Latest / The Art of Costume Podcast / The Hunger Games: The Ballad of Songbirds & Snakes with Costume Designer, Trish Summerville

Transcript

The Hunger Games: The Ballad of Songbirds & Snakes with Costume Designer, Trish Summerville · The Art of Costume Podcast

• 0:11
  I'm telling him I really want you to just airbrush all these
• 0:14
  seams and he his face kind of went OK.
• 0:19
  Are you sure? And then joked and I said like,
• 0:22
  don't screw it up, you know? No pressure.
• 0:26
  It was a very subtle process and he did such a beautiful,
• 0:28
  beautiful job on it. Hello, welcome to the Art of
• 0:44
  Costume podcast. I am Spencer Williams.
• 0:47
  Hey everyone welcome. So Elizabeth is not here today.
• 0:53
  We had a little bit of a schedule mix up so Elizabeth
• 0:58
  sends her best wishes and well regards to everyone.
• 1:02
  But because Elizabeth's not here, I sent a quick 911 text.
• 1:07
  For a special guest host. So everyone, welcome back to the
• 1:10
  podcast Lexi Silverstein. Well, you.
• 1:15
  Know I'm so happy to be back and talking about my favorite thing
• 1:18
  ever at The Hunger Games. Hey Lexi, welcome back.
• 1:22
  It's been a while. I haven't seen you in a hot
• 1:24
  minute. I know, I know.
• 1:26
  I'm. I'm so glad that we could, you
• 1:28
  know. See each other, at least on
• 1:30
  Zoom, to talk about good things like costumes.
• 1:35
  Wherever you've been, you've been travelling the world you've
• 1:37
  been out and about lately. I don't even remember.
• 1:41
  I went to London, Paris, for Fashion Week.
• 1:44
  I don't know what else I've done.
• 1:49
  I oh, I travelled across the country.
• 1:53
  I drove across the country. On a four day trip that was very
• 1:57
  fun. I did a little like drifting
• 1:59
  across the country, which is like my also other favorite
• 2:02
  thing ever. So that was a lot of fun.
• 2:04
  And then I'm going to Ohio for Thanksgiving.
• 2:07
  So that's the least entered nice of it all.
• 2:10
  But I'll see my family and that's exciting.
• 2:12
  The mystical land of Ohio. Ohio.
• 2:19
  I am going to at Disneyland on Thanksgiving and I recognize
• 2:23
  that's either. A very good idea or a very bad
• 2:26
  idea, I think that's yet to be seen.
• 2:29
  I think I feel like it'll be good.
• 2:31
  I don't know. I think that it could be like, I
• 2:34
  I don't know. It's not usually my first
• 2:36
  thought like, oh, let's go to Disneyland on Thanksgiving.
• 2:40
  So maybe that's other people's also not for stocks.
• 2:42
  That's what I'm hoping. I'm hoping no one shows up, but
• 2:45
  I just. I don't know.
• 2:47
  We'll see. I'll let everyone know well.
• 2:52
  This is an exciting episode because we are here to talk
• 2:55
  about the brand new film that literally just came out.
• 2:58
  So for those of you who are like, I didn't see it, we're not
• 3:01
  getting into many spoilers. We're talking about The Hunger
• 3:04
  Games, the ballad of songbirds and snakes.
• 3:07
  And I happened to see Lexi post about it, that she saw it and I
• 3:10
  was like, all right, I'm calling Lexi.
• 3:12
  I need her help. It was so good.
• 3:14
  I loved it. I it like.
• 3:17
  Listen, I rewatch. It's like a known thing.
• 3:20
  I talk about it all the time, but I rewatch all of The Hunger
• 3:22
  Games every month. It's like my nerd I have.
• 3:25
  I did not know this. Yes, I like have to.
• 3:28
  It's like my favorite thing ever.
• 3:29
  And so I. It was everyone's been talking
• 3:33
  about how they were either like a Barbie girl or they were like
• 3:36
  a Priscilla movie girl. And I was like, no, I'm a Hunger
• 3:40
  Games girl, like this is 9 year old.
• 3:42
  Me like living out her best dreams ever.
• 3:47
  So I went to, I forced, I like immediately got tickets for the
• 3:50
  day like before the official release.
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  And I forced my boyfriend to come with me.
• 3:54
  And I left and I was like, listen, I was already like.
• 3:58
  Really. On my hyper fixation of Hunger
• 4:00
  Games because I was reading the book too, but I'm like now, I
• 4:04
  will never shut up about it so prepared.
• 4:09
  I'm very excited, especially me, because I actually saw the film
• 4:13
  like two months ago. So I've just been sitting
• 4:15
  patiently waiting to see how everyone's going to react to it.
• 4:19
  Are they going to love it? Are they going to hate it?
• 4:20
  You don't know with these types of fandoms, you know.
• 4:24
  So good though. And I I could get into so much
• 4:27
  about it, but it they like, really killed it and they kept
• 4:30
  it really true to like the book, but like sometimes book to movie
• 4:34
  adaptations are not it. They killed it.
• 4:38
  Yeah, yeah. Well, before we say too much.
• 4:41
  We have an exciting episode, so let's just get all into it.
• 4:44
  But first, I would love to start if Lexi.
• 4:48
  Perhaps you will read our summary this week.
• 4:50
  Oh my God. So much pressure guys.
• 4:52
  I totally will though. So ready?
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  Years before he becomes the trinical president of Panem, 18
• 5:03
  year old Coriolanus Snow remains the last hope for his fading
• 5:07
  lineage. With the 10th Annual Hunger
• 5:09
  Games fast approaching, the young Snow becomes alarmed when
• 5:13
  he's assigned to mentor Lucy Gray Baird from District 12.
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  Uniting their instincts for showmanship and political savvy,
• 5:21
  they race against time to ultimately reveal.
• 5:24
  Who's a songbird and who's a snake?
• 5:28
  That was a great, great summary, Lexie.
• 5:30
  Well done. I wrote it myself.
• 5:33
  No, she did not. That's a lot.
• 5:36
  Now let's dive behind the costumes.
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  A Bound of Songbirds and Snakes was directed by Francis Lawrence
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  and the costumes were designed by one of my favorites, the This
• 5:48
  designer is literally responsible for me getting into
• 5:50
  costume design all these years ago.
• 5:53
  We have costume designer Trish Somerville.
• 5:57
  You will know Trish from some of her most incredible work,
• 6:00
  starting with The Girl of the Dragon Tattoo, Ray Donovan, Gone
• 6:05
  Girl, for which she was nominated for Costume Designers
• 6:07
  Guild Award. Westworld, for which she was
• 6:10
  nominated for Costume Designers Guild Award.
• 6:12
  I love, Love Westworld, The Dark Tower, Red Sparrow, for which
• 6:18
  she was nominated for another Costume Designers Guild Award.
• 6:21
  See with Jason Momoa Mink, for which she was nominated for
• 6:25
  another Costume Designers Guild Award, and she was nominated for
• 6:28
  an Oscar nomination for Mink, which was super dope.
• 6:32
  And recently she did Slumberland as well.
• 6:35
  And for all of those that don't know, this is not Trish
• 6:38
  Somerville first stint in The Hunger Games universe as she.
• 6:43
  Did the costumes for Hunger Games, Catching Fire back in the
• 6:46
  day. And she was not only nominated
• 6:48
  for Costume Designers Guild Award, she won that year.
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  So Trish Somerville, she is the go.
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  I love her. We got to know each other.
• 6:58
  Yeah. When I moved to when I moved to
• 7:00
  Los Angeles and I just started working in back then the Fitto
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  Museum. She was the first costume
• 7:05
  designer I ever met. And I was just like, she's so
• 7:08
  dope. And that began my journey to
• 7:11
  costume design. So everyone just gives sense of
• 7:14
  thanks to Trish Somerville. Lexi.
• 7:17
  I'm so excited to get into this episode.
• 7:19
  But before we do that, we have a special treat as well.
