I’ll be the first to admit it—I am obsessed with awards season. I love the campaigning, the mystery… the competition! However, I always feel conflicted when it comes to my beloved Oscars® Best Costume Design category. I’m fortunate to meet many of the nominees each year, thanks to the platform afforded to me by The Art of Costume. With that, I inevitably develop a connection to each of these phenomenal designers, whose extraordinary achievements in film costume design deserve to be celebrated.
So when the big night finally arrives… of course, we all have favorites. But more than anything, I want each costume designer to have their well-earned moment in the spotlight. This year, at the 97th Oscars®, the Academy of Motion Picture Arts and Sciences finally figured out the perfect formula to make that a reality.
The segment began with a hilarious “Fab Five” skit featuring an actor from each of the five nominated films: Lily-Rose Depp from Nosferatu, Elle Fanning from A Complete Unknown, John Lithgow from Conclave, Connie Nielsen from Gladiator II, and Bowen Yang from Wicked. As the curtain lifted, each of these stars appeared in their elegant red carpet attire—except for Yang, who proudly donned his Shiz University uniform. A hilarious, yet iconic, moment that instantly reminded audiences of the power of costume in storytelling.
But what made this moment truly special were the heartfelt tributes each actor gave to the nominated costume designers. In a rare and meaningful departure from the norm, these tributes allowed each designer to be recognized for their contributions—before the envelope was even opened.
Lily-Rose Depp, a rising star who played Ellen Hutter in Robert Eggers’ Nosferatu, began the tribute by directly addressing first-time Oscar® nominee Linda Muir:
“Linda Muir, the first time I stepped into my Nosferatu costumes, I could feel the weight of history. The restrictions holding women down and the urge to break free. Your work didn’t just dress Ellen Hutter; it transformed our entire vision of the vampire. Haunting, exquisite, and unforgettable.”
Elle Fanning followed, speaking to her long-standing admiration for Arianne Phillips, while also emphasizing the sheer magnitude of A Complete Unknown‘s costume design:
“Arianne Phillips. We met when I was thirteen, but A Complete Unknown is our first film collaboration. I am in awe of your artistry and your dedication to each character. Your vintage pieces dropped me straight into 1960s Greenwich Village. The energy, the rebellion, the moment. You took on the transformation of Robert Zimmerman into Bob Dylan with your whole heart. Sixty-seven looks for Timmy [Chalamet] alone, plus one hundred twenty speaking roles and five thousand background artists, all while leading with kindness and making it look effortless. I love you. You are truly a genius.”
John Lithgow brought humor into the conversation, describing the remarkable work of Lisy Christl on Conclave—and the unexpected perks of his costume:
“How many people does it take to dress one hundred eight cardinals? No, it’s not the setup to a joke. It’s the impossible task Lisy Christl somehow made possible in Conclave. Her research notes alone were three hundred pages. Now, that’s commitment. Lisy, dear friend, you are extraordinary. And honestly, I miss that costume. At lunch, on set, that cassock was so roomy and forgiving, going for seconds was never a problem.”
Connie Nielsen then addressed Dave Crossman and Janty Yates, paying tribute to their work on Gladiator II—and celebrating Yates’ return to the franchise after her Academy Award® win for the original Gladiator:
“Janty, we met on Gladiator. And the costumes were so amazing that you won the Oscar® that year. Twenty-four years later, I had the privilege of wearing your costumes again. These stunning costumes that you and Dave Crossman, with an army of artisans, created. Thousands of pieces for Gladiator II. You honor the original while making something entirely new. I felt like royalty in Lucilla’s golden gowns, and who didn’t love Denzel [Washington] and those earrings? Janty and Dave, you’ve brought history to life. Thank you.”
Finally, Bowen Yang closed out the tributes with a heartfelt and comedic nod to Paul Tazewell, the costume designer behind Wicked:
“To be costumed by the great Paul Tazewell is one of the biggest honors of my alleged career. But Paul, I’m actually upset with you because I can’t talk about your exquisite work without sounding like a total jackass. I don’t want to be the kind of person who says that Elphaba’s costuming tells a story. But I have to because it does—because of you, you legend. If I have to say the words ‘sumptuous fabrics’ one more time in an interview, I’m going to defy gravity off the side of this stage. Paul, how very dare you for being such a one-of-a-kind talent. I love you so much.”
Then, of course, came the long-awaited results. Paul Tazewell made history, winning the Academy Award® for Best Costume Design—becoming the first Black man to ever win in this category. On behalf of The Art of Costume team, congratulations, Paul! This was a long-overdue and well-deserved victory, one that has unified the costume design community in celebration.
But here’s the truth: costume designers are often overlooked. They rarely get the credit, the recognition, or the resources they deserve. They are the architects of character, world-building, and visual storytelling—yet their artistry is often taken for granted. While the industry must do more to uplift and support them, this year’s Oscars® proved that even small steps can make a difference. In just five minutes, this presentation did what many awards shows have failed to do—it gave these designers the stage they have always deserved.
I applaud the Academy of Motion Picture Arts and Sciences for this spectacular presentation and strongly encourage them to make this format a lasting tradition. This segment showed audiences what we in the costume community have always known: every nominated designer is essential to the films we cherish. While Paul Tazewell took home the Oscar®, this presentation ensured that every designer felt seen, valued, and celebrated. If the Academy truly cares about honoring the craft of filmmaking, then this must be the standard moving forward.
Costume designers are integral storytellers. It’s time the world sees them as such.
