Oscar-Nominated Costume Designers Pick Their Favourite On-Screen Looks
When the Oscars happen, the Esquire style team naturally makes a beeline to the red carpet. A parade of A-listers means a parade of A-list outfits, and so we invariably find ourselves scrolling through pap shots, analysing silhouettes and colour palettes for our annual best-dressed gallery.
Yet the glamour and frivolity shouldn't detract from what happens inside the Dolby Theatre – even if you're only interested in the big night for the clothes. This year in particular, plenty of big screen menswear moments are vying for the Academy Award for Best Costume Design. Looking at the 2025 shortlist, the competition is as fierce as it's ever been.
A Complete Unknown serves Bob Dylan’s take on nonchalant sixties dressing; we can thank God for the outerwear inspiration served by the cardinals in Conclave; while the 19th century tailoring in Nosferatu could easily be adopted by those wanting to add some flamboyance to their suits. The crossover between costumes and clothes couldn't be better.
With that in mind, we quizzed the costume designers behind this year's best-dressed films about the best menswear looks from their own projects.
A Complete Unknown, Arianne Phillips
“I can't really speak for him [Timothée Chalamet], but I think mine was that polka dot shirt.
“Jim [James Mangold] wrote that scene where they're [Bob Dylan and the band] in the shop and they're buying the polka dot shirts, and then he wrote the line in the hotel when Bob says something like, 'Take off that ridiculous shirt' to Al Kooper. I never thought it [the shirt] was going to make it on Timmy at all.
“The scene when Pete [Seeger] comes in and wakes them all up to have a conversation about what guitar Bob should play, and he's in bed in his boxer shorts. Timmy called me to set that day – I was just outside in the trailer preparing the next day's costume – and he said, 'I have this idea, maybe I should put on that shirt'. That was so genius. I was really happy that we found a place that felt so organic.”
Nosferatu, Linda Muir
“Nosferatu is set in 1838 Biedermeier Germany, therefore all of the menswear was an absolute scrumptious feast to prepare, however my favourite menswear design is that of Orlok. Partially because he is the titular character in Nosferatu, but more significant is the fact that the look of Orlok (or Dracula in Bram Stoker’s novel and many movies) has such a conspicuous place in film history and in the hearts and minds of cineastes, including Robert Eggers. Researching the garments that would have been worn by a 16th Century Transylvanian nobleman was fascinating, figuring out what textiles and embellishments would evoke his story was a challenge, and finally leading our costume team in the creation of such an iconic and decrepit costume was a very satisfying evolution.
“I started the design process for Orlok’s costuming in conversation with Robert, who had a clear vision of what his Orlok would look like from the start. I absorbed his research images and then proceeded to find many more examples of mentes (overcoats with extremely long sleeves), dolmans (luxurious tunics), kolpak hats, and footwear, so that I knew what these garments would've looked like and how they would have been constructed. I then had to find appropriate fabrics for each piece, some garments needing multiple layers and all requiring very special buttons and embellishments. The 'corpsifying' breakdown and ageing process was by far the most fun, and really gave Orlok his centuries old backstory.
“From my point of view, Bill Skarsgård was a champion of patience and grace. I don’t know if Bill kept any of his costuming, I doubt it though; as I feel that he may have wanted to leave Orlok behind at wrap.”
Conclave, Lisy Christl
“This is the cardinals' robe worn under the chasubles. In this costume, 2000 years of history is combined. It's a reference to the baptismal Christian garment in white, which is the religious colour of purity.
“The Catholic cardinals' clothing is subject to a precise rule which we adhered to, but not to the exact form. A cardinal's or bishop's costume is a dress, it changes with the way you move and the way you walk, and so our actors felt very comfortable in these costumes.”
Wicked, Paul Tazewell
“I have many favourite menswear looks in Wicked, but I would say my most favourite is Fiyero’s 'Dancing Through Life' blue suede suit with matching breeches.
“This is the look when he first arrives at Shiz and rallies the rest of the student body in the Shiz library. The blue colour choice is rooted in the storyline that he is a Prince from Winkie Country. I wanted to reflect his royal lineage, but also introduce the colour palette and details of his family’s palace of Kiamo Ko.
“The inspiration of the geometric cut work detailing on his side jacket (with an underlay of foiled bronze leather which embellishes the military-style jacket) is inspired by the geometric tattoos or face painting that Gregory McGuire suggests in his description of Fiyero in the original Wicked novel. I have carried that pattern into the bordering edge of the jacket, and embellished the riding breeches with it as well, which are inspired by Spanish equestrian dress.
“Fiyero’s suit is set off by his knee high polished blue swirling equestrian boots with inscribed bronze toe and heel detailing. These custom dress riding boots were made to accommodate the dancing, made with a flexible sole and beautiful details that are in keeping with the rest of the styling of his 'Dancing through Life' suit.
“Working with an amazing tailor, we worked out the shape and silhouette of the suit – which has design elements of an 18th century military uniform. Because Jonathan Bailey (Fiyero) was required to do very active choreography in the 'Dancing Through Life Number' dance number, it was imperative to cut his garments so that he could flex in all of the ways necessary to perform the choreography. This was matched with choosing materials that would allow for that comfort and flexibility. The challenge of function needed to be considered as important as the style, fit and fabrication, as it adds towards accurately representing Fiyero's character as specifically as possible. Fiyero’s look was accessorised with a surplice collared dust blue shirt, and matching geometric embroidered braces to accent Fiyero’s high brow style.”
Gladiator II, Janty Yates and David Crossman
Spoilers for Gladiator II below
JY: “Denzel Washington wore my favourite menswear looks, because he wore his clothes and jewellery so well. I loved the last two costumes, the white and gold look from when he kills the Emperor, and I loved the outfit he dies in: the rich blue and gold trim.
“It's a huge process, sourcing vintage fabrics, throws, jewellery and embroidery. Then you have to create the outfits, and make four of each and every one.”
DC: “I loved doing Paul Mescal's costume for the opening of the film and Pedro Pascal's armour, both were crafted in our workshops by our leather craftsman, Giampaolo Grassi. They are both examples of beautiful hand craftsmanship.
“We have a team that makes everything for these films. We source/make the fabrics, we print and embroider, and the armour is digitally sculpted then produced and aged by another team – it really is a team effort.
“Paul wanted his costumes after the film and I think Pedro was happy too. They were both lovely to work with.”
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