recycledmoviecostumes
Recycled Movie Costumes
Recycled movie costumes is dedicated to documenting the life of a costume through its various appearances in film and television.
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This fantastic reproduction of a gown worn by Queen Jane Seymour in a portrait by Hans Holbein was seen being worn by Kate Phillips in the 2024 sequel to Wolf Hall – The Mirror and the Light. The piece looked familiar, and some digging revealed it to have been used in 2016 in Six Wives with Lucy Worsley, worn by Elly Condron also portraying Jane Seymour.
However, because the documentary likely did not have any original costumes, it means that the gown almost certainly did not originate with the 2016 documentary. So where did it originate? The most likely candidate is the 2008 adaptation of The Other Boleyn Girl. Though the gown, worn by Corinne Galloway as Jane Seymour is shown only briefly, and almost entirely in shadow, it does appear to be the same gown. Minor alterations were made for Six Wives and The Mirror and the Light, but the fabric on the petticoat is the best indication that they are one and the same.
Costume Credit: the-indoor-kites
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#wolf hall#the other boleyn girl#six wives with lucy worsley#kate phillips#jane seymour#costume drama#period drama#elly dondron#corrine galloway
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This purple doublet is an excellent example of how costumes are altered and adapted for new productions.
The costume likely originated with the 1955 film The Court Jester, where Basil Rathbone wore it as Sir Ravenhurst, though it is possible that it came from an earlier production, as The Court Jester did recycle some of its costumes.
The piece was used again in the 1961 film Snow White and the Three Stooges, where Guy Rolfe wore it as Count Olga. The costume underwent alterations to give it the look of having slashed sleeves.
Costume Credit: Snowgrouse
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#the court jester#snow white and the three stooges#basil rathbone#guy rolfe#costume drama#period drama
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This black and golden dress was first worn by Sunnyi Melles as Königsmutter (The King’s Mother) in Die kluge Bauerntochter (The Peasant’s Wise Daughter), the eighth movie of the second season of fairytale anthology series Sechs auf einen Streich (Finest Fairy Tales).
It was worn again by Ulrike Krumbiegel as the king’s sister Edeltraud in Die goldene Gans (The Golden Goose), the tenth movie in the Märchenperlen series.
The dress might originate even earlier from an East German movie or series produced by DEFA since it shown as an example in an article on costumes by a DEFA fan website. However, it has not been found yet and the website doesn’t name sources, so whether this claim is true remains uncertain.
The picture’s file name hints to it being owned by costume house Theaterkunst at one time but while the other costume in the picture can still be found in their online showroom, this dress is not cataloged there. The costume house says that the website is only an excerpt of their work and so it remains unclear whether the dress is still among their stock.
Costume Credit: Wardrobeoftime
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#sunnyi melles#Königsmutter (The King’s Mother)#Königsmutter (The King’s Mother) in Die kluge Bauerntochter (The Peasant’s Wise Daughter)#Sechs auf einen Streich (Finest Fairy Tales)#Ulrike Krumbiegel#Ulrike Krumbiegel as the king’s sister Edeltraud in Die goldene Gans (The Golden Goose)
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The Magic Sword of Power, complete with jeweled scabbard, appeared in the 1961 film Snow White and the Three Stooges, where it was mostly worn and wielded by Guy Rolfe as Count Olga. In the 1966 first-season episode of Batman, The Joker is Wild, the piece appeared again, revealing that there are actually two identical daggers!
Costume Credit: Puterboy1
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This dress is an example of the same actress wearing the same costume twice. The reuse does seem to be intentional.
Patricia Neal wore this black gown trimmed with white fur in the 1949 film adaptation of Ayn Rand's The Fountainhead. The same year, she wore the dress in It’s a Great Feeling, which takes place in a movie studio. Neal, along with several other actors played themselves in the film, and the reuse of her costume indicates that in the world of It’s a Great Feeling, Neal was filming The Fountainhead.
Costume Credit: Jim Bastas, Solidmoonlight
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This red gown was first worn by an extra in the 1952 film At Sword’s Point. Because it was worn by an extra, there is a good possibility that the gown originated from an earlier production, though this has yet to be determined or spotted. The costume was worn again on Barbara Steele as Elizabeth Bernard Medina in the 1961 film The Pit and the Pendulum. The gown was seen the very next year in Jack and the Giant Killer on Anna Lee as Lady Constance.
Costume Credit: Katie S., Julia Spicer
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Note: This costume has previously been posted. It has been reposted to add an additional sighting of this costume.
