Latest / The Art of Costume Podcast / Everything Everywhere All At Once with Costume Designer, Shirley Kurata

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Everything Everywhere All At Once with Costume Designer, Shirley Kurata · The Art of Costume Podcast

• 0:12
  I do kind of enjoy like also clothes from Asia, like,
• 0:15
  sometimes there's like a random word that kind of, you know,
• 0:20
  doesn't entirely make sense, but then it's also amazing to
• 0:24
  Elizabeth friend of mine of me just eat after my show.
• 0:27
  She's like, look at that sweater.
• 0:28
  If you don't ask Shirley, About that sweater.
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  I'll murder you like it. Oh good.
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  Like yeah, that's not good. Hello, and welcome to the art of
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  costume. Blogcast, I'm Spencer Williams
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  and I'm Elizabeth Dry glass. How's it going Spencer?
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  Oh, it's going one of why it's going, why?
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  Because we're getting a second helping of one of our all-time
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  favorite movies. From the past year.
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  Everything everywhere all at once.
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  Yeah. Yes, I am.
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  So excited to talk about this again, especially just with,
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  like all the awards rolling in all.
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  Press. It's such an exciting time for
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  that whole cast and crew. I know I mean every word some
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  tune in just to see honestly, just to see this cast from this
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  movie. Michelle, yeoh is killing it,
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  just like you. And I said keyway Quan is
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  killing it which I'm very happy about, he deserves it, you know?
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  Originally I just thought his just coming.
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  Michelle, yeoh gain, all the praise.
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  But, no, its everyone on this cast, I mean, they won best
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  picture to Critics Choice Awards.
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  So, Hmm. Yeah, I mean you and I kind of
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  called it. Just going to say it again, we
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  did with that. For those of you who don't
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  remember, here's a quick little summary of everything
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  everywhere. All at once, when an
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  interdimensional rupture unravels, reality and unlikely,
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  hero must Channel, her Newfound powers to fight bizarre, and
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  bewildering dangers from the Multiverse, as the fate of the
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  world, hangs in the balance. And that is everything
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  everywhere all at once. Elizabeth one of our behind the
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  words are facts. So this week.
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  Well, Spencer, I think maybe this time we just need to go
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  straight to the source for our behind the Wardrobe facts.
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  What about you? The, you know, it, I am so
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  excited, everyone. Today we have with us costume
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  designers, Guild Award nominee costume designer.
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  Surely karada logo Shirley Hi. Thanks so much for having me.
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  It's such an honor even talking about this film forever.
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  So I'm so glad we're finally making it happen.
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  I can't believe you have time. Well, you know, I was supposed
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  to start a movie but as with indie films, go it got pushed
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  because, you know, financing and all that stuff.
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  So it opened up some time for me, which is fine, though,
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  because I'm working on some fun projects right now.
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  Oh okay. So excited First of all, we have
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  to say, though, you were just nominated for a CD GA award.
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  That sounds pretty exciting. How do you feel about that?
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  I know I'm so excited in the plus to be, you know, in the
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  same category with, like, just the most, like, amazing costume
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  designers people that I really look up to is just like, you
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  know, my mind is blown right in the same category as mmm.
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  It's literally the toughest category is packed to the top.
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  Well, yeah, let's get started. Absolutely, so definitely an
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  understatement. But everything all at once is a
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  unique film and I can only imagine, like, reading that
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  script for the first time, what was your initial reaction to
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  exploring this story and taking the project on major
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  understatement? Yeah.
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  I mean it was like what did I just read?
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  You know and I was like how am I going to do this?
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  But you know I knew that You know, coming in that anything
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  that the Daniels were going to offer is was not going to be
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  conventional whatsoever. So you know I was in for that
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  but I didn't you know, realize the the scope of it and all the
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  different worlds and it was just really hard to sort of like take
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  everything in and even just like break down the script.
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  So literally had to read it like at least 20 times just to just
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  like, try to like, you know, make it make sense.
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  To me and as a costume designer and, you know, and just sort of
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  like break up the looks because it was so nonlinear, you know,
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  and there were scenes to with like Joe be where she changes
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  where it doesn't, you know, say in the script that she changes,
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  you know. So there was a lot of
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  conversations with them about that but yeah, it was definitely
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  like a script that I've never read before that so out there
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  but I knew it was going to be so much fun working on, right?
