One of the most consistent aspects of Hannibal Lecter’s character throughout the books, movies and TV series is his love of “good taste.” Vulgarity is punishable by death while Hannibal surrounds himself with objects of beauty, but in the end, “good taste” is an incredibly soulless form of self-expression. Will Graham’s collection of stray dogs tells us more about his emotional life and personality than Hannibal’s office and wardrobe, which mostly serve to tell us that he’s very rich and well-informed about menswear and interior design.
This brings us back to the “people suit” once again. Give Hannibal a mask and he will tell you the truth: Without all these obnoxious displays of wealth and good taste, people might begin to realise that underneath the many layers of expensive tailoring lies the cold, unbeating heart of a vampire.
A Connecticut Yankee in King Arthur’s Court - Rhonda Fleming as Alisande La Carteloise wearing a pale gold chiffon dress with pleated skirt, trumpet sleeves and beaded bands accenting the bodice, the waist and the hips.
The costume were designed by Mary Kay Dodson and Edith Head.
The 12th Doctor’s costume!
Designed by Howard Burden, Peter Capaldi’s costume is”Simple, stark, and back to basics. No frills, no scarf, no messing, just 100% rebel Time Lord”, according to the actor.
(Source: Los Angeles Times)
To Catch a Thief (1955) - Grace Kelly as Frances Stevens wearing an ice-blue chiffon cocktail dress made of five layers of flowing fabric with a color-blocked stripe of darker blue — plus matching rosette and scarf. The costumes were designed by Edith Head.
This Dress Is So Important: Cecilia’s green dress, Atonement (2007)
"She felt sleekly impregnable, slippery and secure; it was a mermaid who rose to meet her in her own full-length mirror." -Atonement (Ian McEwan)
“Joe said the dress had to be green, we really didn’t know why.” -Jacqueline Durran (costume designer)
A complex amalgamation of silk, organza, and chiffon in various greens, Cecilia’s dress was meticulously designed by Jacqueline Durran with considerable input from director Joe Wright. The striking color was achieved by layering several fabrics as Durran could not find an existing hue to suit her purposes. This method of construction also served to allow the gown to shift shades between scenes and reflect Cecilia’s emotional state, from anxiety about Robbie’s arrival (a brighter green) to lustful ardor during the library sex scene (a darker jungle green.) Other notable design techniques included incorporating a ‘30s-style knot to represent Cecilia’s virginity, and cutting slits in the dress so that Cecilia would disturbingly resemble a pinned grasshopper while engaging in her passionate rendezvous.
Durran had full knowledge that the dress would not be a faithful representation of the era’s fashion trends, working under Wright’s instructions to avoid a stuffy, dated look. Instead she focused on the inconsistencies of the character’s childhood memories, which allowed her to create a less historically accurate and more fluid look that emerged as a combination of ‘20s and ‘30s designs.
In order to make actress Keira Knightley appear nearly naked whilst wearing the gown, the fabric was kept as fine as possible–so fine, in fact, that it tore several times while filming. Four of the widely-hemmed, flowing skirts and ten of the bodices were kept on hand for reparations.