Your guide to “Best Costume Design”

I’m going to call Eiko Ishioka for the win — but it’s a close call.

I became the proud winner of a $50 bet last year when I called Mark Bridges (The Artist), but that was just because my contender obviously knew nothing about costume design. How could a designer in a black-and-white silent film not win the Oscar? The costumes were the only things that could speak.

But, it’s different this year. The selections are all very audience-specific. We have intellectual period pieces to romances to fantasy pictures, all with very explicit personalities, which happens to be the key word. This year’s winner and your personal pick will come down to your personality.

The Novelist: Paco Delgado for “Les Misérables”

The story of “Les Misérables” demands a lustrous, emotional touch that I’m not sure Delgado was passionate enough to give.

Granted, he did his homework.

The French uniforms are perfectly depicted and the peasantry garb specific to the era, but I’m not sure his designs carry enough emphasis to land him his first Oscar.

Though certain features, such as Anne Hathaway’s blue hood and ragged red dress, are excellently reveal her emotional desperation and beauty, they would have been lifeless without her body movements. I don’t think the wicked rags of Helena Carter could have done too much either without the hair and makeup and, of course, the actress’ famous personality.

Though the use of blues, reds and browns each tend to label the classes, they wouldn’t have made nearly the impact without heavy color production. So, though novelists might find Delgado’s work to be the perfect complement to a story they find moving, I don’t think it’s fair to say he has a strong enough impact on his own to tell the story.

I think other Oscar nominees have done what he hasn’t. Thus, he lands fourth on my Oscar list.  

The Historian: Joanna Johnston for “Lincoln”

It was accurate. Congrats, Johnston can do her homework, too.

However, you can only implement so much individuality with a period film, and I feel Johnston didn’t even pursue that.

So, she might earn the respect of historians for making Lincoln’s top hat just the right height, but she will not earn the attention of an Oscar.

The Fashionista: Jacqueline Durran for “Anna Karenina”

I wanted to place Durran first so badly. The romance of Russian style in the premier age of war and ballet is all too beautiful. Anna Karenina’s necklines dip elegantly, and when complimented with more prominent fur caps or veils, they give the character an air of refinement that cannot be matched.

The jewels, pearls and golden details of the Russian uniform and jewelry are a more dignified depiction than the actual era probably deserves, but to fashionistas who love the luxurious, it’s perfectly acceptable.

The above doesn’t even appeal to the sympathetic vote for Durran, as this is will be her third Oscar nomination that will go unsatisfied if she loses. Compared to previous work on “Atonement” and “Pride and Prejudice,” her progress is notable in “Anna Karenina.”

However, though the beautiful designs might be a rarity, I cannot say the look has never been done before. Thus, I place Durran first in my heart but third on my list.

The Artist: Colleen Atwood for “Snow White and the Huntsman”

Colleen Atwood is quite resilient. This is her 10th nomination and possible fourth win.

Most recently, she won for “Alice in Wonderland,” which was noted for its colorful yet obscure designs that seemed to be drawn straight from her own fantastical dreams. But this time, it’s as if she has sketched from nightmares.

“Snow White and the Huntsman” is darkly brilliant. The gowns of the evil queen were her obvious guilty pleasures, as they draw from gothic patterns but also showcase feathers and wing-like architecture to illustrate the agent of dark magic.

But I believe it will be the same thing that places Atwood high on my list that will keep her from the top.

The queen’s gowns are so articulated that the rest of the characters could have shared a back page in her sketchbook. This might be her downfall.

The Dreamer: Eiko Ishioka for “Mirror, Mirror”

Eiko Ishioka’s last and only Oscar was for “Dracula” in 1992. Yes, it seems she has a bit of a fantasy fetish herself. And, though she was dormant for more than 20 years, Ishioka proves she never stopped dreaming.

I mean, what better movie to show that bottled expression than one with seven little men and seven big personalities to play with.

Oh but wait, there was also the evil stepmother’s gorgeous collection of gowns, the fair princess’s runaway cape and the court’s ballroom attire. It’s as if the film’s simple set was meant to allow Ishioka to paint it with her designs — which she did. I believe she is the only one to place an oversized leather rodeo hat on a three-foot dwarf, not to mention stilt ninja suits on all seven.

She also took the typical fairytale ballroom attire usually filled with color and cream-washed it all, finishing with taxidermy chapeaus.

She saved the color for Julia Roberts, whose gowns often filled the room and would have exaggerated the personality of any queen who wore them.

And finally, when she hadn’t a clue for a costume, we get a nude prince.

The details in every part of this movie and the imagination presented has to give this year’s 2013 Oscar to the dreamer.

Best of luck, Eiko.