• 7:23
  I'm. So excited, What's the treat?
• 7:28
  Trish Somerville is actually here, so we have a little
• 7:32
  interview coming up. So we're going to take a little
• 7:34
  break, and when we come back, I'm going to talk to Trish all
• 7:36
  about these costumes. And after that interview, Lexi's
• 7:39
  going to come back and we're going to talk about our favorite
• 7:42
  costumes and probably some other stuff from the film.
• 7:45
  So get ready. For that.
• 7:50
  Hunter Schaefer, Here we go. See you all after the break.
• 8:22
  And we are back. Thank you so much everyone for
• 8:24
  joining. I am so excited to introduce my
• 8:27
  friend, someone who had been wanting to interview for years
• 8:29
  now, Trish Somerville. Hey, Trish.
• 8:32
  Hi. Nice to see you again.
• 8:34
  I know, it's so excited. Short story When I moved to Los
• 8:38
  Angeles in 2013, my first job was at the Fit A Museum.
• 8:43
  I wasn't in costume design, but my job was to walk costume
• 8:47
  designers to their costumes. And Trish was the first one I
• 8:50
  ever first costume designer I ever met and it was for your
• 8:53
  work on Catching Fire. So it's a full circle moment.
• 8:56
  I don't know, it was your first, your first attendee with.
• 9:00
  Yeah, awesome. And I was like, take this lady
• 9:02
  to her costumes. I was like, OK, and I said, who
• 9:05
  are you calling a lady? So yeah, that's the full circle
• 9:11
  moment. I'm so excited to be here with
• 9:13
  you and to talk about the ballad of songbirds and snakes such a.
• 9:17
  Exciting film. It was crazy and I loved it.
• 9:20
  Oh, good. I'm glad you got to see it.
• 9:22
  So we can really talk about it. Yeah, well let's get into it
• 9:25
  with that. The bout of songbirds and
• 9:28
  snakes. It's been a long while since
• 9:30
  Catching Fire, which you also designed the costumes for.
• 9:33
  So what was it like to return back to the world of Pan Am?
• 9:37
  It was exciting and interesting. It was nice to, you know, be
• 9:41
  back in the world with Francis Lawrence and since some of the
• 9:46
  the team from the other films, you know, but all new characters
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  and all new actors. So that was interesting and
• 9:52
  interesting to go into an approach of, you know, we have
• 9:57
  these four films that were kind of back-to-back films.
• 10:00
  And though I just did Catching Fire, you know, the fanbase got
• 10:03
  to have all four that were kind of in this that were the same
• 10:06
  time frame. And then the film we're doing
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  now is, you know, jumps 65 years backwards when Snow was only 18
• 10:15
  years of age. So really it was nice to have
• 10:18
  that opportunity to present a completely different world and a
• 10:21
  completely different view and all new characters as to how we
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  got to, you know, the first Hunger Games and and the other
• 10:29
  three films. Right.
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  And you get to kind of set a whole different tone, which is
• 10:33
  what I'm really excited to talk about.
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  The battle of songbirds and snakes, like you said, takes
• 10:37
  place about 6465 years ago. And the capital, you know, kind
• 10:41
  of looks the same. It's still very sophisticated,
• 10:44
  beautiful, but also has like a eeriness to it.
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  And it's almost like this was a Hunger Games period piece in the
• 10:50
  way, I would say, kind of felt like we're kind of looking back
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  at what, you know, 60 years looks like that difference in
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  the world of Pan Am. So what was it like design these
• 11:01
  costumes? I'm kind of thinking back on
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  maybe where the costumes kind of evolved through the years
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  because, you know, it's a little bit more.
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  It's still very sophisticated, but maybe not as colorful.
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  The silhouettes are a little bit different.
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  So how did you wrap your mind around that?
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  So just really working early on with Francis and about what what
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  we were wanting the world to look like and working with the
• 11:22
  production designer about, you know, what the locations look
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  like, what colors we were working with.
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  And like you said, there's a lot of, you know, a lot of a lot of
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  these locations hard to believe really do exist in various parts
• 11:37
  of Germany where we shot. They were really, really
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  incredible, you know, I mean these massive statues and these
• 11:44
  incredible buildings and parts of the Academy.
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  So looking at those, I was able to see those image, those, those
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  photographs from location scouts.
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  So knowing that I had the liberty to work with color
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  because I wouldn't be competing with with the with the sets in
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  the background and you know, wanting it to have this post war
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  feeling because this is comes right off the heels of the
• 12:08
  rebellion. We're only into the 10th Hunger
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  Games, which are run very differently from, you know what
• 12:14
  we know much later with Katniss. So trying to keep a feel of like
• 12:20
  this American 1940s to 1950s feel to it and that that
• 12:26
  transpired over from you know what we see in the capital to
• 12:30
  what we see in District 12. And so having it be more of that
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  period feel and keeping it, you know, kind of tonal in certain
• 12:38
  ways like with the with the capital I seeing all the Gray
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  and all the the stone and cold kind of colors of the
• 12:46
  environment. I really wanted to use red on
• 12:50
  the school uniforms. And you know I I do like this
• 12:53
  idea of of the red, all the students flowing in.
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  It's like, you know, a a vein of a blood flow flowing to these
• 13:01
  buildings and they stand out in high contrast to what their
• 13:05
  environments are. And even doing that with Doctor
• 13:08
  Goal in her lab, keeping her in these Reds and whites in that
• 13:11
  stark environment. And then with, you know, with
• 13:14
  the capital citizens trying to keep all their clothing in solid
• 13:19
  colors and not having a lot of print so that it came across as
• 13:22
  a bit more serious, a bit more cold.
• 13:24
  Even though I have a color palette working there, it's a
• 13:26
  bit muted color palettes. And then when you get to the
• 13:30
  district, I wanted to show, because in this film we have the
• 13:33
  opportunity to see District 12 and the people and their and
• 13:39
  their lives outside of what the capital thinks of them and how
• 13:42
  the capital perceives them. So I did want to show this sense
• 13:46
  of community, this, this camaraderie with the singing and
• 13:49
  the dancing and just having actually joy in their lives.
• 13:54
  And this all comes before all these people have had to
• 13:57
  witness, you know, numerous games upon numerous games and
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  the killing of all these people and the sacrifice of all these
• 14:03
  people. So even though they're quite
• 14:04
  controlled by the government, there's a level that they have
• 14:08
  to that they're not going to. And she even says, you know,
• 14:12
  what can be in one of her songs? It's what can be taken away from
• 14:14
  her and what can or what's worth taking and what's not.
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  And there's that joy in that community.
• 14:19
  Even though they're struggling and people don't have money,
• 14:22
  they all come together and they can have this joy and
• 14:25
  expression. And then you see in the capital
• 14:27
  where we have more money and more wealth, you don't see joy
• 14:32
  or freedom or expression. Everybody's treated as one of
• 14:35
  many and as a number, and you're all equally the same, you know.
• 14:39
  So I just wanted to express that in definitely in the color of
• 14:44
  the clothing and you know, showing the difference between
• 14:47
  the lightness and the darkness of both those worlds.
• 14:51
  Right. There's like a relatability and
• 14:52
  authenticity to these different characters.
• 14:55
  I would say I fell in love with the Academy uniforms.
• 15:00
  They were so cool. I love them mostly because of
• 15:05
  the red color. That was going to be one of my
• 15:07
  big questions. I love the red.
• 15:09
  They were sophisticated and still scholarly, but they also
• 15:13
  have that pan and flair, and I love the neutrality.
• 15:16
  Of them. So talk to me about these
• 15:18
  uniforms that really you wouldn't think that the school
• 15:20
  uniforms would be the the piece that everyone gonna be talking
• 15:24
  about. But I love the uniforms.