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  I mean, just I can't imagine reading that script.
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  I would love to see it one day I think.
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  I think they just released it. Oh yeah yeah I haven't checked
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  it out because I'm not even sure anymore.
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  Which you know, there were several versions and you know I
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  am kind of curious to read it. Now I'm going to add that to
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  cart right after this. So let's get into the film.
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  I want to start with the beginning costumes of the film.
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  I was actually fascinated to learn in a New York Times
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  article. Interesting parallel between you
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  and this film, your parents actually owned a laundromat and
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  I correct. Yes, it's totally true.
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  And so, you know, the scene with the flashbacks of little drawer
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  like running in the laundromat. Is so like, I'm so like
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  emotional when I see that because this is is my childhood.
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  You know, I went with my parents often to the laundromat and you
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  know, just sort of kind of hung out or help them in whatever.
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  Our way I could, that's amazing. I had no idea and that history.
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  Play a role in the process when designing a costumes.
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  Well, I did study my mother and what she was wearing.
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  And she was wearing a vest like the one that Evelyn was wearing.
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  And so yes, like the way she dresses.
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  Definitely like just like, look at my parents, my, you know, my
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  dad wasn't actually, he did have a fanny pack.
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  More of a short sleeve polo kind of guy, right?
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  We're talking all about fanny packs a little bit.
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  But yeah, I mean, I think, you know, just growing up as a, you
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  know, immigrant child to Asian parents.
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  You know, I definitely felt connected to to this and I felt
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  connected to the character of joy, you know, and understanding
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  the sort of like generational trauma.
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  And, you know, this this like like search for identity and
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  kind of trying to navigate through this world, you know, I
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  definitely feel connected to that, right?
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  So let's talk about our hero, the legendary Michelle, yeoh,
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  who played Evelyn Wing. She starts to film in a costume
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  that sort of plays like a home base throughout the rest of the
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  story. What was kind of the process
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  behind this? Look because it has to carry a
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  lot of weight throughout the story.
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  Yeah, I kind of felt like Like, you know, going to where her
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  character would shop would be the best source which was for me
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  Chinatown. Hmm.
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  And there's like a lot of like stalls and like little shops,
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  you know, in trying to town here in LA.
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  And so like her outfit was primarily from they're doing and
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  same with wayman's. You know, I think for me is like
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  a costume designer, I kind of tried it.
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  Like, you know, imagine like we're in You know, where would
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  this character shop? You know, like I felt like Joy
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  would probably be like a Urban Outfitters or like, you know,
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  thrift store kind of girl, right?
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  And Jamie, you know, as Deirdre would probably just want
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  something comfortable. So be like, I was joking like,
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  you know, one of those like, little shops that are, like,
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  with the name, like comfort zone or something like that, you
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  know, she would shop at those kind of places.
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  So for Evelyn, you know, I think also in terms of fit, you know,
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  because for both of them for both key and Michelle the, you
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  know, they're they're pretty petite and the clothes in
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  Chinatown fit them better to write and they have to do a lot
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  movement in these costumes also. So has to be functionable.
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  Yes, yes. And so at the fitting, you know,
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  I always make sure like, can you do kicks?
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  Can you like do your Martial Arts in this?
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  Comfortable this. So that was really important and
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  also had to like make sure to that I can get multiples of
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  these. You know like this shells out
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  there. I had to get at least like I
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  think we got like maybe eight sounds good and and Waymond was
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  maybe around that same number, right?
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  Well let's actually talk about women played by a keyway Quan
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  just have to take a moment. Say so happy for him, all the
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  Press. Then, you know, praise.
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  He's Right now so amazing when we meet women, he is dressed
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  like the ultimate dad that left from the last podcast.
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  I'm guessing that was intentional.
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  Yes, yes. I know it's so funny because you
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  know he's much more stylish in person you know like and so when
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  he first put on these clothes is like oh my God I'm such a you
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  know I look like such a dad but he knew that that was like the
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  his character so he was totally fine with it.
