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Meet the Oscar winner for costumes that make Black Panther look wild

Superhero Blockbuster Black Panther has much to brag about. Critics and fans are thrilled to have passed the dollar mark at the box office and are the first movie based on a comic book and awarded a Oscar Best Picture nod .

On Sunday, Hannah Beachler won the first Oscar for an African American in production design and became the first Marvel film to win an Oscar for Costumes.

Costume designer Ruth E. Carter at the Black Panther premiere last year

Alberto E. Rodriguez / Getty Images for Disney

Those who have seen the film and its Afrofuturistically used presentations will probably not be surprised. The Dora Milaje special forces trudge in warrior boots and detailed detailed red and gold leather tunics with matching cuffs. Killmonger is intimidating (and so buff) in a camouflage trousers crowned by a tight-fitting blue shirt and heavy armor. And T & # 39; s Challas wide range of suits and shirts may all be black, but each of them has a wonderful look.

Many thanks to costume designer Ruth E. Carter for making Lupita Nyong, Chadwick Boseman and Danai Gurira look even sexier than usual when wearing an elegant evening gown in a Busan casino be dressed. Carter has been nominated twice for Oscars, for her work in Malcolm X (1

992) by Spike Lee and Amistad by Steven Spielberg (1997).

Before moving to Wakanda, Carter consulted frequent Marvel associate Judianna Makovsky and other designers who had worked with the studio.

"Everyone said to me," This is a bit different than your normal superhero movie. "http://www.cnet.com/" Carter says over the phone from New York. "Actually, I'm really glad I did not know the language of the other superhero movies when I was working on Black Panther." that I could approach it from my own point of view and not be influenced by what I thought was likely.

  Women of the Wonder World Queen Lady Ramonda Costume Design

Angela Bassett's Queen Ramonda and her Zulu-inspired Black Panther Headdress. [1965] 9004] Marvel Studios / Composite by Chelsea Shi / CNET

Black Panther may have brought us Angela Bassett's Queen Ramonda, wearing a Zulu-inspired headgear like her, or a naked torso of Michael B. Jordan's Killmonger in a long black hooded jacket. However, the pieces of the era are the films that usually determine costume design at the Oscars, followed by fantasy films and adaptations of children's books. You have to go back to 1990 (Dick Tracy) to find a nominated title based on a comic book.

"Those who receive the awards are usually the [where] they create everything Designer really designs," says three-time Oscar nominee and costume designer Makovsky by phone from LA. "Superhero movies have not received much attention or love in this regard, and I think it's ridiculous because it's about costume design, it's technical, it's artisan, it takes a lot of craftsmen to make it, and I think [that’s] misunderstood."


Costume designer Judianna Makovsky on Set of Guardians of the Galaxy Vol. 2

Chuck Zlotnick

Makovsky knows her superhero films. She worked closely with Marvel as a costume designer for Captain America: The Winter Soldier, Captain America: Civil War, Guardians of the Galaxy Vol. 2, Avengers: Infinity War, and the upcoming Avengers: Endgame.

When she started working for Marvel, Scarlett Johansson's character was Natasha Romanoff aka Black Widow High Heels. "When I'm done, [female characters] are in combat boots," she says. Before she made sure that the Avengers' shoes were fit to save the world, she designed garments for The Hunger Games and Harry Potter and the Sorcerer's Stone, earning her an Oscar nomination.

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Carter The Shining Statue also celebrates Lupita Nyong's Nakia, who is attracted throughout the film in various shades of green or in Laetitia Wright's Shuri and her approach to a chic yet comfortable princess style. The designer was awarded a Career Achievement Award by her colleagues in the Costume Designers Guild on February 19th. The award recognizes executives who have made a lasting impact on costume design.

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Marvel Studios

"I was fortunate to come with Spike Lee and Keenen Ivory Wayans and Robert Townsend at the time, when the black movie came back," says Carter. "Not everyone has this opportunity, because you have to fight to be seen and to be heard as a designer if you're African-American, if you're Asian-American, if you're Indian-American. I'm not celebrated right away, and sometimes I am 30 years old and celebrated today, but I have 40 movies behind me. "

Representation Counts

The numbers are usually bleak, coming to the female behind-the-scenes in Hollywood. According to a study by the USC Annenberg School of Communications and Journalism, between 2007 and 2018, only 4 percent of the directors of the 1,200 nationally distributed, highest-circulation films were female. The same research shows that among the 265 best films from 2016 to 2018, women accounted for only 15.5 percent of editors, 3 percent of directors for photography, and 2.3 percent of composers.

There is a possibility, however, that the costume designer for your favorite 2016-2018 films was a woman. Women led 84.4 percent of the costume departments. The Costume Designers Guild has 1,050 members, of which about 80 percent are female.

  Women of Wonder World Universe Promo Art with Logo

Click here to learn more about the women who make Marvel work ,

To illustrate what you would like to see, both Makovsky and Carter have a definition of inclusiveness that goes beyond gender.

"Who knows what the possibilities are when inclusion creates another aspect of art?" Indian-American, the Asian-American, [the African-American] becomes the famous costume designer, and they bring their makeup to the canvas. We will start to see something new and new, and that is what it should be about.

Demystifying the Hollywood Lifestyle

And though it looks like a pure glamor life showered with praise and honor, go to the Oscars. On the red carpet, you work with the hottest celebrities and become yours Colleagues Recognized Carter and Makovsky both quickly share how brutal Hollywood can be.


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"We work on 16-hour days, seven days a week, pre-production can be quite civilized, but when you shoot, you have no life," says Makovsky with a laugh. Granted, you do it for a certain amount of time, and you can have it free. Nevertheless, people have to work, get health insurance and earn money.

Carter is even more open when he reflects on the compromises she has made for her passion example, but never.

"We have no normal life," she says. "We give this life to the narrative medium of the filmmaking. We love it so much that we are ready to sacrifice. "

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