#at swords point#barbara steele#the pit and the pedulum#jack and the giant killer#anna lee#costume drama#period drama
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This striped bustle dress in startling red first made a splash in 2002 on Romola Garai as husband-hunting Gwendolen Harleth in Daniel Deronda.
A full 22 years later, it turned up again on newly empowered, if somewhat troublesomely married, Clara Trenchard, played by Harriet Slater in 2024’s Belgravia—The Next Chapter.
Costume Credit: carsNcors
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This blue and gray kaftan with gold embellishments was first worn by Umut Nalbantoğlu as Sultan Mehmed IV in the final episode of Muhteşem Yüzyıl: Kösem (Magnificent Century: Kösem) in 2017.
The kaftan appeared again in the twenty-sixth episode of the first season of Tozkoparan İskender on Yağız Kılınç as Sinan Karayaman in 2021.
It was also worn by Miraç Sözer as Şehzade Mehmed (later Sultan Mehmed II) in the second episode of the 2023 first season of Kızılelma: Bir Fetih Öyküsü (Golden Apple: The Grand Conquest).
Costume Credit: Anne81, Wardrobeoftime
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#magnificent century: kosem#tozkoparan iskender#golden apple: the grand conquest#Kızılelma: Bir Fetih Öyküsü#Muhteşem Yüzyıl: Kösem#Umut Nalbantoğlu#Yağız Kılınç#Miraç Sözer
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We know this has already been posted. It was accidentally posted early. Enjoy it again. Cheers to those seeing it for the first time!
This blue Tudor-inspired gown was created for Charlotte Hope’s portrayal of the first wife of Henry VIII, Katharine of Aragon, in the second season of the Starz! series The Spanish Princess. The piece was spotted again on an extra as a lady in waiting in the 2024 Netflix original movie Damsel.
Read a little more about what we think about the costumes in Damsel here.
Costume Credit: Katie S.
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Lilyan Tashman first wore these fantastic earrings as Alice-Duchess of Lincolnwood in the 1926 film Love’s Blindness.
The earrings are a bit early to have been made by Joseff of Hollywood, though it is not impossible. The costume designers attached to the film were André-ani, Kathleen Kay, and Maude Marsh, so it is likely one of them was responsible for making or purchasing the pieces.
The earrings were later worn by Carmel Myers in a promotional photo for MGM sometime in the late 1920s.
Costume Credit: veryfancydoilies
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This blue Tudor-inspired gown was created for Charlotte Hope’s portrayal of the first wife of Henry VIII, Katharine of Aragon, in the second season of the Starz! series The Spanish Princess. The piece was spotted again on an extra as a lady in waiting in the 2024 Netflix original movie Damsel.
Costume Credit: Katie S.
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The costume, initially designed by Jenny Beavan for Sienna Miller, made its debut in the 2005 film Casanova, where Miller portrayed the character Francesca Bruni. It was then reused in En kongelig affære (A Royal Affair) by Alicia Vikander, who played Caroline Mathilde. Finally, the costume appeared in the first season of Poldark in 2015, worn by Sally Dexter as Mrs. Chynoweth.
Over the years, the gown, which Cosprop owns, has been displayed in various exhibitions. One notable exhibition called Cinematic Couture showcased original costumes from films such as Ever After, Onegin, Miss Potter, and Becoming Jane.
In 2024, the gown was put up for auction by Kerry Taylor Auctions as part of their “Lights Camera Auction,” which featured costumes from Cosprop. The auction house provided a description of this piece:
This elegant gown, designed by Jenny Beavan and labeled by Cosprop with the actor’s name, is a replica of a 1750s-style robe a l’anglaise. It is made of blue and gold silk woven with floral patterns and adorned with gold lace rosettes and lace cuffs. The front bodice features a tasseled bow. The costume also includes a black cotton bustle pad, labeled by Cosprop, with approximate measurements of 86cm (34in) bust and 61cm (24in) waist.
This costume was worn in the masquerade ball scene. Designer Jenny Beavan said of the gown:
“The 18th century is a very flattering period for women, and you can move with ease in the corsets if they are properly fitted! I used this shade of blue a lot on Sienna / Francesca, but this dress is the grandest version of it. Characters ‘find’ their colors in my world. As I said, I am very instinctive and tend not to overthink things … having done the research and seen what the Art Dept, Camera, etc. are up to so, we are all on the same page. A good film normally has great teamwork behind as well as in front of the camera.”
