Classic Film Costume Design: Edith Head, Givenchy and Walter Plunkett

A costume can introduce a character before the first line of dialogue. A carefully pressed suit suggests something different from the same suit after a sleepless night. A dress can announce confidence, reveal an attempt to belong, or make someone stand apart from everyone else in the room.

Classic films are rewarding to revisit with the clothes in mind. Start with what the costume does within a scene, then look at the people credited with creating it. Famous performers, fashion houses and studio designers can all be part of the same story.

Edith Head and Givenchy: getting Sabrina's credits right

Sabrina (1954) offers a useful example of why those distinctions matter. The Academy's record of the 1955 awards names Edith Head as the winner for the film's black-and-white costume design. That Oscar was not awarded to Hubert de Givenchy.

Givenchy nevertheless contributed to Audrey Hepburn's wardrobe. The BFI's account of Hepburn and Givenchy distinguishes his contribution, including the celebrated ball gown, from the majority of costumes designed by Head. Remembering both contributions is more informative than assigning every outfit to one name.

On a return viewing, follow the changes in Sabrina's clothes as carefully as the reactions to them. Ask when an outfit changes how other characters see her, and when her behavior challenges their first impression. The clothes are part of that social negotiation.

Walter Plunkett and the shared work of design

A film's wardrobe can also be a collaboration among several credited designers. For An American in Paris (1951), the Academy lists Orry-Kelly, Walter Plunkett and Irene Sharaff together as the winners for color costume design.

That shared credit is a useful reminder to read the credits carefully. A memorable costume does not tell us, by itself, who made every design decision. In a musical, also watch how fabric moves: an outfit that looks striking in a still photograph has a different job when its wearer turns, dances or joins an ensemble.

Three details to watch for

• Contrast: does a character blend into a room or interrupt its pattern of colors and shapes?
• Change: does the wardrobe shift with money, work, confidence or a new relationship?
• Movement: do the clothes support ease, restraint, awkwardness or theatrical display?

Try one of these questions on a film you already know. Familiarity with the plot leaves more attention for the choices within each shot. Our musical DVDs and drama collection offer different starting points for exploring costume and performance. Check each individual listing for the film and edition you want.