IN THE MOOD FOR LOVE (2000)

All of Wong Kar Wai's films are such a joy to watch - time and again he captures the perfect fusion of image and sound the way only cinema can pull off. In the Mood for Love is one of my favorites for many reasons. And a huge reason is Maggie Cheung's amazing wardrobe (designed by Wong's long time collaborator William Chang)

I've internet acquired a ton of rumors about Cheung's wardrobe - that there were originally over 40 cheongsams made for Cheung's character but only half made the final cut; that getting Cheung ready to film took up to five hours because, in addition to the hair and makeup, she had to be sewn into the dresses each day. 

Most of which is probably made up because an hour googling interviews w/ Chang about this film turned up very little in terms of concrete info. But they add a sort of mythical importance that fits A Monumental Achievement in Costume Design, which is what is happening here. 

(A Monumental Achievement in Costume Design occurs whenever I am distracted by the plot of the film because the wardrobe is Just. So. Good. And that happened pretty much each time she changed her dress in this film).

This takes the idea of a uniform to a whole new level - identical silhouettes, and a wide array of colors, patterns and textures.

PRIDE AND PREJUDICE (2005)

There's always going to be a debate about The Best Adaptation of Jane Austen's Highly Celebrated and Well Beloved Pride and Prejudice*. As much as I love the 1995 BBC miniseries with its careful attention to the nuances of Austen's writing (and Colin Firth), ultimately I am a shallow movie-goer and am easily won over by things like prettier cinematography and production design. 

(I'm being somewhat sarcastic and actually think Joe Wright's adaptation does a substantially better job of capturing the emotion of the novel. Also, Keira Knightley)

*(you're welcome for not going the "it is a truth universally acknowledged" route)

The costumes in the 2005 adaptation are sooooooo good though you guys. Set in 1797 specifically to avoid the Edwardian empire silhouette, which Wright and costume designer

Jacqueline Durran thought stiff and unflattering. As a result, the costumes have a wonderfully lived-in feel that you rarely get with period pieces. I love historical dramas but it's very easy for the wardrobe to feel very blatantly "costume-y", and that's been entirely sidestepped here in favor of a more naturalistic approach. 

Lizzie's wardrobe is very simple and practical, with lots of rich earth tones (warm browns, greens, and blues, with the occasional white). She's the tomboy of the family, very clever and witty and more interested in nature and the world around her than her clothing.