{"id":636,"date":"2026-05-26T15:07:51","date_gmt":"2026-05-26T15:07:51","guid":{"rendered":"https:\/\/uspropertymoves.com\/?p=636"},"modified":"2026-05-26T15:07:51","modified_gmt":"2026-05-26T15:07:51","slug":"albert-wolsky-oscar-winning-costume-designer-for-all-that-jazz-and-bugsy-dies-at-95","status":"publish","type":"post","link":"https:\/\/uspropertymoves.com\/?p=636","title":{"rendered":"Albert Wolsky, Oscar-Winning Costume Designer for \u2018All That Jazz\u2019 and \u2018Bugsy,\u2019 Dies at 95"},"content":{"rendered":"
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\n\tAlbert Wolsky, the French-born costume designer who won Oscars for All That Jazz<\/em> and Bugsy<\/em> and set hearts racing by dressing Olivia Newton-John in body-hugging black sharkskin pants and a leather jacket for Grease<\/em>, has died. He was 95.<\/p>\n

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\n\tWolsky died Saturday at his home in the Hollywood Hills, according to a friend who spoke with The Hollywood Reporter<\/em>.<\/p>\n

\n\tAcross his career, Wolsky received seven Oscar nominations for costuming, dressing Meryl Streep for Sophie\u2019s Choice<\/em> (1982) \u2014\u00a0she thanked him in her best actress Oscar acceptance speech \u2014 and two members of the Cusack family: John in The Journey of Natty Gann<\/em> (1985) and Joan in the Robin Williams-led Toys<\/em> (1992).<\/p>\n

\n\tHis last two noms came for his work on the Beatles-infused Across the Universe<\/em> (2007) and Sam Mendes\u2019 Revolutionary Road <\/em>(2009).<\/p>\n

\n\tHe collaborated 11 times with American director Paul Mazursky, including Harry and Tonto<\/em> (1974), for which Art Carney won the Oscar for best actor, and An Unmarried Woman <\/em>(1978), starring Jill Clayburgh in one of her Oscar-nominated turns.<\/p>\n

\n\tIn a beautiful romantic sequence, Clayburgh steps out into the New York night wearing a glorious cape. \u201cI thought the cape was fantastic,\u201d Mazursky says in Sam Wasson\u2019s 2011 book, Paul on Mazursky<\/em>. \u201cJill was a tall woman, and the cape had something to do with making her height OK. Also, it was something she could use for these moments outside when she\u2019s clearly fallen in love.\u201d<\/p>\n

\n\tThe pair also worked together on Next Stop, Greenwich Village<\/em> (1976), Willie & Phil<\/em> (1980), Tempest<\/em> (1982), Moscow on the Hudson<\/em> (1984), Down and Out in Beverly Hills <\/em>(1986), Moon Over Parador<\/em> (1988), Enemies, A Love Story<\/em> (1989), Scenes From a Mall<\/em> (1991) and The Pickle<\/em> (1993).<\/p>\n

\n\tHowever, in Wolsky\u2019s own words, the most important film of his decorated career was Lenny<\/em> (1974), Bob Fosse\u2019s biography of comedian Lenny Bruce that starred Dustin Hoffman.<\/em><\/p>\n

\n\t\u201cI really knew I had gone up one step to another level of learning and of opportunity, and it was an extraordinary job for me,\u201d he said during a 2017 interview for the Costume Designers Guild.<\/p>\n

\n\tThe experience paid off for their next collaboration five years later, Fosse\u2019s semi-autobiographical All That Jazz<\/em>. Wolsky\u2019s vibrant costumes, which depicted the reality and fantasy worlds of the multitalented director and choreographer\u2019s life, nabbed him his first Oscar.<\/p>\n

\n\t\u201cI don\u2019t think there was ever anything quite like him,\u201d Wolsky said of Fosse, describing him as \u201cintense and driven.\u201d<\/p>\n

\n\tFor his second Oscar, Wolsky spent his budgeted $1 million for Barry Levinson\u2019s 1940s-era Bugsy <\/em>(1991) on designing ballgowns, tuxedos, silk shirts and satin ties and importing rare Italian gabardine.<\/p>\n

