Jenny Beavan<\/strong> was born in London, in a musical family of a violinist and a cellist. However, she chose to study set design at the Central School of Art and Design in London. Learning theatre design under, among others, Ralph Koltai<\/strong>, she initially did not associate her future career with cinema or broadly understood fashion. Since falling in love with Twelfth Night<\/span><\/em> – a play her grandfather took her to when she was 10 – she knew she wanted to be part of the theatre world above all else.<\/p>\n Her professional journey with cinema began shortly after completing her education, when she reconnected with her childhood friend, Nick Young<\/strong>. He was then working for Merchant Ivory Productions, organizing a film set in India for James Ivory’s<\/strong> TV production Hullabaloo Over Georgie and Bonnie’s Pictures<\/span><\/em> (1978) and was looking for a costume designer to assist with wardrobe for Peggy Ashcroft<\/strong>. It was in the exotic environment of colourful India that Beavan<\/strong> fell in love with cinema and became interested in designing film costumes. This also marked the beginning of her fruitful collaboration with the legendary director, earning her recognition and respect in the industry.<\/p>\n In addition to the aforementioned TV production, she designed costumes for Jane Austen in Manhattan<\/span> <\/em>(1980). Subsequently, in collaboration with John Bright<\/strong>, she worked on the costumes for such renowned and appreciated James Ivory<\/strong> films as The Bostonians<\/em><\/span> (1984), A Room with a View<\/span> <\/em>(1985), Maurice<\/span><\/em> (1987), Howards End<\/span><\/em> (1992), The Remains of the Day<\/span><\/em> (1993), and Jefferson in Paris<\/span><\/em> (1995). For nearly all of these, Jenny Beavan<\/strong> received an Oscar\u00ae<\/sup> nomination, winning her first Academy Award\u00ae<\/sup> for A Room with a View<\/span><\/em>.<\/p>\n In this brilliant adaptation of E.M. Forster’s<\/strong> novel, telling the story of a young English aristocrat trapped in the clutches of convention, costumes and set design subtly follow the unhurried pace of the film, perfectly capturing the atmosphere of Florence, the English countryside, and the Edwardian-era society. At the same time, they immerse the viewer in the nostalgic ambiance of a traditional period romance, seamlessly embedding Ivory’s<\/strong> work in the genre of British heritage films.<\/p>\n In subsequent years, Jenny Beavan<\/strong> also collaborated with distinguished creators such as Ang Lee<\/strong> (Sense and Sensibility<\/span><\/em>, 1995), Adrian Lyne<\/strong> (Lolita<\/em><\/span>, 1997), Robert Altman<\/strong> (Gosford Park<\/span><\/em>, 2001), Andy Tennant<\/strong> (Anna and the King<\/span><\/em>, 1999), Oliver Stone<\/strong> (Alexander<\/span><\/em>, 2004), Lasse Hallstr\u00f6m<\/strong> (Casanova<\/span><\/em>, 2005), Brian De Palma<\/strong> (The Black Dahlia<\/span><\/em>, 2006), Guy Ritchie<\/strong> (Sherlock Holmes<\/span><\/em>, 2009 and Sherlock Holmes: A Game of Shadows<\/span><\/em>, 2011), and Tom Hooper<\/strong> (The King’s Speech<\/span><\/em>, 2010).<\/p>\n Quickly gaining a reputation as a specialist in historical costumes, she was not afraid to break the mold, joining the revolutionary Mad Max: Fury Road<\/span><\/em> by George Miller<\/strong> in 2015. This cinematic portrayal of a post-apocalyptic world allowed her to change her artistic direction, for which she reciprocated with a breathtaking costume design that perfectly complemented the director’s vision and made the film so engrossing. The fast-paced road movie plunges us into a dark world of heroes resisting the only order they know. What they wear seems at first to be of little significance. But the wardrobe created by Jenny Beavan<\/strong> fully captures the rebellious nature of the production and authenticates the story being told. Interestingly, Beavan<\/strong> received her second Oscar\u00ae<\/sup> for this film dressed in jeans and a motorcycle jacket adorned with a crystal skull, showcasing her rebellious spirit, her indifference to industry conventions, and how fitting her involvement in this now iconic film was.<\/p>\n A huge success for both the producers and Beavan<\/strong> was also Disney’s high-budget production from 2021, Cruella<\/span><\/em>, telling the story of the youth of Cruella de Vil. Jenny Beavan<\/strong> was tasked with creating 70s fashion but with distinctly contemporary touches, and she delivered flawlessly. Her designs showcase influences from the punk style of Vivienne Westwood<\/strong> and Jean-Paul Gaultier<\/strong> on one hand, and a poignant illustration of the prevailing social inequalities of the time on the other. The film’s titular character is an aspiring fashion designer, so her wardrobe had to impress from the outset. The lead actress, Emma Stone<\/strong>, appeared in almost 50 stunning creations that captivated audiences worldwide, ultimately earning Jenny Beavan<\/strong> her third Oscar\u00ae<\/sup>.<\/p>\n![\"\"](\"https:\/\/archive.camerimage.pl\/assets\/uploads\/2023\/10\/1.-Jenny-Beavan.-Foto-Glowne-Portretowe.png\")
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\nJenny Beavan<\/em><\/p>\n<\/a>Jenny Beavan on a set<\/em><\/p>\n<\/a>Jenny Beavan on the set of “Cruella”<\/em><\/p>\n