An American in Paris

Milos Forman directed Peter Shaffer’s screenplay, based on his Tony Award–winning play, about the 18th-century rivalry between journeyman court composer Antonio Salieri (F. Murray Abraham in an Academy Award–winning role) and his rival, young upstart Wolfgang Amadeus Mozart (fellow Best Actor nominee Tom Hulce). Legendary makeup artist Dick Smith spent two months developing the aging makeup for Abraham as Salieri. The design brought together innovations Smith had developed over his career, including the use of multiple overlapping foam latex prosthetic appliances and an old-age stippling technique to create wrinkled skin, painted liver spots, and realistic beard stubble. A re-creation of the makeup, made by Smith's protégé Mike Marino from the original molds, is currently on display at the museum. The film earned 11 nominations, and its eight Oscar wins include Best Picture, Art Direction, Costume Design, Directing, Makeup, Sound, and Adapted Screenplay.

Nominated in eight Oscar categories including Best Picture, Baz Luhrmann’s extravagant, romantic jukebox musical Moulin Rouge! won Production Design and Costume Design at the 74th Academy Awards in 2002. To match Luhrmann’s visual concept for the production, Catherine Martin and Angus Strathie designed costumes that combine late-Victorian styles with references to 20th-century popular culture. Currently on display at the museum is the costume for Nicole Kidman’s character, Satine, which recalls showgirl looks worn by classical-era stars such as Marilyn Monroe. A tailcoat, worn by Ewan McGregor as Christian, was made in both plain and sparkling versions to magically transform during a romantic musical number.

Nominated in eight Oscar categories including Best Picture, Baz Luhrmann’s extravagant, romantic jukebox musical Moulin Rouge! won Production Design and Costume Design at the 74th Academy Awards in 2002. To match Luhrmann’s visual concept for the production, Catherine Martin and Angus Strathie designed costumes that combine late-Victorian styles with references to 20th-century popular culture. Currently on display at the museum is the costume for Nicole Kidman’s character, Satine, which recalls showgirl looks worn by classical-era stars such as Marilyn Monroe. A tailcoat, worn by Ewan McGregor as Christian, was made in both plain and sparkling versions to magically transform during a romantic musical number.

Nominated in eight Oscar categories including Best Picture, Baz Luhrmann’s extravagant, romantic jukebox musical Moulin Rouge! won Production Design and Costume Design at the 74th Academy Awards in 2002. To match Luhrmann’s visual concept for the production, Catherine Martin and Angus Strathie designed costumes that combine late-Victorian styles with references to 20th-century popular culture. Currently on display at the museum is the costume for Nicole Kidman’s character, Satine, which recalls showgirl looks worn by classical-era stars such as Marilyn Monroe. A tailcoat, worn by Ewan McGregor as Christian, was made in both plain and sparkling versions to magically transform during a romantic musical number.

This fictionalization of the career of Motown group The Supremes received eight Oscar nominations across six categories and was the first live-action film with three tunes nominated for Original Song. Dreamgirls was also the first film to boast Black nominees for both Best Supporting Actor (Eddie Murphy) and Best Supporting Actress (Jennifer Hudson). Hudson’s Oscar win for her role as Effie White—her debut film performance—made her, at age 25, the youngest African American to win an Academy Award for acting. A form-fitting fishtail gown worn by Beyoncé Knowles as Deena Jones—designed by Sharen Davis—is currently on view at the museum, alongside vintage magazines from the 1960s and 1970s used as reference by makeup designer Tym Shutchai Buacharern. Davis took inspiration from real-life 1960s musical groups for various looks throughout the film.

This fictionalization of the career of Motown group The Supremes received eight Oscar nominations across six categories and was the first live-action film with three tunes nominated for Original Song. Dreamgirls was also the first film to boast Black nominees for both Best Supporting Actor (Eddie Murphy) and Best Supporting Actress (Jennifer Hudson). Hudson’s Oscar win for her role as Effie White—her debut film performance—made her, at age 25, the youngest African American to win an Academy Award for acting. A form-fitting fishtail gown worn by Beyoncé Knowles as Deena Jones—designed by Sharen Davis—is currently on view at the museum, alongside vintage magazines from the 1960s and 1970s used as reference by makeup designer Tym Shutchai Buacharern. Davis took inspiration from real-life 1960s musical groups for various looks throughout the film.

This fictionalization of the career of Motown group The Supremes received eight Oscar nominations across six categories and was the first live-action film with three tunes nominated for Original Song. Dreamgirls was also the first film to boast Black nominees for both Best Supporting Actor (Eddie Murphy) and Best Supporting Actress (Jennifer Hudson). Hudson’s Oscar win for her role as Effie White—her debut film performance—made her, at age 25, the youngest African American to win an Academy Award for acting. A form-fitting fishtail gown worn by Beyoncé Knowles as Deena Jones—designed by Sharen Davis—is currently on view at the museum, alongside vintage magazines from the 1960s and 1970s used as reference by makeup designer Tym Shutchai Buacharern. Davis took inspiration from real-life 1960s musical groups for various looks throughout the film.

Filled with passionate real-time musical performances, Ma Rainey’s Black Bottom was nominated in five Oscar categories, including Best Actress for Viola Davis as the titular blues singer. The film also won Oscars for Makeup and Hairstyling and Costume Design, two evocative aspects of this film that are currently on display in the Identity gallery at the museum. Hair designer Mia Neal created two very different wigs for Davis as blues singer Ma Rainey, including a handmade horsehair wig that recreated one originally worn by Gertrude “Ma” Rainey. Sergio López-Rivera devised makeup looks to reveal Rainey’s aspirations and insecurities, drawing on the doll-like beauty aesthetic of the 1920s with big eyes and thin brows.

Filled with passionate real-time musical performances, Ma Rainey’s Black Bottom was nominated in five Oscar categories, including Best Actress for Viola Davis as the titular blues singer. The film also won Oscars for Makeup and Hairstyling and Costume Design, two evocative aspects of this film that are currently on display in the Identity gallery at the museum. Hair designer Mia Neal created two very different wigs for Davis as blues singer Ma Rainey, including a handmade horsehair wig that recreated one originally worn by Gertrude “Ma” Rainey. Sergio López-Rivera devised makeup looks to reveal Rainey’s aspirations and insecurities, drawing on the doll-like beauty aesthetic of the 1920s with big eyes and thin brows.

Filled with passionate real-time musical performances, Ma Rainey’s Black Bottom was nominated in five Oscar categories, including Best Actress for Viola Davis as the titular blues singer. The film also won Oscars for Makeup and Hairstyling and Costume Design, two evocative aspects of this film that are currently on display in the Identity gallery at the museum. Hair designer Mia Neal created two very different wigs for Davis as blues singer Ma Rainey, including a handmade horsehair wig that recreated one originally worn by Gertrude “Ma” Rainey. Sergio López-Rivera devised makeup looks to reveal Rainey’s aspirations and insecurities, drawing on the doll-like beauty aesthetic of the 1920s with big eyes and thin brows.