These men refused to clap for Jenny Beavan, who won an Oscar for costume design in Mad Max: Fury Road because she was rocking a leather jacket instead of a dress to the Oscars. But look at her confident walk! 

What a bunch of stuck up pricks

For real though. 😒😒😒

Men ain’t shit.

More power to her.

IM STILL MAD ABOUT THIS. THIS IS ABOUT MORE THEN WOMEN THIS IS ALSO ABOUT HOW ACTORS AND DIRECTORS TREAT DESIGNERS AND TECHNICIANS. This blatant lack of respect is so vile and disgusting in an industry that is already hard enough on women. 

‘How actors and designers treat designers and technicians…’ while disregarding that both (especially costume) contribute so much more to the performance and to the finished film than we tend to realise.

Reblogging again to add in this spot on closing comment from the Sydney Morning Herald (x):

Scorned directors can glower, but with more Oscar nods than Leonardo DiCaprio himself, Beavan doesn’t need to give a damn.

For those curious…

2016  Mad Max: Fury Road (2015) – Won
2011  The King’s Speech (2010) – Nominated 
2002  Gosford Park (2001) – Nominated 
2000  Anna and the King (1999) – Nominated 
1996  Sense and Sensibility (1995) – Nominated 
1994  The Remains of the Day (1993) – Nominated 
1993  Howards End (1992)  – Nominated 
1988  Maurice (1987)  – Nominated 
1987  A Room with a View (1985)  – Won
1985  The Bostonians (1984)  – Nominated

…not to mention all the other nominations and wins she’s had from, well, just about everywhere.

EXACTLY. And that’s ‘only’ the Oscars. Across her career, Beavan has notched up 17 wins (solo, shared or joint) and 38 further nominations. Including

BAFTA Film Awards

2016 Mad Max: Fury Road (2015) – Won

2011 The King’s Speech (2010) – Nominated

2002 Gosford Park (2001) – Won

2000 Tea with Mussolini (1999) – Nominated

1996 Sense and Sensibility (1995) – Nominated

1993 Howards End (1992) – Nominated

1987 A Room With A View (1985) – Won

1985 The Bostonians (1984) – Nominated

Primetime Emmy Awards

Part 2 (2007) – Won

Cranford Part
1 (2007) – Nominated

The Gathering Storm (2002) –

Emma (1996) – Won

Lord Mountbatten: The Last Viceroy
(1986) – Nominated 

BAFTA Television Awards     

Part 2 (2007) – Nominated

Cranford Part
1 (2007) – Nominated

2003 The
Gathering Storm
(2002) – Nominated

For the central character of Alexander Hamilton, Tazewell thought, “He needs to look like he is coming from some place else and not completely formed as a man at the beginning. Then he goes into uniform with the American army, and after the war, he shifts into the color green, the color of money, until his son passes away, and then we wears black at the end of the show, as his priorities shift.” In terms of historic accuracy, Tazewell made use of it in a poetic way, using the green color to always pull Hamilton out on stage. “He was known as someone who dressed above his station,” adds the costume designer, who also dressed Hamilton in suits of silk and wool.

Aaron Burr is more conservative, according to Tazewell, “playing it safe and then becoming the antagonist. It was important to keep his look lean and dark, so he goes from uniform to deep charcoal gray to black, with an eggplant vest. This holds Hamilton and Burr in contrast, until the end when they have the same black coat and approach one another as equals, and it becomes an everyman story.”

Thomas Jefferson had the biggest change, color-wise, from The Public to Broadway. “The shape is the same, but we made him more of a rock-star figure, with his costume going from Jeffersonian brown to magenta, like Jimi Hendrix or Prince. His suit is made of silk velvet and silk Duchess satin,” explains Tazewell.

In collaborating with Binkley, Tazewell notes, “There were some color shifts with the sisters’ dresses in moving to Broadway when I knew Howell was going to use more color to help pop their costumes more. For all of us, going to Broadway and looking at the detail of what we had done at The Public, this was a chance to make it more perfect and more specific. I’d say to Howell, ‘Please tell me if there is a color that isn’t correct, and we can shift it.’ I know I can go to him and ask him to adjust something up or down if it affects a costume. We didn’t have that issue here. It’s great to have a shorthand that is so effective.”