Film costume design is a profession that has been dominated by women since the industry's beginning and, although it is an influential cinematic art, it is one of the least recognized. One reason is that although a film costume is a highly constructed garment made, fundamentally, to support the narrative, it is often, in culture and in scholarship, blurred with fashion (as branding or shopping versus creative design) and typically referred to as “fashion in film.” That these separate skills need to be redefined makes film costume a compelling, even frontier subject for feminist scholars, and in the last fifteen or so years it has gained greater status as more information...
Drake Stutesman is an adjunct professor at New York University, teaching theoretical film costume. She edits the peer-reviewed cinema and media journal Framework. Her work has been published by, among others, the British Film Institute, MoCA L.A., and Bookforum. Recent work includes Hat (Reaktion, forthcoming) and essays on melodrama (Columbia University Press), silent cinema (Rutgers University Press), Japanese film (Film, Fashion & Consumption), the 1960s (Indiana University Press), subjectivity in biography (China Film Press), and costume scholarship (Bloomsbury). She is writing a biography of costume designer Clare West, and a monograph on milliner and couturier Mr. John.
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Drake Stutesman; Film Costume. Feminist Media Histories 1 April 2018; 4 (2): 84–89. doi: https://doi.org/10.1525/fmh.2018.4.2.84
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