• 15:25
  If this is what they actually look like in California, I would
• 15:28
  have been all about them. So, oh, that makes me really,
• 15:31
  really happy. I mean with with the uniforms,
• 15:34
  you know, I wanted it to be there's certain things I like to
• 15:39
  do is is, you know, I like to find classic pieces and and and
• 15:44
  elevate them in a way that fits for whatever the project is that
• 15:47
  I'm working for. And you know, there's so many,
• 15:50
  you know, there's a couple films in the past that are known for
• 15:55
  their school uniforms and that's the the main look of the film.
• 15:58
  So there are challenges of coming up with something that,
• 16:01
  you know is interesting in a school uniform but isn't
• 16:03
  distracting. And you know, like saying again
• 16:06
  with the red, we chose that throughout all of the capital
• 16:11
  for the buildings and all the workings of the capital, there
• 16:13
  were certain key colors we would use.
• 16:15
  So it would be Reds, Grays, black, white and a blue.
• 16:19
  And so I tried to keep every, every working hired hand in the
• 16:24
  capital and people we tried to stay contained in that color
• 16:27
  palette. So with the students, I wanted
• 16:30
  it to be just an androgynous, gender neutral kind of look,
• 16:35
  where it wasn't girls in skirts and boys in pants or you got to
• 16:39
  choose your own articles you wanted to wear.
• 16:41
  Because in the capital, if you're one, you're the same, you
• 16:44
  know. And so they don't ever let you
• 16:46
  feel elevated to be special, to rise up.
• 16:50
  It's keeping everyone contained, even though you may get certain
• 16:53
  special treatments. It's governmental.
• 16:55
  It's keeping you contained and and you know no one can rise
• 16:59
  above and you know so, so with the students, I, I and I love
• 17:04
  the idea of the kilt because I think the kilt is, you know, a
• 17:07
  very old article of clothing that we still use in
• 17:11
  contemporary times and we've seen it every decade in some way
• 17:15
  or another. So I really wanted to use a kilt
• 17:18
  and and modernize it in a way of just being a front and a back
• 17:20
  panel for the school uniform instead of being a complete
• 17:23
  skirt all the way around. And then doing the red, like I
• 17:27
  said, because I love the idea of these stark environments with
• 17:29
  this sea of red that you see all the kids coming.
• 17:32
  And then especially when they're watching the games and you're
• 17:34
  looking back at them and it's this sea of red.
• 17:37
  It's a bit of, you know, blood, it's dread.
• 17:39
  It's, you know, it represents a lot of things and, you know,
• 17:43
  just keeping the shirts Gray. Again, no collars, just keeping
• 17:47
  it very simple and clean. But then also we made all the
• 17:51
  buttons as Academy buttons, so we cast all the buttons, you
• 17:55
  know, so they have the Academy symbol on them.
• 17:57
  But yeah, I I was really, there was definitely a struggle with
• 18:01
  these, these uniforms and the mass amount that we had to make,
• 18:05
  yeah. I could.
• 18:07
  During the games, there was oceans of them.
• 18:09
  Oh my gosh. And procuring enough fabric, You
• 18:12
  know, because you're talking about, you know, hundreds and
• 18:16
  hundreds and hundreds of yards of fabric to make them and we
• 18:20
  had so many students. And so you have to make an
• 18:22
  excess amount of uniforms so you can do all the fittings and then
• 18:27
  you have to have extra, you know, because we shot so many
• 18:30
  days. So it was a lot besides all
• 18:32
  like, you know, all the mentors are in it and they all have
• 18:34
  double S of their of their uniform.
• 18:36
  So it was a lot of red fabric. A lot.
• 18:39
  Is there any red fabric left in the world?
• 18:42
  What's hard though is all one type of fabric.
• 18:46
  It was, you know, this wool blend that we got and and then
• 18:51
  just making sure the dye lots all match because a lot of times
• 18:54
  when you get fabric, you know 1 bolt, they're supposed to all be
• 18:58
  the same color. But you know a dye lot can be
• 19:00
  different each time. So it was really tricky.
• 19:02
  Right, man, that sounds so difficult.
• 19:07
  I want to dive into now some of the main characters of the
• 19:10
  story. Each of them had very specific
• 19:12
  styles. The main character is, of course
• 19:16
  story revolves around Coriolanus Snow, played by Tom Bliff, and I
• 19:20
  was just immediately infatuated with Snow because especially
• 19:24
  that tailored shirt that Tigress makes for him in the beginning.
• 19:27
  It's just immediately you're like, I know I'm not supposed to
• 19:30
  like this guy eventually, but I know he's a snappy dresser and
• 19:33
  kind of into it. So talk to me about just
• 19:36
  designing the main look for Coriolanus when he's not in his
• 19:40
  uniform. So in the book it does, it does
• 19:44
  reference you know and I tried to keep try to keep certain key
• 19:47
  points in the book in you know in the film for us where it
• 19:51
  pertained to costumes. And so in the book it does say
• 19:55
  how Tigress is re refurbishing this shirt.
• 19:59
  That was his father's shirt and she has to come up with
• 20:02
  something great for him to wear to, you know, to the Academy for
• 20:06
  this awards ceremony. And and how she pops these tiles
• 20:11
  out of a wall and makes buttons out of them.
• 20:13
  So. So we cast these buttons that
• 20:17
  are kind of a mosaic like a mosaic tile that are that are
• 20:21
  gold, white and black. And then I handed the samples
• 20:25
  off to the production designer so that when he was working with
• 20:28
  his construction crew and and art director how he can
• 20:31
  incorporate them into the tiles in the wall in the bathroom.
• 20:34
  And and then thinking in my mind of like OK the base of the shirt
• 20:39
  could be this white tone on tone texture of the shirt and then
• 20:43
  the things that Tigris would add to it would be these buttons.
• 20:47
  And then she would make this kind of tuxedo front to the
• 20:50
  shirt. So by adding fabric there to
• 20:52
  make it special. So it was trying to make him
• 20:55
  stand out and look special, but also try and think of like what
• 20:58
  reasoning could we have for for Tigris to to make changes to
• 21:02
  this shirt. And then and Tom Long has really
• 21:05
  broad shoulders. So I didn't want to put him in a
• 21:08
  Sport coat here because I I wanted him to have some movement
• 21:12
  and to stand out and have a bit of white around him for, you
• 21:16
  know, for the all these scenes and keep him different than
• 21:18
  other people, 'cause you figure we have all the other mentors to
• 21:21
  dress. And in that section, the mentors
• 21:24
  could all wear their own clothing the day as a
• 21:27
  celebratory thing for the ceremony, whereas every other
• 21:30
  time we see them are always in uniforms.
• 21:33
  So for that everybody's, everybody's dressing up in
• 21:36
  their, you know, their best clothes or they bought some.
• 21:39
  He's ready to accept some prize money too.
• 21:41
  Yeah. And so they're they're all,
• 21:43
  they're all dressed up for this very special occasion.
• 21:46
  But again, wanting to keep all the mentors in the colors of the
• 21:51
  capital, which is the the black, the white, the red, the Gray and
• 21:55
  blue. And so there's some navies in
• 21:57
  there too. And so, yeah, so that was Tom's
• 22:00
  look for that. And then not wanting him to be
• 22:03
  stuffy in a coat because he wears a coat every day, you
• 22:06
  know, for the Academy. And then also that's an expense
• 22:09
  he doesn't have. He doesn't have a proper coat.
• 22:12
  And then we have his Academy look.
• 22:15
  He also goes through, you know, fatigues where he's in boot camp
• 22:19
  and he has the blue fatigues on and then he becomes a
• 22:23
  peacekeeper. And so he has, you know, his
• 22:25
  peacekeeper uniform, which is the the day of Grey.
• 22:28
  And then at the very end in we were referencing it as his new
• 22:32
  man look, because it's when he's come back and he's this new man
• 22:37
  after experiencing so much life in such a short period of time.
• 22:41
  And in the books it says he's in a white suit and having
• 22:46
  conversations with Francis. I asked if like I could lean
• 22:50
  into the colors of the Academy and of the of the capital.
• 22:54
  So if he was trying because he's trying to sneak around.
• 22:57
  And I said if he's trying to sneak around, you know a white
• 23:00
  suit is probably not the best thing to sneak around.
