So since we& #39;re talking about costume/production design in film, we thought we& #39;d throw the spotlight on some of our favorite designers.

Today we& #39;re going to talk about the late, great Eiko Ishioka.
So since we& #39;re talking about costume/production design in film, we thought we& #39;d throw the spotlight on some of our favorite designers.Today we& #39;re going to talk about the late, great Eiko Ishioka.
So since we& #39;re talking about costume/production design in film, we thought we& #39;d throw the spotlight on some of our favorite designers.Today we& #39;re going to talk about the late, great Eiko Ishioka.
So since we& #39;re talking about costume/production design in film, we thought we& #39;d throw the spotlight on some of our favorite designers.Today we& #39;re going to talk about the late, great Eiko Ishioka.
So since we& #39;re talking about costume/production design in film, we thought we& #39;d throw the spotlight on some of our favorite designers.Today we& #39;re going to talk about the late, great Eiko Ishioka.
Ishioka started her career as an art director and graphic artist. Her design for the Japanese release of Apocalypse Now caught the attention of Francis Ford Coppola, who hired her as a costume designer on Bram Stoker& #39;s Dracula (1992).
Ishioka wanted to subvert the well known Dracula stereotype and was inspired by everything from lizards and armadillo shell& #39;s to the work of Gustav Klimt. For her work on Dracula, Ishioka won Best Costume Design at the 1992 Oscars.
Ishioka wanted to subvert the well known Dracula stereotype and was inspired by everything from lizards and armadillo shell& #39;s to the work of Gustav Klimt. For her work on Dracula, Ishioka won Best Costume Design at the 1992 Oscars.
Ishioka wanted to subvert the well known Dracula stereotype and was inspired by everything from lizards and armadillo shell& #39;s to the work of Gustav Klimt. For her work on Dracula, Ishioka won Best Costume Design at the 1992 Oscars.
Ishioka wanted to subvert the well known Dracula stereotype and was inspired by everything from lizards and armadillo shell& #39;s to the work of Gustav Klimt. For her work on Dracula, Ishioka won Best Costume Design at the 1992 Oscars.
Ishioka wanted to subvert the well known Dracula stereotype and was inspired by everything from lizards and armadillo shell& #39;s to the work of Gustav Klimt. For her work on Dracula, Ishioka won Best Costume Design at the 1992 Oscars.
Beyond Dracula, Ishioka was a frequent collaborator of Tarsem Singh, working on The Cell (2000), The Fall (2006), Immortals (2011), and Mirror Mirror (2012).
Beyond Dracula, Ishioka was a frequent collaborator of Tarsem Singh, working on The Cell (2000), The Fall (2006), Immortals (2011), and Mirror Mirror (2012).
Beyond Dracula, Ishioka was a frequent collaborator of Tarsem Singh, working on The Cell (2000), The Fall (2006), Immortals (2011), and Mirror Mirror (2012).
Beyond Dracula, Ishioka was a frequent collaborator of Tarsem Singh, working on The Cell (2000), The Fall (2006), Immortals (2011), and Mirror Mirror (2012).
Beyond Dracula, Ishioka was a frequent collaborator of Tarsem Singh, working on The Cell (2000), The Fall (2006), Immortals (2011), and Mirror Mirror (2012).
Eiko thought of herself as a production designer and her costumes as part of the set, and therefore essential to the story. Eiko& #39;s designs elaborate, fantastical, and sometimes uncomfortable, but they were always the most memorable part of the films she worked on. https://abs.twimg.com/emoji/v2/... draggable="false" alt="❤️" title="Red heart" aria-label="Emoji: Red heart">https://abs.twimg.com/emoji/v2/... draggable="false" alt="💕" title="Two hearts" aria-label="Emoji: Two hearts">
Eiko thought of herself as a production designer and her costumes as part of the set, and therefore essential to the story. Eiko& #39;s designs elaborate, fantastical, and sometimes uncomfortable, but they were always the most memorable part of the films she worked on. https://abs.twimg.com/emoji/v2/... draggable=https://abs.twimg.com/emoji/v2/... draggable="false" alt="💕" title="Two hearts" aria-label="Emoji: Two hearts">" title="Eiko thought of herself as a production designer and her costumes as part of the set, and therefore essential to the story. Eiko& #39;s designs elaborate, fantastical, and sometimes uncomfortable, but they were always the most memorable part of the films she worked on. https://abs.twimg.com/emoji/v2/... draggable="false" alt="❤️" title="Red heart" aria-label="Emoji: Red heart">https://abs.twimg.com/emoji/v2/... draggable="false" alt="💕" title="Two hearts" aria-label="Emoji: Two hearts">">
Eiko thought of herself as a production designer and her costumes as part of the set, and therefore essential to the story. Eiko& #39;s designs elaborate, fantastical, and sometimes uncomfortable, but they were always the most memorable part of the films she worked on. https://abs.twimg.com/emoji/v2/... draggable=https://abs.twimg.com/emoji/v2/... draggable="false" alt="💕" title="Two hearts" aria-label="Emoji: Two hearts">" title="Eiko thought of herself as a production designer and her costumes as part of the set, and therefore essential to the story. Eiko& #39;s designs elaborate, fantastical, and sometimes uncomfortable, but they were always the most memorable part of the films she worked on. https://abs.twimg.com/emoji/v2/... draggable="false" alt="❤️" title="Red heart" aria-label="Emoji: Red heart">https://abs.twimg.com/emoji/v2/... draggable="false" alt="💕" title="Two hearts" aria-label="Emoji: Two hearts">">
Eiko thought of herself as a production designer and her costumes as part of the set, and therefore essential to the story. Eiko& #39;s designs elaborate, fantastical, and sometimes uncomfortable, but they were always the most memorable part of the films she worked on. https://abs.twimg.com/emoji/v2/... draggable=https://abs.twimg.com/emoji/v2/... draggable="false" alt="💕" title="Two hearts" aria-label="Emoji: Two hearts">" title="Eiko thought of herself as a production designer and her costumes as part of the set, and therefore essential to the story. Eiko& #39;s designs elaborate, fantastical, and sometimes uncomfortable, but they were always the most memorable part of the films she worked on. https://abs.twimg.com/emoji/v2/... draggable="false" alt="❤️" title="Red heart" aria-label="Emoji: Red heart">https://abs.twimg.com/emoji/v2/... draggable="false" alt="💕" title="Two hearts" aria-label="Emoji: Two hearts">">
Eiko thought of herself as a production designer and her costumes as part of the set, and therefore essential to the story. Eiko& #39;s designs elaborate, fantastical, and sometimes uncomfortable, but they were always the most memorable part of the films she worked on. https://abs.twimg.com/emoji/v2/... draggable=https://abs.twimg.com/emoji/v2/... draggable="false" alt="💕" title="Two hearts" aria-label="Emoji: Two hearts">" title="Eiko thought of herself as a production designer and her costumes as part of the set, and therefore essential to the story. Eiko& #39;s designs elaborate, fantastical, and sometimes uncomfortable, but they were always the most memorable part of the films she worked on. https://abs.twimg.com/emoji/v2/... draggable="false" alt="❤️" title="Red heart" aria-label="Emoji: Red heart">https://abs.twimg.com/emoji/v2/... draggable="false" alt="💕" title="Two hearts" aria-label="Emoji: Two hearts">">
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