www.hollywoodreporter.com: “I’ve been thinking for a long time, ‘Wouldn’t it be great to have an exhibition?’” says costume designer Sandy Powell, whose numerous credits include Shakespeare In Love, most of Martin Scorsese’s recent output and the upcoming Snow White. But, for the three-time Oscar and BAFTA winner — and double Costume Designers Guild Award recipient — a career retrospective isn’t necessarily about flexing. She just wants to share.
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I look up to Sandy Powell SO much as a costume designer. Most designers want to find a niche—some people gravitate towards period pieces or comedies or horror, and choosing one focus allows you to develop it and create a clear style, voice, and tone. Sandy Powell is 100% an exception. She’s done just about every period (Elizabethan, Victorian, Edwardian, 20s, 30s, 50s, the list goes on) as well as modern, and she’s able to jump seamlessly between genres as well. She’s a total chameleon and she understands exactly what is required of every new project. As much as I love designers like Gregg Barnes who bring their unique style to every project, I also have a deep appreciation for people like Powell who can change style easily. It’s a little ironic, considering her personal style (bright red hair and flamboyant pantsuits) is so recognizable and specific to her.
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Reading about the "Dressing the Part" exhibition at the SCAD FASH Museum has been truly inspiring. The showcase of Sandy Powell’s costumes from iconic films highlights the incredible artistry involved in costume design, emphasizing how costumes contribute significantly to character development and storytelling. Powell’s statement that “this isn’t fashion; this is costume” resonates deeply with me, as it underscores the unique role of costume designers in the film industry.I appreciate how the exhibition not only features her work but also creates an immersive experience that transports visitors into the narratives of each film. This connection between costume design and other art fields, like theater and visual arts, is profound; both rely on intricate details to convey emotion and context. Reflecting on Powell’s meticulous craftsmanship reinforces my understanding of the vital role that visual elements play across various artistic disciplines, deepening my appreciation for the collaborative nature of storytelling in the arts.
I always love me a good Sandy Powell costume! Honestly, some of my most favorite costume designs in movies were done by her. This includes Cinderella, The Other Boleyn Girl, The Favourite, The Young Victoria, and (of course) Shakespeare in Love. She is such an amazing designer with a wide range of skills and styles. In this article, I also learned that she did Mary Poppins Returns. I think I have seen it once but I didn’t really remember anything at all about it (besides the fact that Lin-Manuel Miranda was in it), so I opened a new tab and searched it up. I was blown away by the exact costumes that they had mentioned in the article, the trompe l’oeil 2D “Supercalifragilisticexpialidocious” costumes. This will obviously be an amazing collection and I hope that one day it goes on a museum tour, because I would love to see them all!
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