\n\tOn the Oscar podium, he thanked Levinson and producer-star Warren Beatty for creating an \u201celegant and impeccable taste and climate for us.\u201d<\/p>\n

\n\tBut moviegoers will be forever thankful to Wolsky for putting Newton-John in those tight black pants and leather jacket as she transforms into the rebellious Sandy Olsson in Grease<\/em> (1978).<\/p>\n

\n\tIn 2018, the Aussie actress vividly recalled trying out the outfit for the first time in the wardrobe trailer as Wolsky looked on.<\/p>\n

\n\t\u201cThe jacket fit perfectly, and the red lining was great. The pants were fantastic too, but because they were actually from the \u201950s, the zipper was broken, so I had to be stitched into them,\u201d she said.<\/p>\n

\n\t\u201cWhen I walked out onto the set in them for the first time, I got quite the reaction \u2014 everyone\u00a0stopped <\/em>\u2014 because it was unlike anything I\u2019d worn before. After we wrapped the film, I was lucky enough to get to keep the costume.\u201d<\/p>\n

\n\tForty-one years after her cinematic breakout performance, Newton-John auctioned off that jacket for $243,000 to raise funds for her Cancer Wellness & Research Centre in Melbourne, Australia. The buyer subsequently donated it back to her.<\/p>\n

\n\tThe leather pants were bought by Spanx founder Sara Blakely for $162,500.<\/p>\n

\n\tMost moviegoers pay little attention to the significance behind a performer\u2019s costume on a film, but when the meticulous Wolsky began work on Mendes\u2019 Depression-era drama Road to Perdition<\/em> (2002), he encountered problems sourcing authentic overcoats and suits from 1931.<\/p>\n

\n\t\u201cNobody kept those clothes, there was no reason to; they were just worn-out clothes with nothing to commend them,\u201d he said.<\/p>\n

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\n\tThe solution to replicate them wasn\u2019t as simple as one might think. Wolsky identified that modern fabrics are far lighter than those of the 1930s and thus fell differently on an actor\u2019s body. \u201cThe weight dramatically affects the way the clothes move,\u201d he noted.<\/p>\n

\n\tHe hired the services of master New York weaver Rabbit Goody, who reproduced with historical accuracy the weight of the fabric, which Wolsky then dyed and aged.<\/p>\n

\n\tBorn in Paris on Nov. 24, 1930, Wolsky and his family fled to America during the German occupation of France during World War II.<\/p>\n

\n\tHe graduated from City College of New York, ran his father\u2019s travel business for several years and began an apprenticeship under costumer Helene Pons on the 1960 Broadway production of Camelot<\/em>, starring Julie Andrews and Richard Burton.<\/p>\n

\n\tHis big break into the movie business came courtesy of costume designer Theoni V. Aldredge for the Southern-set The Heart Is a Lonely Hunter<\/em> (1968).<\/p>\n

\n\tFor the next seven decades, his wardrobe wizardry was on display in films including The Turning Point\u00a0<\/em>(1977), the remakes of The Jazz Singer <\/em>(1980), To Be or Not to Be <\/em>(1983) and The Manchurian Candidate <\/em>(2004), back-to-back comedies You\u2019ve Got Mail<\/em> (1998) and Runaway Bride <\/em>(1999) \u2014\u00a0five wedding dresses were made for the latter \u2014 and the space mystery Ad Astra<\/em> (2019).<\/p>\n

\n\tFor his final credit, he teamed with David O. Russell on the 2022 feature Amsterdam<\/em>, set in the 1930s.<\/p>\n

\n\tWolsky described working with Streep on Sophie\u2019s Choice<\/em> as a cathartic experience. The film\u2019s flashback settings in a German concentration camp mirrored what some of his family members endured. \u201cWe were the lucky ones,\u201d he said. \u201cWe got here and a lot of our family got here, and some didn\u2019t.\u201d<\/p>\n