Costume Credit: Dorina_97
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#casanova#poldark#En kongelig affære (A Royal Affair)#alicia vikander#sienna miller#Sally Dexter#costume drama#period drama
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A rather interesting take on the dreaded relatability, this (for Renaissance fashions) unusually loose suede doublet with more than a little nod to 1980s rock chic was designed by Jenny Beavan for Dougray Scott’s prince as well as Mark Lewis’ “gypsy leader” in Ever After, the 1998 take on Cinderella.
A bit sidelined it turned up again on an uncredited extra as a huntsman in the television adaptation of The Other Boleyn Girl in 2003.
This costume was auctioned off by Kerry Taylor Auctions, which described the piece as follows:
Designed by Jenny Beavan, Cosprop labelled with inked actor’s name, the Renaissance style ensemble comprising: beige mock-suede doublet with slash detail to neck and shoulders, the fabric gathered at the cuffs and shoulders, gilt filigree plaques, chest approx 107cm 42in; matching trousers with integral cod-piece, gilt metal-tipped laces, waist 86cm 34in; a silver lamé and gilt thread brocaded belt; purple corduroy cloak with detachable hood; an associated white cotton shirt with drawstring collar and cuffs; and a pair of brown leather thigh- high boots with straps and buckles at the ankles, boots 33cm, 13in long (8)
Worn throughout the film, while riding including when he rescues Danielle from the water and while fighting in the woods and being carried away by Danielle.
Designer Jenny Beavan writes:
Dougray played Prince Henry – the romantic hero – but was always being saved by ‘Cinderella’ – the film has a nice feminist, modern twist to it.
He needed to look heroic but ‘real’ and vulnerable. This costume is an ‘every day princely look’ but quite practical for riding and being out and about in the country. Just looking back at the photos Dougray does look rather good in it!
Costume Credit: carsNcors
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This Edwardian-style gown was created for the Ascot scene in the original 1956 Broadway production of the Lerner and Loewe musical My Fair Lady. The scene was filled with beautiful gowns, all in black and white, in keeping with the famous “Black Ascot” of 1910, when King Edward VII died shortly before the event, making it inappropriate to wear color. Thus, those who attended wore all black, aside from accents of white from pearls and flowers.
The gown was designed by Cecil Beaton and executed by Helene Pons based on his sketches. The cream crepe dress has black velvet stripes and an embroidered lace bib. The photo above most likely shows actress Melisande Congdon in the costume, as she performed in the play for three years.
When Truman Capote decided to throw his famous “Black and White Ball,” – he used the scene from My Fair Lady as its inspiration. Deborah Davis’ wonderful book The Party of the Century mentions that much of the gossip about town was about “who” everyone would wear. Amanda Carter Burden, daughter of Babe Paley, was able to sidestep this conversation and not commit to any one designer when she chose a gown from the film My Fair Lady. A drawing of Amanda in costume, sketched by Kenneth Paul Block, appeared on the front page of Women’s Wear Daily.
But was her gown from the film adaptation of My Fair Lady? Amanda was based in New York City, and it would have been far easier for her to obtain one of the costumes from the Broadway show.
In addition, no costume in the film accurately matches the one she wore to the ball. There is one that is similar and clearly based on the same design, but it appears to be a different piece.
In 2015, the dress from the Broadway production went up for sale, where it sold for $1280. It contains a lace dickey that the auction house noted has been added post-production. The dickey is clearly visible on Amanda Carter in the Black and White Ball photo. While I cannot confirm for certain that she is wearing the dress from the stage production rather than the film production, I am confident that she is.
Costume Credit: Katie S.
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#my fair lady#truman capote#Melisande Congdon#cecil beaton#Amanda Carter Burden#black and white ball#costume drama#period drama
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This lovely blue floral gown was first worn by Chloë Annett as Gertrude Winkworth in the 1992 episode of Jeeves and Wooster entitled Bertie Takes Gussie’s Place At Deverill Hall.
The piece was worn again by Elisabeth Dermot Walsh as Elinor Carlisle in the 2003 episode of Poirot entitled Sad Cypress.
Costume Credit: Gal_In_Calico
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How do you even find all these? Some of the costumes only have seconds on screen.
Sometimes if a costume sticks in our head, when we see it again, no matter how quickly, we just know. I have lots of contributors, so everyone may have different methods, eras we remember more than others, etc.
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If the blue headdress worn by Pat Carroll in "Rodgers and Hammerstein's Cinderella" was worn by Matthew Porretta in "Robin Hood: Men in Tights," could Dave Chapelle be wearing Barbara Ruick's peach headdress?
Indeed he is! I haven't posted it yet, but will be eventually!
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