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  But But like it kind of took him a back to when he first tried on
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  the glove. It's so hilarious.
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  And also only imagine that fanny-pack took him a back.
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  Did you what was like you're rolling?
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  Like figuring that that part out for their his costume?
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  Well I'm at kind of worked alongside Josh who did props and
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  he you know, we kind of like discuss together because also we
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  also To like, make sure that the parts to it.
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  When he did his action sequences, we weren't going to
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  physically hurt any of the stunt men fighting.
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  So we need to get like special ones.
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  Well, we need to get multiples of it but then like the the sort
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  of like straps and stuff. I think I have to make get some
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  like foam pieces or something to make sure that, you know really
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  hurt them. So but I did help with like
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  figuring out what color What kind of like fabric would be
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  good? And to me, the leather just
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  seemed right, you know, the face, I don't know.
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  I don't even know if it's real leather.
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  It's the perfect color against this really kind of drab
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  background. Yeah.
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  Another more relatable character.
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  Joy played by Stephanie Hugh. Is she?
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  So relatable and her introduction costume?
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  Really speaks? Just volumes about her
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  character. What were you trying to?
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  A with that costume. Yeah, I mean stepping in and I
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  we had conversations from the get-go but like you know we
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  didn't want her to be like too much of us.
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  Like stereotypical lesbian, you know.
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  Like we didn't want to like push it you know too far into sort of
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  like this like, you know, whatever not carrot gets her.
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  Yeah. Yeah.
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  And um but we also wanted to make sure that it was like, you
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  know, she's angst-ridden. She's you know like dealing with
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  a lot and so You know, her, you know, I don't think she was
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  focusing on looking, you know, a fashion plate, right?
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  So to me, I think, you know, it's like, I felt like a flannel
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  and Hoodie just seemed, right? It's like, you know, you know,
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  you kind of where it sort of like hide your body and not draw
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  attention to yourself. So I kind of felt like that felt
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  right for her. Yeah.
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  It feels like she's kind of like pulling back into her costume at
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  times, which is You know, really speaks a lot about her
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  character. I personally loved it because
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  I'm like, I feel like everybody about our age has this look and
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  like, exactly when we wear this look, it's like, okay, you're
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  going through a lot when you when you have that flannel.
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  We never enjoy was the second. We saw her.
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  It's also like, you know, I think that, you know, she's also
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  rebelling against her mother, right?
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  And you know there's a quick flash back to Team joy and she's
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  arguing with her mother and she slams the door shut.
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  And I was like, I want her to be like, in a sort of like, emo
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  outfit, you know, because I think as a teenager, I mean, she
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  was dressing also to sort of like rebel against from other.
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  So, you know, we had our own like black ripped jeans and, you
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  know, like like super emo style and, you know, I think this is
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  sort of like, the sort of continuation of it, you know,
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  she's She's lost that whole like emailed thing, but like I think
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  there's still that like element of wearing something that her
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  mother wouldn't really approve of, right.
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  That's interesting. She moved from like the Hot
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  Topic, phase and moved a little bit more, a little bit more
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  chair but still she's still in there.
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  Yeah, this will probably be the only time in my life where I
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  say, I'm excited to head to an IRS office.
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  Let's talk about Deirdre played by the ultimate cheerleader.
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  Jamie Lee Curtis I'm just obsessed with her.
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  And this costume categorically changed my life.
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  Honestly, I was obsessed, Elizabeth.
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  I just noticed yesterday. The cat bag.
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  We got to talk about that. Yes.
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  Yes. Can you talk to the
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  collaboration between you and Jamie and some of the
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  Inspirations? Yeah.
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  I think that like initially, you know, she had mentioned, you
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  know, a character, a costume that she wore on a And in that
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  time she was wearing these like high-waisted like kind of
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  stretch pants like leggings. Yeah.
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  And she like that it just showed everything you know and and she
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  wanted something in that Vibe for her character because you
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  know, she's you know, her character's busy.
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  She's got work to do, she's at her desk all day.
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  If she wants to be comfortable, you know this is this she wanted
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  to be an elf. Patricia could just sort of like
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  let things out, you know, which he, you know, naturally did I
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  will also wanted it to be sort of like, in colors where, you
• 15:22
  know, it kind of she kind of popped but like still was a part
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  of that world, interesting. So that's that's kind of like
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  how how a sort of started, but there are certain touches like I
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  think that the hand brace was a Jamie thing.
