三届奥斯卡最佳服装设计得主，与CB合作过《飞行家》《灰姑娘》和《卡罗尔》，全部获得奥斯卡提名的“当代伊迪丝海德”接受CN（百度）N的采访

http://edition.cnn.com/2016/02/23/fashion/sandy-powell-carol-interview/index.html

(CNN)Sandy Powell recalls the first time she encountered Carol Aird, the New York socialite trapped in a loveless marriage and drawn to the young, elfin Therese.
Stuck in a train station in southeast England, the costume designer needed reading material. Perusing a shelf of books she came across "The Price of Salt" by Patricia Highsmith; slight and sandwiched between two Stephen King tomes.
"I thought I was buying a thriller," she remembers, laughing. "On the train home I read it in one go and was blown away. I thought 'this would make just the most amazing film.'"
讲到她是怎么遇到《盐价》这本书的

对人物服装风格的研究，也是足够专业才能看出门道的东西。
"People talk about fashion and costume, but they are two different things," argues Powell. Except when they're not.
Carol Aird is one such case: lifted from the pages of fashion glossies and interpreted in Powell's inimitable style, she is distinctly on trend -- if that trend is Autumn/Winter 1952. She wears her clothes as a symbol of status and wealth, and in marked contrast to the likes of aspiring set designer -- and relatively dowdy -- Therese.
"The whole idea about 'Carol' was it's about real people in real time," she explains. "In my mind, 1952 isn't the Fifties -- I don't think the Fifties as we recognize them happened until about halfway through the decade.
"The actual look of the film is really that of the late Forties -- apart from somebody like Carol, who can afford bang on-date fashion."
Therefore, whilst Powell's quintessential colors, bold and saturated, appear at times in Carol's wardrobe, Therese's look is "much more muted and subdued" than Powell says she is used to -- until that is, Therese meets Carol, and her outfits begin to change.
"There's a power dynamic," says Powell, "which is all reflected in the clothing."

如何在禁锢年代的服装里体现情色意味
After dressing Cate Blanchett for "The Aviator" (for which Powell won her second Oscar) and "Cinderella" (for which she is also nominated this year), their relationship was such that together they were able to get under the skin of Highsmith's character.
Insulated by winter, Carol and Therese's lesbian love affair is nonetheless kindled and nurtured in an era of sexual repression. In a screenplay littered with caesura and pregnant pauses, every visual aspect of "Carol", from body language to costume design, demands the audience's attention. And it's in these moments that Powell and Blanchett do their greatest work, filling voids with what isn't said, but nonetheless expressed.
"Cate and I talked about what was erotic and what was not," says Powell. "Carol wears clothes that are high up at the neck. There's no flesh showing really, but there are little areas that are accentuated, like the sleeves on all the dresses are bracelet length, halfway down the forearms.
"Things like wrists, neck and ears are all accentuated. She touches her ears and her earrings, and your eyes are drawn to the neck. There's these tiny hidden areas we were accentuating. That was deliberate, because we didn't want to make anybody overtly sexual."
"It really is a collaboration: I provide the clothes, and then work closely with the actors," she says. "It's not just about how a costume looks, but that the actor does in it. My clothes are a tool for them to create their character."

绝了！

终于有人贴关于卡罗尔服装的访谈了。相对于剧本、摄影、音乐，服装设计受到的关注比较少，Sandy powell也没怎么出席过记者会。但是好的团队就是这样，一切为了主演为了故事而存在，不喧宾夺主，每一笔都画龙点睛。

卡罗尔的服饰设计虽然都是高领，没什么暴露部分，但是强调了手腕、脖子、耳朵。比如连衣裙的袖子长度都设计到手腕以上（如图），遮住一半前臂。设计师利用这些隐蔽的小地方来体现一种含蓄的性感。
Sandy powell认为服装效果的好坏不单靠服饰的设计，更要依托演员的演绎，服饰是演员诠释角色的工具。