• 23:02
  And keeping him where he's in the same color tone, but he's
• 23:06
  elevated and more sophisticated and he has money now, so he's
• 23:10
  come back as this new man and and keeping him very statuesque
• 23:14
  and intimidating. I loved that new man.
• 23:17
  Look, it's just you could tell he was the boss.
• 23:19
  Something had definitely changed in that moment and it's also
• 23:23
  trying to to bring in like you know the fabric we used on his
• 23:27
  on his waistcoat and the coats and the color is also stuff I
• 23:31
  did with Donald Sutherland and Catching Fire.
• 23:34
  So trying to to have that tie in of like this is where he's
• 23:39
  going, you know, because, you know, I had a reference of what
• 23:41
  Donald Sutherland's Carrot Snow was like.
• 23:44
  Wow, that, that's incredible. What a, what a great direction
• 23:47
  you had there. All right.
• 23:49
  Now let's talk about the dress that everyone's been talking
• 23:51
  about in good ways. Lucy Greybird, played by Rachel
• 23:56
  Ziegler at this beautiful dress, which I believe as I started
• 24:00
  with read a little bit. It's referenced quite a bit in
• 24:03
  the book as well. So I imagine there was quite a
• 24:06
  lot of pressure if this specific look knowing it's going to be
• 24:09
  featured so prominently and all the fans are probably waiting
• 24:12
  for it so. Tell me about this look.
• 24:14
  And what what kind of materials is that?
• 24:17
  Like a rainbow mesh. It's so beautiful and thank you
• 24:21
  very much for all that. But yes, there was you know a
• 24:24
  pressure in ways or or actually goals to hit.
• 24:29
  You know, it's I I've said many times I'm, I'm really
• 24:32
  appreciative of like our fan base and how they are are
• 24:36
  dedicated to all these movies and are invested and care and
• 24:39
  want to see things. And that's really nice.
• 24:42
  And so you know, there I did want it to be, you know, true to
• 24:47
  the way or, you know, off the page.
• 24:48
  When I'm first reading rainbow ruffle dress, it kind of spins
• 24:51
  in my head a lot of what could that be.
• 24:54
  And so there's things I wanted to happen.
• 24:58
  I wanted to again tie into the, you know, The Hunger Games, the
• 25:04
  Catching Fire film that I did and have some relation between
• 25:08
  Katniss and Lucy. So with that I chose to do like
• 25:11
  this corset shape that mimics the same corset shape of of
• 25:16
  Katniss's mockingjay dress, the blue dress where she spends in
• 25:19
  the wings come out. So I wanted to keep that corset
• 25:22
  shape and then within that using a lot of color to to help mimic
• 25:28
  rainbow, using a lot of color in the corset.
• 25:30
  And you could see there's hand painted snakes that go around
• 25:34
  the chest and down around the waist.
• 25:35
  Into the back there's yellow snakes and green snakes, and
• 25:38
  then on the front is the flowers that are Katniss flowers and
• 25:43
  Primrose flowers. So tying that into, you know
• 25:47
  Katniss and her sister Primrose in the film And then so for the
• 25:51
  tulle skirt, it was figuring out what could I do that showed a
• 25:58
  rainbow that would also work functionally because she has to
• 26:03
  do so many stunts in action and crawling around and she's in
• 26:06
  this dress for a very, very, very long time.
• 26:08
  She's in this costume for a very long time.
• 26:11
  I was shocked that she. Wore it so long, I just.
• 26:13
  I kept thinking about you. Actually.
• 26:14
  I was like, there's probably 200 of these dresses.
• 26:17
  I wish we could have had the time and money to make 200 of
• 26:20
  that dress but. We had we had between 8:00 and
• 26:23
  10:00 depending on like the ones for the stunt, the ones for her,
• 26:26
  the layers of the skirt, because the skirt is actually 3 layers
• 26:30
  underneath. And then we then I made her
• 26:32
  little little like long petticoat like bloomers
• 26:36
  underneath so that she could just run around freely and have
• 26:39
  action and not worry about her skirt really coming up on
• 26:42
  camera. And also so we could hide pads
• 26:44
  as well for when she had to do a lot of things.
• 26:47
  So the skirt is a POTUS spree is the base layer of the top skirt.
• 26:53
  There's two on two layers also underneath that POTUS spree but
• 26:57
  on the on the top layer it was it's tulle and it's actually
• 27:03
  hand cut ruffles and sheared it's hand cut and sheared
• 27:06
  ruffles of tulle. And we luckily you know it was
• 27:11
  looking for fabrics that we could use that had a bit of
• 27:13
  stretch and give to it because of all the action shifted she
• 27:16
  would have to do so it wouldn't just tear every time right And
• 27:20
  and so that helped us with that top layer and with the tool and
• 27:23
  then we rigged it where each piece was separate and snapped
• 27:27
  together so that if she did rip some of the top skirt we could
• 27:30
  switch it out or we also had pre made strips of each color of the
• 27:35
  tool handy in case one ripped off we could stitch it back on
• 27:39
  But yeah it was it was definitely a project of love.
• 27:42
  Part of it was made in Los Angeles at Western costume and
• 27:46
  part of it was made in in Berlin.
• 27:49
  The corset and all the hand painting was done in Berlin with
• 27:54
  my team there. And yeah, I mean it was, I'm
• 27:57
  really, really happy with how it turned out.
• 27:59
  I thought it looked really beautiful.
• 28:00
  It looked amazing on Rachel. She was very happy.
• 28:04
  And even, like with, you know, with the peasant top, like the
• 28:07
  top is a whole, you know, separate piece that's a body
• 28:10
  suit. And so it's just, you know, it's
• 28:13
  just to below her breasts of that blouse and then the rest
• 28:16
  was a body suit lightweight so that it would stay down and stay
• 28:19
  together. So it it was definitely, you
• 28:22
  know, and there's and there's hands smoking around the wrist
• 28:25
  that you kind of can't see butter that are in rainbow
• 28:27
  colors and then doing the granny boots because I feel that's a
• 28:30
  timeless shoe. And it also supported her ankle
• 28:34
  so she could run around and leaned it to my ideas of like
• 28:37
  that She's a vaudeville entertainer, a musician, a can
• 28:41
  can girl, so it works really well that way.
• 28:44
  I love that it worked out so perfectly.
• 28:46
  And again, it was so impressive that, you know, I was able to
• 28:49
  sustain so long in the film too. If you don't really see that too
• 28:52
  often, yeah, I'm really excited to talk about this next
• 28:56
  character, Doctor Gaul. Played by Viola Davis.
• 29:00
  And I have to say, you probably won't guess it, but my favorite
• 29:03
  costume of the tire film was actually her lab coat.
• 29:05
  It is so thick, the gradient of the blood red going into the
• 29:10
  gloves every time you came up on screen.
• 29:14
  I was just so excited to see it again.
• 29:17
  So tell me about working with Viola Davis and these costumes
• 29:21
  where, you know, this is really where you kind of saw The Hunger
• 29:23
  Games of it. All I would say is in this
• 29:25
  character in particular. Yeah.
• 29:27
  And it was that thing of where I knew she was someone that I
• 29:30
  could make a bit more progressive because of her
• 29:33
  exposure to the world, her being a scientist.
• 29:37
  And you know, it's like the cultivation of progression.
• 29:42
  So with her in this lab again, like like this is a location,
• 29:47
  this lab is a location. And then they, you know, then
• 29:50
  the set deck is all these amazing shelving and creatures.
• 29:53
  And the lighting, there were these lights that came down
• 29:56
  above the columns, above the skylights.
• 29:58
  So it really lit and was beautiful.
• 30:00
  And all the creatures they brought in were great, but so I
• 30:02
  wanted to again do red there because of the color of the
• 30:06
  Academy and also as intimidation as it is, it looks like very
• 30:11
  scary the. Saturation of blood.