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  So interesting. To watch over it.
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  It's the little details that bring me so much.
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  Joy, I won't lie. This was going to be my
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  Halloween costume by end up, not going anywhere.
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  Some very bummed, but one day it's just so good.
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  This costume is just everything to me.
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  One more thing to, you know. There's that little ring that's
• 16:01
  around her necklace. Yeah.
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  That was also intentionally placed there so she could hang
• 16:07
  her reading glasses on it. Oh interesting.
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  Perfect. That's definitely.
• 16:15
  What do you do? I would do yes.
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  And what about her color palette?
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  I love this kind of mustardy, beige.
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  I mean, is it kind of like foreshadowing to maybe mustard a
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  later on, or what was its color palette and even think of that
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  connection? But I just made it up just but
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  you know I wanted to make sure that like each character had
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  their sort of like Distinctive sort of like palette and you
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  know since Evelyn was more in the sort of like you know Plum
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  like Plum colors and joy wasn't more of her like, blue-gray
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  world. I kind of felt like this color.
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  Just seemed right, you know, for the, for this environment, it's
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  Flawless. So I believe I've everyone will
• 17:07
  remember the first time they saw Joe booed to park his entrance.
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  It's like the first time he saw the shark in Jaws Edward in
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  Twilight. This Cena, left Elizabeth and I
• 17:17
  speechless, we text each other right.
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  After we saw the movie could, just take us back to the scene
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  was like, designing a costumes for this initial entrance.
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  I mean, it's it's wild. It's probably the greatest
• 17:29
  things I've ever seen. Thank you.
• 17:31
  Well, I mean you know it was scripted that she entered
• 17:35
  wearing Elvis costume. I think it's like the dentist
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  had seen a picture of like a girl, sort of like a Bill
• 17:41
  fitting Elvis suit and they just like the vibe of it, but like,
• 17:47
  added touches of her like hair and makeup, you know, I have to,
• 17:51
  you know, give props to, you know, these two cells aren't
• 17:54
  Michelle trunk for hair and makeup because I think it really
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  did complete the look and, you know, made that entrance.
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  So like compelling it. You know.
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  I was dealing with a very limited budget on this phone.
• 18:10
  I'm shocked. So, you know, I just knew I
• 18:14
  didn't have the budget to custom make one.
• 18:16
  And on top of it originally, it was kind of scripted that she
• 18:22
  was going to get, you know, shot at in the Elvis suit.
• 18:28
  In which case, I would have had to get maybe at least like four
• 18:30
  or five of them. I was like, oh well, you know,
• 18:34
  and I had to like Circle back to the Daniels because like,
• 18:37
  telling them that I don't know if I can Do this because also
• 18:42
  you know my prep time is so limited really.
• 18:46
  Yeah. You know I only have like maybe
• 18:48
  like a month and a half to prep it and you know just making
• 18:52
  those kind of Suits. Just takes a long time
• 18:54
  especially if you need multiples.
• 18:56
  And so what I had to do is just like fine one that you know was
• 19:02
  of like higher quality and just tailor it down to fit her
• 19:06
  between. What is that does not sound fun?
• 19:11
  And then it was great about the the Janos is they said from the
• 19:13
  get-go like so they come from the music video World, they
• 19:16
  understand, you know, budgetary constraints.
• 19:19
  You know, they told me just like, you know, if there's
• 19:22
  something that is difficult for you that you can't find or, you
• 19:25
  know, you just are able to do because the budget like just,
• 19:29
  you know, let us know. We'll find a solution and so the
• 19:33
  solution was just to have her change throughout the whole like
• 19:36
  always seen, right? It's so great.
• 19:39
  I mean, In that part. So many times Evelyn has the
• 19:45
  movie star. That was probably one of my my
• 19:48
  favorite like universes and it's a really interesting costume for
• 19:56
  Michelle yeoh, because she is a movie star in real life.
• 20:01
  If anything, with this scene was foreshadowing, 2023 for her.
