers, who are 83 percent female, are paid 30 percent less than production designers (their organizational-chart peers), who are 80 percent male, according to research from the U.S.C. Annenberg Inclusion Initiative and the Annenberg Foundation.

Fantasy and fetish formed on a foot, the shoe has never been more important. “Sex and the City” ushered in a renaissance of Manolos, Louboutins, and Jimmy Choos to Middle America…

The New York Times: He was honored for “Travels With My Aunt,” “Death on the Nile” and “Tess.” Also renowned for the outlandish outfits he created for Glenn Close as the evil Cruella de Vil.

One thing we wanted to do through his looks was to break down his personality in multiple facets and show his vulnerability. The turtleneck added a bit of softness to that moment, and it worked for the atmosphere he was in. His costumes went through a natural progression and encapsulated his various moods and vibes.

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The difference between an editorial fashion stylist and a Costume Designer becomes starkly obvious when it comes to outfitting men who don’t fit into average-size clothes.

Forbes: When fashion and film collide as the respectively mammoth industries they are the financial potential is huge. Only, for decades, the brains behind such collaborations have rarely been celebrated.

A sea change is happening in Hollywood’s depiction of women. It may be slow, but it is steady and gaining momentum. For years, women both in front of and behind the camera have been marginalized, stereotyped, and underrepresented, but 2017 marked a turning point.

Costume Designer Alexandra Byrne is well versed in the Elizabethan period with movies such as Elizabeth and Elizabeth Golden Age, for which she won an Academy Award, in her oeuvre. Her recent film, Mary Queen of Scots, furthered this exploration.