Always pushing her creativity, Arianne Phillips often takes breaks from film to design theater, music videos, and concert tours, as well as styling print work and cover shoots for fashion magazines like Vogue Italia. “It’s kind of a path cleanser,” she explains. “I’ve gone out of my way to work across genres, so I can be choosy with the films I do.” The breadth and scope of her career is astonishing.

The San Vicente Bungalows in Los Angeles were buzzing with legendary artisans on Wednesday as The Hollywood Reporter and Bvlgari celebrated this year’s Academy Award-nominated costume designers: Ruth E. Carter (Sinners), Malgosia Turzanska (Hamnet), Kate Hawley (Frankenstein), Deborah L. Scott (Avatar: Fire and Ash) and Miyako Bellizzi (Marty Supreme).

IATSE Events: On October 11, 2025, nineteen Los Angeles locals hosted the “All In” IATSE Hollywood Mixer and PAC fundraiser. The event was attended by over 500 IA members from locals all over the country. Members had fun, got to reconnect with old friends, met new ones to add to their network and play games that helped them mix.

The Studio lives in the space between art and commerce, idealism and vanity, actuality and image. All the characters balance along that tightrope. The characters are immediately recognizable, particularly to anyone who has worked on a set. Clearly drawn from personal experience from show creators, the series is inhabited with fictional characters drawn so close to life that actual celebrity cameos fit in like jigsaw puzzle pieces.

“None of this had been done before—and never on this scale,” she says.

To depict the epic chronicle of the 18th-century unification of the Hawaiian Islands in the Apple TV+ miniseries Chief of War, costume designer Caroline Eselin faced an unparalleled challenge.

“None of this had been done before—and never on this scale,” she says.

Full disclosure: when his granddaughter Valentina and costume designer Andrea Sorrentino started the Piero Tosi fan club, I was the first member. Luchino Visconti’s quintessential film adaptation of the novel The Leopard by Giuseppe Tomasi di Lampedusa with maestro Tosi’s exquisite costumes is part of what pivoted me from fashion design to costume. Years ago, when rounding a corner in Tirelli in Rome, I encountered Angelica’s white ruffled gown on a mannequin. Famously worn by Claudia Cardinale in the film, I immediately teared up thinking of the scene. When Netflix announced their reboot for the small screen, I was skeptical but curious. Why tinker with a masterpiece? But when I discovered Carlo Poggioli was designing the series, I became obsessed. Among his mentors, Poggioli counts both the legendary Ann Roth as well as Tosi. When asked what it was like to walk in Tosi’s footsteps, Poggioli chuckles. His first reaction was to decline. It took several days of deliberation and discussion with friends and colleagues before Poggioli realized he could bring something unique to a story that the current generation has not seen. He explained, “The beauty for Visconti and Piero was perfection.” For Poggioli, beauty would be rooted in realism.