The 'Costume Couture' exhibition highlights six decades of Cosprop's contributions to the film industry.
Category: Arts & Culture
Scores of costumes from cultural touchstones like Pirates of the Caribbean, Game of Thrones, and Downton Abbey will debut to the Scottish public this summer, when the exhibition “Costume Couture: Sixty Years of Cosprop” opens at Dovecot Studios, Edinburgh. This exhibition is set to run from July 18, 2026, to January 9, 2027.
“Costume Couture” initially premiered last September at London’s Fashion and Textile Museum, which organized the show. It remained on view there until weeks ago, celebrating six decades since Oscar and BAFTA-winning costume designer John Bright founded Cosprop at age 25. The Hampshire-born Bright grew up surrounded by the vibrant yet gritty atmosphere of East London, where he often accompanied his mother on outings to buy dress-up clothes.
Bright's passion for fashion began early, and by age 18, he started scouting and collecting hidden sartorial gems after briefly studying acting at the Royal Academy of Dramatic Art and fashion at South West Essex Technical College. This early hoarding habit empowered Cosprop to rise above its competition, leading to a collection that now boasts over 8,000 dresses, shoes, and accessories.
Cosprop’s costumiers, including the award-winning Jenny Beavan, can study the architecture and ornamentation of such artifacts up close. “We want these clothes to look like they’ve been slept in and worn forever,” designer Penny Rose remarked, emphasizing the attention to detail that defines the company.
“Costume Couture” showcases more than 80 era-spanning costumes, illustrating the evolution of costume design and its significance within the film industry. Among the featured pieces is the stunning 1880s evening gown worn by Nicole Kidman during her role in The Portrait of a Lady (1996), alongside outfits from Leslie Manville’s performance of Mrs. Harris Goes to Paris (2022). Some costumes are accompanied by design drawings and swatches, providing insight into the creative process behind these iconic looks.
Notably, the exhibition also includes wall text quoting stars who have donned these costumes, such as Jenna Coleman and Johnny Depp. Helena Bonham Carter, who wore a memorable ensemble from A Room with a View (1985), reflects on the artistry involved: “John and Jenny created wardrobes for people. They didn’t create costumes, but rather, there was history embedded within every item of clothing.” Her co-star, the late great Dame Maggie Smith, adds weight to this sentiment.
Edinburgh’s edition of “Costume Couture” largely mirrors the show’s London engagement, but Dovecot’s exhibitions manager and curator, Heather Carroll, indicated that efforts are underway to make small additions that will provide a unique experience for local audiences. “We’re busy working behind the scenes to see if we can make some small additions to give our audience something different,” Carroll shared via email.
Beyond the costumes, Dovecot Studios is committed to engaging the next generation of costume design, theater, and performing art students with the exhibition. This initiative aims to inspire young creatives before the show leaves the U.K. to tour America.
Meanwhile, the film industry is facing its own challenges. On March 25, 2026, Sony announced plans to gradually shut down its visual effects production studio, Pixomondo, responsible for the visual effects of Game of Thrones and House of the Dragon. The studio will officially close only after completing all outstanding projects and contracts.
Pixomondo, an Oscar and BAFTA-winning studio, was founded back in 2001 and had expanded to seven locations, including Los Angeles, Frankfurt, and London. The decision to close comes against a backdrop of economic uncertainty and a notable decline of large-budget projects being greenlit across the entertainment industry.
Sony plans to absorb some of Pixomondo's staff and functions into its existing operations, but layoffs are expected. The closure of Pixomondo’s virtual production division, Clara, is also on the table, though some of its functions may be transferred to other Sony units.
According to reports, the decision to wind down Pixomondo is part of a broader trend within the industry, where studios are adapting to the economic downturn by scaling back on high-cost visual effects projects. For example, HBO's latest Game of Thrones prequel, A Knight of the Seven Kingdoms, was intentionally developed to operate at a more cost-conscious scale, omitting the extravagant visual effects that characterized its predecessors.
“PXO is a medium-sized studio that consistently punched above its weight,” said Pixomondo's Head of Training, Joe Raasch, expressing pride for the team's achievements. “The artists here are very strong and would be an asset anywhere they go.”
With the closure of Pixomondo, the industry is left to ponder the future of visual effects, particularly at a time when the demand for such artistry is rapidly changing. The impact of economic pressures on creative endeavors raises questions about the sustainability of high-quality visual effects and the roles of studios like Pixomondo.
Both the “Costume Couture” exhibition and the closure of Pixomondo highlight the dynamic nature of the film and television industry, where creativity and economic realities often intersect. The upcoming exhibition at Dovecot Studios promises to celebrate the artistry of costume design, even against the backdrop of a changing industry.
“Costume Couture: Sixty Years of Cosprop” opens on July 18, 2026, at Dovecot Studios, Edinburgh, and will provide a unique glimpse into the world of film and television costumes, celebrating a legacy that has shaped the industry for decades.