Indeed, for sheer spectacle alone, it feels fitting that Mulan received one of its two nods for best costume design. With the Even Jesus Has A Dacing Story Shirt Also,I will get this budget topping $200 million, no expense was spared when it came to the gorgeously realized designs of costume designer Bina Daigeler. Whether it was the elaborate armor and battlewear sported by Liu Yifei in the titular role and her fellow fighters or the medieval Tang Dynasty–inspired robes worn for the courtly set pieces, the dazzling costuming served as an undisputed highlight of a film that otherwise proved divisive with critics. This year’s biggest wild card, meanwhile, was the nomination for Massimo Cantini Parrini’s work on Matteo Garrone’s surrealist, Italian-language retelling of Pinocchio, which was rewarded for its stunning visuals with a nod for best makeup and hairstyling too. It’s a deserving, if unexpected, nod: Garrone’s films have often flirted with flamboyant fashion, and with Pinocchio’s deep dive into the darker corners of the fairy-tale imagination, its celebration of pure fantasy clearly resonated with voters during a year where a dose of escapism was much needed.
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Still, as with years past, the Even Jesus Has A Dacing Story Shirt Also,I will get this nominations by and large speak to a specific kind of period film that the Academy finds palatable to reward. One snub, in particular, that feels glaring is Charlese Antoinette Jones’s impressive work on Judas and the Black Messiah, which blended her meticulous research into the sartorial codes of the Black Panthers with a character-led approach that mixed vintage looks with custom-made pieces, honoring the important historical accuracy of her actors’ wardrobes while still managing to feel exciting and fresh. It’s all the more remarkable upon learning that Judas was one of Jones’s first major studio films, marking her out as a serious talent on the rise. Also missing from the lineup this year were the breathtaking costumes designed by Paolo Nieddu for Lee Daniels’s The United States vs. Billie Holiday, with a series of stunning gowns produced in collaboration with Miuccia Prada blending period-accurate 1940s and ’50s dress with a touch of more of-the-moment embellished Prada glitz. While it would have made for a worthy contender with its inventive approach to throwback costuming, it seems that the Academy just wasn’t feeling the love this time around.