• 30:14
  And I knew she was going to have this scene where she's sewing up
• 30:16
  Tom's shoulder. And I love the idea of the red
• 30:19
  gloves, the latex gloves against that.
• 30:23
  And so again, it was this, you know, Frances kept referencing
• 30:27
  her as like, you know, Gene Wilder in Willy Wonka, the
• 30:31
  original Willy Wonka. And then for me, I leaned in.
• 30:34
  That makes sense actually. I don't know how, and I'm like,
• 30:37
  and then I leaned into like, it's a mad scientist and it's a
• 30:40
  bit of Doctor Frankenstein because there's that serious
• 30:43
  level as well. But she's also quite playful.
• 30:45
  So she was just really brilliant to dress because she does let
• 30:49
  you do anything. And she is this blank slate that
• 30:54
  comes in. And you know, as you're working
• 30:56
  with her, she just starts transforming into this character
• 30:59
  and, you know, the voice slightly changes and she has,
• 31:02
  you know, these little hand gestures and this giggle that's
• 31:05
  so accurate. Yeah, she's so, yeah, she's
• 31:08
  really, really. She was just a joy to work with
• 31:11
  and looked phenomenal and and took this on and and she had
• 31:14
  just come off of doing the woman king and press for that so.
• 31:19
  I tried to make her look older and larger than, you know, than
• 31:23
  what she actually is. So her makeup artist was and
• 31:27
  hair, her makeup and hair team are phenomenal.
• 31:29
  And they made this incredible beautiful wig and did like, you
• 31:33
  know, some scarification on her face and did this kind of Milky
• 31:37
  eye. And it was all in reference to,
• 31:39
  you know, like, you know, mishaps in the, in her, in her
• 31:43
  laboratory that could have happened, her creatures that
• 31:45
  kind of went wrong. And so, so yeah, it was just I
• 31:49
  really love her character and and how much presence she
• 31:52
  commands and how afraid of how afraid everyone is of her, I was
• 31:57
  afraid of. Her like, I loved her, but I
• 32:00
  still was nervous every time she came on screen.
• 32:02
  I think it had to do with the the gloves too.
• 32:04
  I don't know why, but just felt like she was constantly, like,
• 32:06
  dripping in blood. Great, like, I don't want her to
• 32:11
  touch me, but but don't go anywhere.
• 32:14
  Yeah, she's always also encouraging, but then
• 32:17
  terrifying, right? Right.
• 32:19
  I. Want to be her friend, not her
• 32:20
  enemy for sure. I want to fit in talking about
• 32:24
  Tigris because we know Tigris from the.
• 32:27
  Former films, and I mean this must have been a costume
• 32:30
  designer's dream, knowing that you're going to be having a
• 32:32
  character who's basically known as the stylist of Pan Am.
• 32:36
  But yet Tigra still, you know, was very concerned about what
• 32:40
  everything that was happening. And I kind of felt like her
• 32:43
  costumes are almost like her armor in a way, where that's how
• 32:46
  she expresses herself, but still holds a lot of, well concern for
• 32:50
  her, her family at this time, so.
• 32:53
  Tell me about Tigris, especially that look that she wore to the
• 32:58
  games. It was such a beautiful look.
• 33:01
  That silhouette is crazy. Thank you.
• 33:04
  So with Tigris, yeah, they're having that character to dress
• 33:08
  is great. And then when it's, you know,
• 33:10
  casting as Hunter Schaefer, you get the double win, win.
• 33:13
  Perfect, perfect. Casting.
• 33:15
  Yes. Like you're like, could there be
• 33:17
  another Tigress? Like, you know, so yeah, so that
• 33:21
  was really a joy. And she's so lovely and
• 33:24
  everything she put on, I mean, we could have dressed her
• 33:27
  endlessly. Like every single thing we put
• 33:28
  on was like, maybe how could we work in another costume, you
• 33:31
  know? But so with her costume,
• 33:35
  there's, you know, Lily Ann. You know the designer was a
• 33:39
  fashion designer really prominent in the 40s.
• 33:42
  And so you know kind of going with some of those silhouettes
• 33:46
  where it was the extreme peplum and the strong shoulder and a
• 33:49
  very narrow skirt. And so staying true to like that
• 33:52
  40s kind of feel, but then leaning into you know, like a
• 33:55
  like a, you know, 40s or 50s Balenciaga shoulder and bringing
• 33:59
  that out. And so just having her rain a
• 34:03
  bit of the in the capital but still having it be authentic to,
• 34:07
  you know, a 40s and 50s kind of inspiration.
• 34:11
  And so with this piece what I wanted to do was showing, you
• 34:15
  know, sewing the seams on the outside so that it looks a bit
• 34:18
  frayed. So it looks, you know, she's
• 34:20
  she's maintaining it. She's repurposing pieces because
• 34:24
  she is talented and as a designer in her own right that
• 34:28
  she's able to keep the family looking presentable out to the
• 34:32
  world where they're really struggling inside.
• 34:35
  So with her clothes, I always had a little bit of fraying on
• 34:38
  them or like with this, as you're seeing in the in the
• 34:41
  illustration and in the portrait it's the discoloration.
• 34:44
  So it looks like it's also faded.
• 34:47
  So we airbrushed all the edges and airbrushed A darker fuchsia
• 34:51
  tone along the seams and so and it was, it was really great too
• 34:56
  because the patina team, Jan, who headed up the patina team,
• 35:00
  you know, I bring him and we have two, so I bring him one and
• 35:03
  I'm telling him I really want you to just airbrush all these
• 35:06
  seams and he his face kind of went OK.
• 35:11
  Are you sure? And then joked that I said like
• 35:14
  don't screw it up, you know? No pressure.
• 35:18
  It was a very subtle process and he did such a beautiful,
• 35:20
  beautiful job on it. He and his team were just lovely
• 35:23
  and amazing. So yeah, so that's kind of her
• 35:25
  and trying to keep her in the colors of like these happier
• 35:27
  tones because she is trying to remain hopeful and she's always
• 35:31
  optimistic and she is terrified of what's happening in the
• 35:35
  world. And like you said, you know,
• 35:36
  her, her, her clothing is her armor.
• 35:39
  It's the way she can protect herself and then present
• 35:42
  something that's not really happening internally for her,
• 35:45
  you know, and and wanting to be the role model and, you know,
• 35:50
  the arm of the family that is, is keeping the prestige of the
• 35:54
  name. So yeah, So her costumes were
• 35:56
  really important. It just.
• 35:58
  Came out. It was worth the wait.
• 35:59
  I was very excited to see Tigris.
• 36:01
  I have to say my only regrets and it's jokes I always with
• 36:04
  have with Francis, like the hospital scene that she's in.
• 36:06
  I'm like, can't Tigris walk into the hospital?
• 36:12
  Not just sitting and yeah. Because that costume also was
• 36:17
  beautiful. It was like these really big
• 36:19
  fuchsia crepe palazzo pants that we made and this beautiful top
• 36:25
  with the strong shoulders and the rosettes at the neck.
• 36:27
  So yeah, I felt like a little kid.
• 36:28
  In the theater, I was like, OK, Tigris is coming up.
• 36:30
  What she could be wearing. I'm so excited.
• 36:33
  Well, Trish, I'm so excited to see you.
• 36:36
  It was such a great film. And just for my final question,
• 36:38
  looking back on it all and what did this project mean to you and
• 36:42
  your crew to do for the world to see this?
• 36:45
  Now all the fans finally get to see this incredible film.
• 36:48
  I mean it is it it's it was it's really big.
• 36:51
  It was a really, really big film as far As for you know amount of
• 36:56
  costumes and people we had in it.
• 36:58
  Also it it's really, you know we shot in Poland and in Germany in
• 37:03
  various areas of Germany and it's a really, really big film
• 37:06
  for them. So that's also really, oh,
• 37:09
  that's great. And they had a cast and crew
• 37:11
  that not cast, but they had a crew screening and to get
• 37:14
  feedback from that and how excited they all were to finally
• 37:17
  get to see it because you know, we shot this a year ago.