• 20:07
  How did this will come together? Well I, you know, because it was
• 20:15
  kind of like tied to Michelle. Yo, you know, as a person I
• 20:22
  reached out to the designers that she would often wear on the
• 20:25
  red carpet and Elie, Saab was one of them and, you know, I got
• 20:32
  dresses from other designers to, but this was the dress that like
• 20:36
  felt the most right that that Michelle felt, you know, really,
• 20:40
  you know, comfortable and felt like it would be perfect for the
• 20:43
  scene and and I agree. I think it, you know, it worked
• 20:47
  really well for the scene and we do we I think none of us really
• 20:52
  anticipated this film being as As big as it as it is like, you
• 20:59
  know, that wood and end up in, you know, award ceremonies as,
• 21:03
  you know, like rescued her and all this stuff like we, you
• 21:05
  know, we just thought, okay, this is, you know, this is a
• 21:08
  movie. Let's do the best that we could
• 21:11
  and hope that people will watch it and enjoy it.
• 21:15
  We never like envisioned that it would, you know, just be so
• 21:21
  loved and respected, well, received from, you know, just
• 21:25
  like Everyone in like all the critics and stuff like that.
• 21:28
  So I don't think that, you know, when shooting this scene that
• 21:32
  you know, this would foreshadow award ceremonies but I'm glad it
• 21:38
  did. Just all of us watching it real
• 21:41
  like wow, like she should wear this at the Oscars, you know.
• 21:45
  Like it was that good. I love that quality do that
• 21:48
  where everyone was just kind of, you know, they were not there
• 21:50
  for the ward. So to say this was just a real
• 21:53
  authentic project that think that speaks to likewise.
• 21:56
  Such a beautiful film and why everyone enjoys it so much.
• 21:58
  It's just real. Yeah, I mean it was like, I
• 22:01
  think we all now put our heart and soul in it and you know with
• 22:05
  given what we were given in terms of like, you know, the
• 22:10
  limited resources and budget, we still made it.
• 22:12
  You know, it look as expensive and the, you know, as real as
• 22:19
  possible. So it was definitely a labor of
• 22:23
  love and heart and soul with With even more foreshadowing, is
• 22:28
  this incredible, incredible suit Wayman?
• 22:34
  Where's in the Hollywood Universe was the goal to draw a
• 22:39
  contrast to the Wayman. We started with in the film.
• 22:43
  Yes, absolutely. You know, also, we were
• 22:47
  definitely influenced by Wong kar-wai in the mood for love
• 22:52
  and, you know, I definitely wanted him to look have that
• 22:55
  sort of like, You know, 50 sort of like, Chic suit looks good.
• 23:06
  And so it was kind of tricky at the time to find a suit that
• 23:11
  fits him well because, you know, he's he's he's a smaller guy.
• 23:15
  So I actually went to a store in Koreatown that's old like, you
• 23:22
  know, suits from Korea. And I think it just like Fit him
• 23:26
  so perfectly because he, a lot of the brands that were like,
• 23:30
  you know, like American brands or whatever or european, they
• 23:33
  were still kind of big on him and just bit him so well, well,
• 23:38
  worked out, fall asleep. And we love a short King.
• 23:43
  Yes. On top of this film just being
• 23:46
  absolutely hilarious. It was still extremely intimate
• 23:51
  emotional powerful, which I imagine Imagine was a rather
• 23:58
  complicated and probably required a lot of collaboration
• 24:02
  with the cast of the directors. Like you know your other
• 24:05
  department heads. How did that collaborative
• 24:08
  process work for you? Well, I think that, you know,
• 24:15
  we, we had a lot of meetings together, right?
• 24:19
  And all the department heads, especially speaking with Larkin,
• 24:26
  disciple, or DP. There was initial talk of like,
• 24:30
  the sort of color palette, and the tone of how it was going to
• 24:35
  be shot. Because, you know, some things
• 24:36
  were going to be shot more like, you know, more of a film.
• 24:40
  Mm film like quality, so like the hot dog Universe.