\n\tFor Alejandro G. I\u00f1\u00e1rritu\u2019s best picture Oscar winner Birdman<\/em> (2014), he convinced the director to change the time period in which the film\u2019s Broadway play was set.<\/p>\n

\n\tBy moving the 1970s Raymond Carver production of What We Talk About When We Talk About Love<\/em> to the \u201950s, it helped distinguish the onstage segments from the offstage contemporary scenes.<\/p>\n

\n\tWolsky himself was well acquainted with Broadway, working as an assistant for legendary costume designer Ann Roth (A Case of Libel)<\/em>, for Mike Nichols on The Odd Couple<\/em> (starring Carney and Walter Matthau), for Jerome Robbins on Fiddler on the Roof<\/em> and for Jules Dassin in Illya<\/em> Darling<\/em>.<\/p>\n

\n\tHis solo star credits included Generation <\/em>(starring Henry Fonda),<\/em> Alan Arkin\u2018s The Sunshine Boys <\/em>and Arthur Penn\u2019s Sly Fox<\/em>. In 2013, he received a Tony nomination for the revival of The Heiress<\/em>.<\/p>\n

\n\tWhen it came to designing dance costumes, Wolsky\u2019s No. 1 rule was not to constrict the dancer. \u201cThe body to me is so important, so you pare things down,\u201d he said. \u201cYou try not to hide the body, you want to feature the body so you can see a dancer\u2019s movements and how graceful they are.\u201d<\/p>\n

\n\tGiven the opportunity to work on the 1950s-era Grease<\/em>, Wolsky envisioned a realistic urban approach to dressing the high school musical, but producer Allan Carr demanded bright, explosive colors instead.<\/p>\n

\n\t\u201cThese people are all meant to be in high school, and yet they are colouring the gray streaks in their hair,\u201d Wolsky recalled thinking. \u201cWhy the hell am I trying to be realistic? It\u2019s ridiculous!\u2019 So, we just went mad with it.\u201d<\/p>\n

\n\tHe was granted access to three floors of fabric and stock at Paramount and ended up using colors he never used before or since.<\/p>\n

\n\tWolsky served four terms on the Academy of Motion Picture Arts and Science\u2019s board of governors, and in 2009, he donated 83 pencil and watercolor drawings spanning his designs from 1977-2007 to its Margaret Herrick Library.<\/p>\n

\n\tIn 2015, he received the CDG\u2019s Award for Excellence in Contemporary Film.<\/p>\n

\n\tWolsky\u2019s partner of 39 years, dancer and actor James Mitchell (Palmer Cortlandt on All My Children<\/em>), died in 2010.<\/p>\n

\n\tWhen asked by the CDG to identify the most important aspect of his craft, Wolsky explained that it always comes back to what the story is about, \u201cso that it\u2019s not just a bunch of clothes, otherwise we\u2019ve lost. I can read something, and if I don\u2019t get any ideas, if I don\u2019t know what to do, then I feel maybe I shouldn\u2019t do it.\u201d<\/p>\n

Read more \u2018Miss You, Love You\u2019 Review: Allison Janney and Andrew Rannells Lead HBO\u2019s Thoughtful but Overly Mannered Grief Drama<\/a><\/p>\n

\nMike Barnes contributed to this report.<\/em><\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Albert Wolsky, the costume designer who won Oscars for his work on All That Jazz and Bugsy and dressed Olivia Newton-John for Grease, has died at 95.<\/p>\n","protected":false},"author":1,"featured_media":635,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[651,39,652,653,654],"class_list":["post-636","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interesting","tag-mike-nichols","tag-obituaries","tag-olivia-newton-john","tag-richard-burton","tag-robin-williams"],"yoast_head":"\nAlbert Wolsky, Oscar-Winning Costume Designer for \u2018All That Jazz\u2019 and \u2018Bugsy,\u2019 Dies at 95 - US Property Moves<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/uspropertymoves.com\/?p=636\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Albert Wolsky, Oscar-Winning Costume Designer for \u2018All That Jazz\u2019 and \u2018Bugsy,\u2019 Dies at 95 - 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