• 37:20
  So I think all that's been really nice and really rewarding
• 37:23
  to hear all the positive especially from the crew and see
• 37:27
  and finally getting to see because as you go along a lot of
• 37:29
  times they don't get to see all the hard work they've put in.
• 37:32
  And I'm really excited for the audience and to get feedback on
• 37:35
  what that is because it is so vastly different from the other
• 37:39
  films. And I think it's a nice
• 37:42
  refreshing change of you know where it's going, what it looks
• 37:46
  like and what more could come from this, you know.
• 37:49
  So I'm, I'm excited to see what people think and and as a little
• 37:53
  teaser, we're working on a very small collaboration of a very of
• 37:59
  a very St. wearable merchandise and a little bit of jewelry that
• 38:05
  we're doing as an inspiration and nod to the film.
• 38:08
  So it'll be nice to see what the fans think of that too.
• 38:12
  Okay. I'm excited.
• 38:13
  A little drop there. Well, I'm excited for.
• 38:15
  I want to see it, you know, even if you expect to, if you know
• 38:18
  what you're walking into. I just have to say, you're so
• 38:21
  wrong. Yeah, this film is so different
• 38:23
  and such a great way, I know. But you don't know.
• 38:26
  There's some twists and turns. Costume designer Trish
• 38:30
  Somerville, thank you so much for joining me.
• 38:32
  I'm so glad I finally got to talk to you.
• 38:34
  Oh, thank you so much. It's so nice to see you again.
• 38:36
  Even if it's just via zoom in Virtual.
• 38:38
  Yeah, but we got hang out. And get coffee soon, Yeah.
• 38:41
  And congratulations to you on this.
• 38:42
  It's a great podcast. Oh, thank you.
• 38:44
  Thank. You, you've got some great,
• 38:46
  great, great guests that I've listened to.
• 38:48
  Well, now you're 1. Of them.
• 38:49
  So I'm very excited. Hi, this is.
• 39:07
  Dan, audio engineer of the podcast here, to let you know
• 39:11
  that if you wanted to support the show, you can head over to
• 39:15
  The Art of costume.com/podstore. There you can buy some awesome
• 39:20
  tea, public merch with the podcast logo, such as a shirt,
• 39:25
  coffee mug, stickers, and of course, a baby onesie.
• 39:30
  Thanks for all your. Support.
• 39:51
  Okay everyone, welcome back from break Lexie.
• 39:54
  That was an interview I. Loved it.
• 39:58
  I learned so much about all of the little details that I never
• 40:02
  would have noticed about those costumes.
• 40:03
  So that's really, really fun. Trish is.
• 40:06
  Just so cool. And you know, I hear it's this
• 40:10
  thing where like, she killed it so hard and Catching Fire.
• 40:13
  What's she going to do now? And I just think that this was
• 40:15
  such a tree. I was obsessed with the Academy
• 40:19
  uniforms. Those red with the kill.
• 40:22
  I I need that. I need that in my closet.
• 40:25
  No. I love.
• 40:25
  I the way I would quite literally wear that is is
• 40:30
  insane. But no it's it's it was such a
• 40:32
  good costume. I also love for like the
• 40:34
  premiere they had like. Them some of the people wearing
• 40:37
  those costumes, did you see that?
• 40:38
  And they were like Cruise for the premiere, but they were
• 40:41
  wearing the costumes like, that's so cool.
• 40:44
  That's so cool. I need that, but in black though
• 40:46
  of course, right, right. Crazy for you, Red would freak
• 40:51
  people. I would be.
• 40:53
  Something would be. Terribly wrong.
• 40:54
  If I saw Spencer wearing a red full as Academy outfit that
• 41:01
  would be crazy. But then also like the Lucy
• 41:06
  Graybeard costume, that one. I can imagine how nerve wracking
• 41:10
  it would have been to do that costume because you know, I mean
• 41:13
  the fandom is very serious about this sort of thing.
• 41:17
  Yeah. And I think she translated it
• 41:19
  from the book so well doing that skirt out of mesh that.
• 41:23
  I mean that feels close to impossible.
• 41:25
  No, it was such a. Good.
• 41:26
  And I loved the details that she was talking about.
• 41:29
  How like the corsetry had like the?
• 41:32
  Snakes on it. But then it had the primroses
• 41:34
  and the and the Katniss on it, right.
• 41:37
  And I was like like that's so much.
• 41:40
  I first of all never would have known that, but that's just such
• 41:45
  like attention to detail and just incredible and you guys
• 41:50
  mentioned, but there was, it was really important like in the
• 41:52
  books like that this dress had like an impact on how the
• 41:56
  capital saw Lucy Grayburn. So I think it was.
• 42:00
  Totally represented. Well, in the movies, yeah.
• 42:04
  I mean, I didn't even know Katniss and Primrose was a
• 42:06
  flower, so I would never have got it.
• 42:09
  OK, so. Did you watch the movies?
• 42:12
  Because PETA plants the primrose.
• 42:14
  Remember in the last one I have a dark spot in my memory every
• 42:20
  time PETA was on screen. So no, what?
• 42:23
  Oh, we are going to. Fight.
• 42:25
  Over that I'm not a PETA fan. That's are.
• 42:29
  You a Gale? I was a neither fan.
• 42:32
  I was. I was gonna say I was fully on
• 42:35
  Team Effie Trinket and Every and that's salad.
• 42:38
  As you should, but I do think that the Primrose is a dead
• 42:42
  giveaway considering roses in it.
• 42:44
  But that's okay. I'll let you have it.
• 42:47
  Yeah. Yeah, OK, I didn't ask you to be
• 42:51
  on this episode to make me look dumb on my own podcast.
• 42:54
  Well, you should have known. All right, Lexi, this is the
• 43:00
  moment you've been waiting for. We have to talk about
• 43:02
  Coriolanus. I'll start by saying that his
• 43:05
  costumes were sick. That white tailored shirt at the
• 43:08
  beginning, honestly is one of the coolest shirts I've ever
• 43:11
  seen. And now I will give you the
• 43:12
  floor to say whatever it is you've been waiting to say for
• 43:16
  the past 24 hours. They were not supposed to make
• 43:21
  presidents know attractive. How are you not supposed to like
• 43:25
  him? I was looking at there was a
• 43:27
  TikTok and it was like some of the reviews from this movie and
• 43:33
  they were like, how can you like he can't be a bad guy if he's
• 43:38
  good looking. And I was like facts like come.
• 43:42
  On Why'd they do that? But no, I loved this.
• 43:46
  I didn't realize that like, he didn't have a jacket.
• 43:48
  That's why listening to the podcast was so interesting
• 43:51
  because it's like I was kind of wondering because he's wearing
• 43:54
  this, you know, shirt and this vest and it looks like he should
• 43:56
  have like some sort of suit jacket with it.
• 43:58
  But since they were saying like he didn't have like the money
• 44:01
  for it, like having a jacket like that wasn't something that
• 44:04
  they could have. So it's so like interesting like
• 44:07
  the again, the attention to detail.
• 44:10
  But I also this is like. Specific shirt was talked about
• 44:14
  in the book and how not Tigris like made it and I think the
• 44:21
  what's his Peter Dinklage? But what's his character's name
• 44:24
  of the tip? Whatever he makes a he.
• 44:27
  Makes a comment about how like it smells like potatoes or
• 44:31
  something like that. And it was because like Tigris
• 44:35
  used what they had to make the shirt.
• 44:36
  So I think it was really like just interesting to see that
• 44:40
  kind of come to life and I think.
• 44:42
  What's really interesting is like, they're so poor that they
• 44:45
  can't afford food. But that's why, I mean, costume
• 44:47
  design in any movie is so important.
• 44:49
  That's why I feel like it was so specifically important in here
• 44:52
  because even though they didn't have money to afford food,
• 44:54
  they're still wearing these, like, amazing outfits.
