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The road to the Oscars officially started today with the announcement of the nominees for the 97th Academy Awards<\/a>. Among the closely watched categories, particularly in the world of fashion, will be costume design, which offers a vast variety among the five nominated films.<\/p>\n The nominees took their audiences on voyages to the magical world of Oz, 19th-century Transylvania, early 1960s New York City, Vatican City and ancient Rome.<\/p>\n And while \u201cWicked\u201d dominated the box office among the top Oscar contenders, the film\u2019s costume designer, Paul Tazewell, faces some stiff competition, including the team behind \u201cGladiator II,\u201d which includes Janty Yates, who was back in familiar territory after winning the Oscar in 2001 for \u201cGladiator.\u201d<\/p>\n Costume designer:<\/strong> Paul Tazewell (second nomination)<\/p>\n Read our review.<\/em><\/a><\/p>\n<\/div>\n<\/div>\n About the costumes:<\/strong> The world of Oz portrayed in \u201cWicked\u201d has spellbound audiences in no small part because of its fantasy-inducing costume designs. Mr. Tazewell\u2019s creations for the film include Galinda\u2019s pink bubble dress, <\/em>Elphaba\u2019s ensemble of black silk chiffon on top of black lace on top of purple taffeta, and Madame Morrible\u2019s academic robe accented with astrological-looking runes. In an interview<\/a> with The Times last year, Mr. Tazewell suggested that he was destined for the gig: Growing up as a teenager in Akron, Ohio, he designed the costumes for a high school production of \u201cThe Wiz.\u201d<\/p>\n<\/div>\n<\/div>\n Costume designer:<\/strong> Arianne Phillips (fourth nomination)<\/p>\n Read our review.<\/em><\/a><\/p>\n<\/div>\n<\/div>\n About the costumes:<\/strong> James Mangold\u2019s Bob Dylan biopic chronicles four years of the stylish troubadour\u2019s life<\/a> during the 1960s. In an interview<\/a> with The Art of Costume, Ms. Phillips said that she had immersed herself in newsreels and photographs from the era for her research. \u201cResearch was key to achieving authenticity,\u201d she said. \u201cWe broke Bob\u2019s transformation into three distinct beats: his arrival in New York (1961-62), the Freewheelin\u2019 era (1963-64) and the slim, mod silhouette of 1965. These beats informed everything \u2014 the costumes, hair, and overall silhouette.\u201d She added: \u201cWe\u2019re not aiming for a one-to-one recreation but rather an interpretation that captures his essence.\u201d<\/p>\n<\/div>\n<\/div>\n About the costumes:<\/strong> For \u201cNosferatu,\u201d Robert Eggers\u2019s otherworldly vampire movie, Ms. Muir engaged in meticulous research to create the film\u2019s decadent Gothic wardrobe. She tracked down antique German fashion illustrations and consulted experts in Romanian history. In an interview<\/a> with Vogue, she discussed the creative process behind the grand cloak worn by Bill Skarsgard as Count Orlok. \u201cRobert, right from the beginning, knew that he wanted his Orlok to be a representation of a Transylvanian count from around 1590,\u201d she said. \u201cThere were paintings of the Esterh\u00e1zy family from around that time that I looked to: clothes with a lot of gold, fur, and heft.\u201d She added: \u201cBill was also fundamental in all the fittings, and I always gave him tons of time to be by himself in front of the mirror, feeling it, absorbing it, living it, because he was supposed to have had this for 300 years.\u201d<\/p>\n<\/div>\n<\/div>\n Costume designer:<\/strong> Lisy Christl (second nomination)<\/p>\n Read our review.<\/em><\/a><\/p>\n<\/div>\n<\/div>\n About the costumes:<\/strong> To help make Edward Berger\u2019s \u201cConclave\u201d a visually rich movie set in Vatican City, Ms. Christl strived to add an extra stylish touch to the film\u2019s cardinal couture. In an interview<\/a> with The Times, she said that she had taken creative liberties like rendering reds richer and making accessories like crosses and jewelry more luxurious. \u201cNow I can see the inspiration from the Roman Catholic Church all over the place,\u201d she said, reflecting on her research. \u201cI think it\u2019s the clear structure. When you learn about all the orders and what they wear, it\u2019s so elegant.\u201d<\/p>\n<\/div>\n<\/div>\n Costume designer:<\/strong> Janty Yates (third nomination; one win) and David Crossman (second nomination)<\/p>\n Read our review.<\/em><\/a><\/p>\n<\/div>\n<\/div>\n About the costumes:<\/strong> Both Ms. Yates and Mr. Crossman are longtime Ridley Scott collaborators. Ms. Yates won an Oscar<\/a> for her work on the original \u201cGladiator\u201d film, and Mr. Crossman is known<\/a> for his specialization in military costumes. But regardless if they take home the prize for \u201cGladiator II,\u201d their work on the movie has already left a legacy: the leggy leather battle skirt Paul Mescal wears in the film went viral online after sending his fans into rhapsody.<\/p>\n<\/div>\n<\/div>\n\u2018Wicked\u2019<\/h2>\n
\u2018A Complete Unknown\u2019<\/h2>\n
\u2018Conclave\u2019<\/h2>\n
\u2018Gladiator II\u2019<\/h2>\n