The 98th Academy Awards ceremony will take place on 15/3 at the Dolby Theatre, California, US, broadcast live on ABC in over 200 countries and territories. Comedian Conan O'Brien returns to host for the second time.

In the outstanding costume design category, Variety rates Frankenstein, helmed by designer Kate Hawley, as the frontrunner. Remaining opportunities are shared by Hamnet and Avatar: Fire and Ash. Marty Supreme and Sinners are considered less likely to win.

The character Elizabeth wears a blue outfit, evoking an insect chrysalis, with feather hair ornaments reminiscent of protective wings in "Frankenstein". *Photo: Netflix*

According to Harper's Bazaar, the costume world in Frankenstein blends Victorian style and anatomy with vibrant, bright colors. Each outfit reflects a Renaissance spirit interwoven with classical art.

A valuable highlight is the contrast between the characters. While the scientific community dons complex designs with heavy fabrics, symbolizing authority and intellect, the monster's attire exudes a solitary appearance. Worn, dirty layers of clothing are meticulously stacked, conveying the character's pain.

The blend of gothic and modern technological styles helped the film sweep awards at the Costume Designers Guild Awards, making it a leading contender for this year's Oscar.

In Hamnet, designer Malgosia Turzanska created a visual feast by incorporating a modern sensibility into ancient 16th-century silhouettes.

Costumes of the Na’vi tribes in "Avatar: Fire and Ash". *Photo: 20th Century Studios*

Turzanska borrowed contemporary fashion language for storytelling. From quilted jerkins inspired by sportswear to bonnets resembling today's teenage hoodies, the character Agnes appears edgy with a rebellious punk style, wearing a corset made from bark fibers to portray wildness. The designer also used laser cutting on leather, creating deep slashes symbolizing the gnawing of tragedy, or dry, peeling clay on Will's shirt, implying liberation and a shattered spirit.

The characters' emotional journeys are also depicted through a changing color palette: from vibrant red, expressing the intensity of life, gradually shifting to purple-brown tones as tragedy strikes. By allowing the costumes to "breathe" with the characters, Hamnet offers a relatable experience for the audience.

The Hollywood Reporter noted that the costumes in Marty Supreme are a symphony of historical authenticity and creativity. Through black and white documents from the 1940s, designer Bellizzi colored this era on film with many striking shades.

A team of 50 artisans handcrafted thousands of outfits instead of renting them, ensuring aesthetic quality and durability for action sequences. Marty's (Timothee Chalamet) style is depicted through strong, boxy suits, exuding the ambition of a street swindler. Meanwhile, Gwyneth Paltrow's character appears regal, wearing precious vintage pieces from the designer's wardrobe.

From recreating American Harlem Globetrotters basketball uniforms to using family photo albums in a Japanese setting, the film's costumes accurately depict a turbulent period in society.

Under the direction of Oscar-winning designer Ruth E. Carter, the costumes in the historical horror film Sinners are more than mere clothing; they are the soul that recreates the turbulent Mississippi of the 1930s. Carter skillfully wove the story of the Jim Crow era through a minimalist color palette of red, white, and blue, drawing inspiration from valuable archival photographs of Black families in the South.

To portray the harshness of the sharecropping class, Carter dressed extras in old, rolled-up, and baggy clothes. To enhance authenticity, the crew even used spray to create a sweat effect on characters in the sweltering environment.

According to Variety, from Zulu dancer outfits connecting to African roots to every wrinkle on a shirt, costumes became a storytelling tool for heritage and the desire for freedom. Carter demonstrated that the roughness and worn appearance of the clothes resonated with the depth of Blues music.

For Avatar: Fire and Ash, costume design is an intersection of traditional craftsmanship and future technology. Designer Deborah L. Scott chose a different approach: creating thousands of real specimens from feathers, shells, and leather before transforming them into digital versions. These prototypes helped the visual effects team understand how materials interact with wind, water, and body movement, providing a lifelike quality that surpasses mere simulation software.

An interesting point is that the costumes were not only completed before filming but also continued to evolve in post-production based on actor performances. The more high technology is applied, the more crucial the role of craftsmanship becomes for handling small details such as decay marks on rocks or braiding techniques.

When the Academy of Motion Picture Arts and Sciences announced Oscar nominations for the costume design category, the appearance of Avatar: Fire and Ash quickly sparked debate because the outfits do not exist in real life. This is seen as a shift in thinking about evaluating cinematic art, broadening the definition of costume design.

By Sao Mai