• 44:56
  And I think it's because, you know, they're trying to still
• 44:59
  have like the effect that they are rich even though they're
• 45:01
  not, and they're trying to kind of cover up the fact that
• 45:04
  they're poor costume design is just so, like, interesting
• 45:08
  because. They're working with what they
• 45:10
  got, but like, they still managed to like, look this
• 45:13
  amazing. Yeah, I mean, it's kind of like
• 45:16
  do or die for them. If they don't, you know, if they
• 45:19
  don't succeed in what Snow's trying to do with these games,
• 45:22
  you know, they're. That's why Tigress is so Team
• 45:25
  Snow. You know, working, doing her
• 45:26
  best to just make him look the best he can and she succeeds.
• 45:30
  And also Snow is hair goals, by the way.
• 45:34
  I just want, And when he at the very end of the film, when he's
• 45:38
  walking up to the fountain with that short hair, I was like, oh,
• 45:41
  I almost took that to Supercuts with me on my phone.
• 45:45
  Don't get me started. So get me the way he pulled off
• 45:48
  all of the different hair colors or haircuts too.
• 45:51
  And like the short one too, the buzz he.
• 45:55
  That was another one of the comments.
• 45:57
  They were like moral of the story.
• 45:58
  Never trust a guy in his buzz cut era.
• 46:07
  OK, quick Harry Styles buzz cut. Yay or nay?
• 46:12
  OK, listen, he looks great no matter what.
• 46:15
  But his curls were iconic. And I'm sad, but Anne, his
• 46:19
  mother made an Instagram post essentially, like, mothering us,
• 46:23
  being like do not hate on my son.
• 46:25
  And it was the best. It literally like, go look at
• 46:28
  it. It was the best Instagram post
• 46:29
  I've ever seen. I was like, that's exactly what
• 46:31
  my mother would do if I was getting.
• 46:34
  I feel like I should time your Harry Styles responses.
• 46:36
  You get those. I'm done.
• 46:37
  I'm done. I'm done.
• 46:38
  No, no, no, no. But you don't want me to talk.
• 46:41
  About it, yeah. But in his buzz cut era, I get
• 46:50
  what you're saying. But he looked good.
• 46:51
  I I almost wanted to shave my head after two.
• 46:55
  One of my favorite characters, though, was Viola Davis as Gaul.
• 46:59
  I mean, that red costume with the gloves, it's just like, stop
• 47:04
  it. I'm obsessed with it.
• 47:06
  So every time she was on screen, I was just, I could feel myself,
• 47:09
  like, losing my breath, yeah. I sat really close on to the
• 47:16
  screen and it was IMAX, so it was huge.
• 47:19
  You got the close up details. I got a close up.
• 47:21
  Of everyone. But I was looking like every
• 47:23
  time Violet came on screen, I was looking so closely, like the
• 47:26
  details her makeup was. Insane.
• 47:30
  Like, I just loved looking at it.
• 47:32
  But those gloves were terrifying like I did.
• 47:37
  I thought they were like actually her skin for a second.
• 47:39
  And I was like, what is going on?
• 47:41
  So I thought that the gloves were so cool.
• 47:44
  But now her costumes were incredible.
• 47:46
  And this, like, I guess it's her lab coat.
• 47:50
  That's a very slay lab coat. Yeah, this is her work uniform
• 47:55
  I've never seen like. A lab coat like that before, but
• 47:58
  it literally looks like. It's like.
• 47:59
  Blood rained down on her, which is terrifying, but like, I love
• 48:02
  it, yeah. And then Trish said, like she,
• 48:05
  she was preparing for that part where she was gonna be sewing up
• 48:08
  Snow's back. And just like with the bloody, I
• 48:11
  mean, yeah, the storytelling, everyone involved in this film
• 48:16
  deserves a very healthy high 5. Because it is so good with the
• 48:21
  production and the sets, and it's just all worked so
• 48:25
  beautifully. I'm very, very happy with how
• 48:27
  this film came out. It could have went very wrong
• 48:30
  after all these years and it went very right.
• 48:32
  I think that it's. Hard.
• 48:33
  When there's like so much hype around something and like
• 48:36
  there's a long time in between stuff like you're just so
• 48:39
  excited. But I was definitely not let
• 48:41
  down. Yeah.
• 48:43
  And then we have to end with talking about Tigris I.
• 48:52
  It's a super time to. Shine.
• 48:54
  I just have such a crush on Hunter.
• 48:59
  I'm obsessed with her. She's so beautiful in the way
• 49:00
  that she could wear clothes too. Is just it's toxic.
• 49:05
  It's so good. It's just the way Trish
• 49:08
  designed, especially that one look she wore to the games with
• 49:11
  the shoulder pads and just that silhouette.
• 49:14
  It is. I mean, there should be a museum
• 49:18
  for all of Hunter's looks in this film, and then she's taking
• 49:22
  the show on the road for all this press and also just working
• 49:24
  with her stylist to look incredibly amazing in everything
• 49:29
  she does. I'm obsessed with Hunter
• 49:31
  Schaefer, and I cannot think of a better person to play Tigris
• 49:34
  and also Hollywood. If you're listening, I know
• 49:36
  you're getting ready to cast for that Legend of Zelda movie.
• 49:39
  You're looking at the only choice for Zelda, and I will
• 49:42
  fight anyone who wants to step to me about that.
• 49:46
  No, she was. Perfectly casted I do because in
• 49:48
  the interview guys were talking about how like in the hospital
• 49:53
  Tigris is sitting and how she was actually wearing something
• 49:55
  phenomenal. Like I'm like I want to see all
• 49:58
  of the because I'm like. That's like she's a stylist,
• 50:01
  like, you know, she's going to be serving.
• 50:03
  Yeah, she just got like that. You're so right.
• 50:05
  She had like a couple seconds where she just walked in and we
• 50:08
  were all like, what is she wearing?
• 50:10
  And like, it's like when people show.
• 50:14
  Up for the Met Gala. And you're trying to figure out
• 50:16
  like, what are like, who is it? What are they wearing?
• 50:18
  It's like, this is my Met Gala. I saw someone say on, you know,
• 50:23
  one of the social media apps that they should do like another
• 50:27
  prequel movie that's just about Tigris.
• 50:29
  And that would be so cool if they do like a Cruella type
• 50:32
  prequel movie about Tigris. That would be sick.
• 50:35
  Oh, cool, that. And then 'cause I was, 'cause
• 50:37
  that's been a big question of, like how this Tigris became the
• 50:40
  Tigris that we know in the original movies.
• 50:44
  People were also talking about doing like a Finnick and Hamage
• 50:47
  movie, which I would die for. Yeah, I had a feeling you're
• 50:51
  going to say that before. I wonder why.
• 50:56
  I wonder why Terrell. Yeah, that'd be so fun.
• 51:02
  And Hunter and Trish have to come back for that.
• 51:05
  And with that, Lexi, as you remember, we like to play a
• 51:08
  little game here. Are you ready to play one
• 51:11
  costume to rule them all? There's so many.
• 51:13
  Good things, but yeah. OK, hit the music, Daniel.
• 51:18
  The one. Costume to rule them all.
• 51:26
  OK, Lexi, I think I'll go first to give you a little bit more
• 51:29
  time. As I said in an interview of
• 51:32
  Trish, my favorite costume was, of course, the red lab coat that
• 51:36
  Doctor Gall wears, the bloody ombre one with the red latex
• 51:41
  gloves. It was just breathtaking.
• 51:43
  Every time I saw it, I just thought this was you never seen
• 51:46
  anything like this. You you think like with a lab
• 51:48
  coat she'd just be wearing like a white trench coat type thing
• 51:51
  and maybe like some blue gloves, but no, of course not at the
• 51:54
  Capitol. And I just feel like something
• 51:57
  so simple was so beautiful. That Ombre is just so good.
• 52:01
  And the gloves, I mean, this whole costume is just so sick
• 52:05
  and I think Trish and her team killed it with this costume.
• 52:09
  I think though my second runner up though has to be Tigress's
• 52:13
  pink Hunger Games look. I mean, that one was so cool.
