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Oscar costume nominees walk through how they brought their sketches to life.
Here, their designers take you on a journey from sketch to screen.
Sketch by Mary Zophres; Designs by Colleen Atwood, Sketch by Warren Holder; Sketch by Consolata Boyle; Sketch by Consolata Boyle
When he embraced them, they became part of the language of the film.
The production kicked off with some intensive planning.
I ran there because we were talking about colors.
Sketch by Mary Zophres; Dale Robinette
Okay, what is [this] exactly?
We talked about this blue.
In those early stages, Zophres recalls Chazelle very much had a game plan.
Sketch by Mary Zophres; Dale Robinette
He had a grasp very early on that we all went through.
Mias romantic counterpart Sebastian (Ryan Gosling) has a style that is all his own.
I think its believable that he wouldve purchased clothes that were in a vintage store.
Sketch by Mary Zophres; Dale Robinette
Thats the look we were going for, but I didnt want it to be too Williamsburg.
According to Zophres, Gosling was very on board with the formal approach.
Zophres says years of practice helped her straddle that line.
Sketch by Mary Zophres; Dale Robinette
There were things [Emma] tried on that were like Too cutesy poopsie, take them off.
She had a ton of changes because theres a lot of montage-y bits.
Emma works best, I think, in a more simple, streamlined look.
Sketch by Mary Zophres; Dale Robinette
Simply put, What we like is what ended up in the film.
The fitting really stands out in her mind.
We were in [Emma’s] trailer and she started spinning and I was like Oh my God.
Sketch by Mary Zophres; Dale Robinette
I swear to God, I had little tears in my eyes.
It was so beautiful!
I just think she looks lovely.
Designs by Colleen Atwood, Sketch by Warren Holder; Courtesy of Warner Bros. Pictures
Queenie Goldsteins style also stands apart from the crowd, but for a very different reason.
Very feminine, very light, and almost transparent, but not quite.
Her ex-auror sister Tina (Katherine Waterston), meanwhile, doesnt focus much on fashion.
Designs by Colleen Atwood, Sketch by Warren Holder; Courtesy of Warner Bros. Pictures
Tinas a more modern girl.
Shes more like a girl with a bit of an edge.
The shoulders are wider, its exaggerated, its longer, it kind of has more flow to it.
Designs by Colleen Atwood, Sketch by Warren Holder; Courtesy of Warner Bros. Pictures
As for its makings, It was a beautiful piece of cashmere that I found that was amazing.
It had a little bit of fleck in it.
It was metallic, which you dont read in film as metallic.
Designs by Colleen Atwood, Sketch by Warren Holder; Courtesy of Warner Bros. Pictures
It just catches the light better than if it were just a matte.
Theres something quite charming about his ensemble because it’s possible for you to see that hes really trying.
However if he had the means, what would his aspirational style be?
Sketch by Consolata Boyle; Nick Wall
I think he dressed in a business way, but with color and a little bit of character.
Even though he had old stuff, he wore it well.
It was always this slight movement around her.
Sketch by Consolata Boyle; Nick Wall
You know they were really, as if she wasnt aware of how she might appear.
In terms of palette, Boyle and other designers were very specific about their selections.
McMoon (Simon Helberg), there are rules to our world.
Sketch by Consolata Boyle; Nick Wall
In the film, Florence is completely in awe of opera singer Lily Pons at one of her performances.
Dont, like dont.
Because, you know, the pair are there on a mission.
Sketch by Consolata Boyle; Nick Wall
Hes ready for the climate, but hes fashionable too.
Its just a good-looking, appropriate for the desert kind of look, Johnston says.
As for working with Zemeckis, she implies it was a smooth experience.
Sketch by Consolata Boyle; Nick Wall
The influence on that was French fashion, Johnston says of the look.
I was inspired by a French fashion drawing.
The hat was a nod toward Bette Davis inNow, Voyager.
Sketch by Consolata Boyle; Nick Wall
Johnston doesnt have a favorite look, but she does love the print on Mariannes nightwear.
Underneath, is just a classic, sexy nightdress in construction.
As for how Marianne transforms upon moving to London, her style is part French and part English.
Design by Joanna Johnston, Illustration by Jacqueline Bissett; Daniel Smith
I wish I could go back in time and work on a film then, she says.
Id love to see how it would have been compared to now.
She says those crushes, which extended to particular pieces, can be fleeting.
Design by Joanna Johnston, Illustration by Jacqueline Bissett; Daniel Smith
Ill be like, Its an old lover, its gone.
Such was the case withLincoln, in which she saw the historical figure in a totally different light.
The most iconic ensemble is Kennedys pink suit, which appears splattered with blood following JFK’s assassination.
Design by Joanna Johnston, Illustration by Jacqueline Bissett; Daniel Smith
For the pink dress, we made it as a copy of the one everybody knows,Fontaine explained.
Then I made film tests of different colors to getthepink.
We had to be convinced!
Design by Joanna Johnston, Illustration by Jacqueline Bissett; Daniel Smith
Of Kennedys mourning outfits, Fontaine said it had to be the one.
Some pieces are vintage pieces coming from antique dealers that we adapted.
Design by Joanna Johnston, Illustration by Jacqueline Bissett; Paramount Pictures
Design by Joanna Johnston, Illustration by Jacqueline Bissett; Daniel Smith
Pablo Larraín. © 2016 Twentieth Century Fox Film Corporation All Rights Reserved
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