By Susan JAMES

The Los Angeles Fashion Institute of Design & Merchandising celebrates the Oscars with its 28th annual exhibition of Oscar-nominated costume designs running through March 21. Free to the public, the exhibition features over 100 costumes from 30 outstanding 2019 films including the five Oscar nominees. The biggest issue the exhibition raises is not what was nominated but what wasn’t.

Sandy Powell’s and Christopher Peterson’s designs for the most recent entry in the perennial gangster saga of Martin Scorsese, “The Irishman,” may fit the Jimmy Hoffa era but asks the question: Are these costume designs or clothes left at Goodwill in 1975? Arianne Phillips’ looks for Quentin Tarantino’s “Once Upon A Time In Hollywood” asks the same question. Oh, look – there’s a Hawaiian shirt and a Levi’s jacket. The snakeskin-patterned dress worn by Margot Robbie as Sharon Tate, accessorized with a heavily-ornamented Indian purse, steps out a bit from a rummage through Grandma’s closet but not by very much.

Jacqueline Durran’s costumes for “Little Women” have gone for the cinema vérité look of realism, plain clothes for simple girls. There is no question that they serve the story director Greta Gerwig is telling, excavating beneath the anachronisms of earlier productions to the period bedrock of Louisa May Alcott’s Civil War girlhood. But Durran has also made use of denim, an interesting choice for realism as that fabric was still in its infancy during the period the movie covers. History styled by a surreal take on World War II defines Mayes Robeo’s costumes for Taika Waititi’s “Jo Jo Rabbit.” Unlike the fanciful flourishes that Waititi’s film uses to embrace the period, Robeo’s costumes are pared down and minimalist. A few flashes of color punctuate the mostly monotonic slacks and jackets worn by both male and female characters. 

The only slightly outré costuming among the nominees is Mark Bridges’ pieces for Todd Phillips’ “Joker.” Yet even here it isn’t the three-piece suits that make the man into a psycho but his clown shoes and green wig. It’s significant that the Joker’s bronze-colored three-piece could show up in “The Irishman,” “Once Upon a Time in Hollywood” and possibly even “Jo Jo Rabbit” and no one would bat an eye. Maybe that’s timeless tailoring but maybe there should be something a bit more.

What has not been nominated but is featured in the exhibition is infinitely more exciting. Let’s start with Julian Day’s costumes for “Rocketman,” the bio pic of Elton John. Okay, granted, Day had a palette of outrageous looks to paraphrase from with Elton’s own costume choices over the years but what he has done with them is spectacular. Walk into the first gallery at FIDM and sequins, brilliants, feathers, flash and color leap out at you from the central carousel. Dorothy Gale may have had ruby slippers but Elton’s ruby boots beats them all to flinders. On the other side of the carousel, his Queen Elizabeth costume in cream-colored satin damask crisscrossed with red ribbons, highlighted with gold lace, appliqué and pearls holds court. How could these fabulous pieces not have rated at least a nomination?

Then there are Anna Robbins’ looks for “Downton Abbey” with the sleek silhouettes and dropped waists of the ’20s combined with luxurious fabrics and intricate ornamentation. They define the upper class chic that was the heart of both the film and the series on which it was based.

Moving onto fairy tale costuming are Michael Kaplan’s costumes for “Star Wars: The Rise of Skywalker,” Michael Wilkinson’s costumes for “Aladdin” and Ellen Mirojnick’s for “Maleficent: Mistress of Evil.” Kaplan has built on the costume vocabulary of the “Star Wars” series and added touches that capture both a science fiction feel and an action-oriented look. One nice touch is the camouflage collar on a warrior’s robe. Camouflage in space? 

For “Aladdin” Michael Wilkinson has dressed the alley rat turned prince in trousers and coat with a Moroccan-themed brass belt inset with faux moonstones. Indian silk sari cloth with gold embroidery dominates the costumes of Jasmine and Will Smith’s Geni. The detailing again is exquisite.

Ellen Mirojnick has thrown the jewel box at her costumes for Michelle Pfeiffer’s Queen Ingris in “Maleficent.” An oyster bed of pearls weighs down her court dresses including a gorget and spaulders made from pearls that imitate the plate armor of a warrior.

Returning to the semi-real world, as a fashion coda, are the elegant costumes by Mitchell Travers for Emma Thompson in “Late Night.” The exhibition features two stylish looks, a midnight blue suit that draws from menswear and a red outfit that features echoes of the Orient. 

FIDM exhibitions are always special events and there are enough bells and whistles in this one to keep the fashion flying.

Fashion Institute of Design & Merchandising is located at 919 S Grand Ave. in Los Angeles. For more information, call (800) 624-1200 or visit www.FIDM.edu.

  susan james