• 52:17
  I like the greybeard costume, but I just feel like, I don't
• 52:21
  know. I just love all of them.
• 52:24
  This is a hard one to pick a costume.
• 52:25
  It's so hard. Yeah, no, it's so hard.
• 52:29
  I am going to go with the basic answer and then say the Lucy
• 52:33
  Gray Bear, just because I I loved it already.
• 52:36
  Like, in general, I feel like the cubby.
• 52:39
  Like, I feel like I would if I were to be in The Hunger Games,
• 52:43
  I would be in the cubby, because that fashion is like my my
• 52:46
  style. I feel like that's why that's so
• 52:49
  true. Actually, it's so true.
• 52:51
  Everything they wear, I was like.
• 52:53
  Wait a minute, that's giving me some info.
• 52:55
  But but I loved it in general. And then I listened to the
• 53:00
  podcast and I heard those little details and that's one of my
• 53:03
  favorite things about movies and stuff is like the Easter eggs.
• 53:07
  So I like wait, just kidding. I'm not going to say that
• 53:09
  because it's in the movie, but I the fact that the Jess had like
• 53:13
  the Primroses and the Katniss detail like killed me.
• 53:17
  Yeah. So learning about all of that
• 53:18
  was just really interesting. But I I think in general too,
• 53:23
  when reading the books, I feel like that dress has like a
• 53:25
  really big impact. So I was most excited to see how
• 53:27
  it would become, and I was not disappointed in the slightest.
• 53:31
  Yeah, the way that she was able to translate that from the pages
• 53:35
  is just really incredible to me. Oh, good.
• 53:37
  It's like. Also not because when I hear
• 53:39
  Rainbow, I was thinking like a little something, not
• 53:43
  necessarily quite as. Beautiful as she ended up making
• 53:46
  it. Yeah, Rainbow could go tacky.
• 53:48
  Really fast. Really fast.
• 53:50
  Really. Fast.
• 53:50
  And so I was like, this is like, this is, oh, it reminds me
• 53:54
  because, you know, PETA makes the line where he's like, oh,
• 53:57
  orange and she's like, like Effie's hair is they're talking
• 53:59
  about their favorite colors and he's like is mine's orange.
• 54:02
  And Katniss goes, it's like Effie's hair and he's like, no,
• 54:04
  like the sunset. Her dress is like the sunset.
• 54:07
  Like it's like it's beautiful. So that one, that one's my
• 54:12
  winner. That's such a good one.
• 54:14
  And then like Trish said, they had to make, like, just so much
• 54:17
  ruffle, just in case it ripped right thing.
• 54:19
  So they could quickly. My friend Natalie Lucia, who's
• 54:22
  been on a podcast, she actually did a recreation of this exact
• 54:27
  dress and she was texting me throughout the whole thing.
• 54:30
  Like, this mesh is going to kill me.
• 54:32
  I just feel, oh man, such a crazy dress.
• 54:35
  And while we're still on the subject, I have a picture up for
• 54:38
  Lexi. The the look that we see Lucy
• 54:41
  Graybeard wear. I think that's back in the
• 54:43
  Districts toward the end with the purple skirt.
• 54:46
  That was a very Lexi look. Oh man, I wouldn't wear it.
• 54:49
  I would wear it. In a second, I any of the cubby
• 54:52
  looks I was dying. I was like, that is so mean.
• 54:55
  But I was also, I was because I was watching it and I was
• 54:58
  talking. I was interested about the
• 54:59
  shoes. So I was like, like, I'd be
• 55:01
  wearing sneakers like, I don't know, but obviously like.
• 55:04
  Yeah, that's they were on their press tour or whatever.
• 55:07
  And she was saying that Lucy Greybeard is a performer forced
• 55:11
  to like fight and Katniss is a fighter forced to perform.
• 55:15
  I think that that's like relevant is like, you know,
• 55:17
  she's wearing her cute little performing covey outfit.
• 55:20
  But like they were, you and Trish were talking about how
• 55:23
  like they're still, they're good shoes, they support her ankle,
• 55:26
  she can run around. And I didn't really think about
• 55:28
  that. So it was interesting to hear
• 55:29
  that aspect of it too. Yeah, so fun.
• 55:32
  Well, that is it for Hunger Games, the ballad of songbirds
• 55:36
  and snakes. Thank you to costume designer
• 55:38
  Trish Somerville for joining. And thank you, Lexi, for being
• 55:42
  here. I'm so glad I got to see you.
• 55:43
  Oh my God. Of course.
• 55:45
  I'll come back anytime. I know you got to tell me what
• 55:49
  movies or shows I'm not allowed to not have you on a podcast for
• 55:52
  because she's been very upset about Hamilton.
• 55:54
  But it was You're here to literally the next week.
• 55:57
  Listen. If there's one thing about me.
• 56:00
  If I know all of Hamilton, I can't believe I wasn't.
• 56:04
  It's fine. I'll just cry about it later.
• 56:06
  No, I'm kidding. I'm at least sorry this.
• 56:09
  Thank you. For having me on, this was so
• 56:12
  fun. And of course, and if you all
• 56:15
  felt the same way, if you want, tell us what your one costume
• 56:18
  rule them all was from Ballad of Songbirds and Snakes.
• 56:21
  Don't forget our voicemail is 626-515-1826.
• 56:25
  Remember, we don't answer the phone, so don't be scared.
• 56:27
  No one's going to pick up. So you can also send us the
• 56:32
  e-mail at theartofcostume@gmail.com And of
• 56:36
  course follow us on Instagram at The Art of Costume Pod TikTok at
• 56:40
  The Art of Costume, our merch store is open if you go to
• 56:44
  artofcostume.com podstore. And never forget to leave us a
• 56:48
  five star text review on Apple Podcast because that really does
• 56:51
  help. And Lexi, where can everyone
• 56:53
  follow you on all of your global travels?
• 56:56
  Yeah, my. Instagram, TikTok and YouTube
• 57:00
  are all at Lexi Silverstein like my name.
• 57:02
  That's LEXY Silver like the Color Stein.
• 57:06
  And my blog is. Alexify.com That's ELEXYF y.com
• 57:13
  And what about your podcast? Oh, my podcast.
• 57:15
  I. Forgot.
• 57:15
  You can literally listen to my podcast Wherever you listen to
• 57:18
  podcasts, it is Alexify the place for fashion.
• 57:22
  Oh amazing. And there's a great episode with
• 57:24
  me on it if you travel back into the archives, which I
• 57:29
  accidentally saw on YouTube the other day.
• 57:31
  It was a jump scare, right? It won't be.
• 57:36
  There too. I was like, whoops, so was that
• 57:39
  me? Well, thank you all for
• 57:41
  listening. And don't forget to join us next
• 57:43
  week because we only have three episodes left this year.
• 57:48
  So we're getting into our holiday season with the most
• 57:50
  Christmas movie I could think of.
• 57:53
  Edward's gonna eye Roll, Edward Scissorhands.
• 57:58
  It's a holiday movie. So next week Elizabeth will be
• 58:00
  back and we'll be discussing the costumes of Edward Scissorhands
• 58:04
  designed by the one that only Colleen Atwood.
• 58:07
  So get ready for that. Only three episodes left.
• 58:09
  Thank you all so much for joining and may the odds be ever
• 58:13
  in your favor. I love that that was.
• 58:15
  Such a good under. The Art of Costume podcast is
• 58:24
  hosted and produced by Elizabeth Joy Glass and Spencer Williams.
• 58:29
  Our audio engineering and editing is done by Dan White.
• 58:33
  Follow us on TikTok at The Art of Costume and Instagram at The
• 58:39
  Art of Costume Pod. If you want to support the show,
• 58:42
  go to theartofcostume.com/PODstore.
• 58:47
  For more podcast updates, costume reviews, deep dives and
• 58:52
  interviews, go to theartofcostume.com, A blog
• 58:56
  dedicated to highlighting the best in costume design.