• 24:44
  You know. It was going to be shot, like I
• 24:46
  didn't lose by Carol and then like, you know, the movie star
• 24:51
  Universe, of course like you know kind of earring more
• 24:54
  towards the one car, why world? So like having that initial sort
• 24:59
  of discussion from there where, you know, we all then kind of
• 25:04
  work together to discuss, then, like, like how the color palette
• 25:09
  and like All the different aspects of it would make sense
• 25:13
  in each world, so that we could definitely see the distinctive
• 25:17
  qualities of each world. So that the viewer would
• 25:19
  understand, you know, which world we were in.
• 25:22
  So a lot of conversations, a lot of questions, Daniels and yeah,
• 25:30
  it was the ongoing process to throughout the, you know, the
• 25:34
  filming of it. Did you find that?
• 25:36
  I mean, you've kind of made this clear, but sounds like you're
• 25:38
  working with the cast pretty Italy throughout the entire
• 25:42
  thing. Yes.
• 25:43
  Yeah. You know I also because our prep
• 25:47
  time was a little bit limited and we also shot almost of the
• 25:52
  IRS stuff in the beginning that also gave me time to work on the
• 25:56
  other universes because like we didn't shoot the like the bagel
• 26:02
  Universe. The movie star Universe, the all
• 26:04
  the Kung Fu Universe world. That was we shot that at this
• 26:09
  sort of like end Of of the filming schedule was like the
• 26:15
  last two weeks. So I kind of had time to also
• 26:19
  prepare for those when we do the big finale.
• 26:22
  Yes. You know why we're shooting?
• 26:26
  I, you know, had like multiple fittings, you know, and was like
• 26:28
  able to sort of like, you know, really work on and fine-tune
• 26:33
  some of the costumes for those things.
• 26:36
  I want to talk about two of my favorite costumes and this green
• 26:40
  In look and the punk sweater. I feel like The Stylist side of
• 26:44
  Shirley kurata, really jumped out with these two and I know
• 26:49
  they're kind of uniquely different from each other, but
• 26:51
  can you kind of walk us through both of these super fun looks
• 26:54
  because they are you only get a few seconds of each of them and
• 26:58
  I savor every second. Well, I mean, you know,
• 27:03
  initially, when I spoke with the Daniels, they had set, you know,
• 27:07
  they had also sent me a like a sort of like mood board.
• 27:10
  Like you know, Pinterest board that they made and there's some
• 27:14
  like really crazy looks in there and they were just like
• 27:19
  basically like, you know, just go go wild, you know, like be
• 27:23
  creative with, you know, the costumes that you can get and
• 27:28
  you know, this is sort of like my, you know, experience as a
• 27:33
  stylist for like music videos and working with musicians, this
• 27:38
  this is one designer that I've worked with in the past.
• 27:40
  Last week goes by be kala. And I had just reached out to
• 27:46
  him and said, hey, you know, do you have that I can borrow for
• 27:51
  for this movie? And he had this look, which I
• 27:55
  was like, oh yeah. This one's fun.
• 27:56
  Let's do this one. That's perfect.
• 28:01
  And then the punk sweater, I'm guessing it's it looks thrifted
• 28:04
  to me. It's not.
• 28:06
  It's actually in my purchase in Chinatown.
• 28:09
  Okay. and fortunately, when we were shooting, which is kind of
• 28:15
  around This time of year around Chinese New Year and you know,
• 28:23
  every most like people celebrating it either wear gold
• 28:27
  or red. So there were a lot of like, you
• 28:31
  know, red items and I wanted to make sure that like, you know,
• 28:34
  Michelle was in that that color and I just found this sweater as
• 28:39
  is there? No, that's amazing.
• 28:43
  I imagine your prize super stoked when he saw that, I was
• 28:46
  very stoked. Because I also, you know, I do
• 28:49
  kind of enjoy like also, you know, like dip clothes from
• 28:52
  Asia, like sometimes there's like a random word or like, you
• 28:57
  know, some phrasing that kind of, you know, doesn't entirely
• 29:01
  make sense, but then it's also amazing to, you know, because he
• 29:06
  loved them the combination of that.
• 29:08
  I actually just noticed that I've seen a film, you know, of
• 29:10
  quite a few times. Now I watched it the other
• 29:12
  weekend and she turned around and I saw it and I was like, I
• 29:15
  might Friend of mine, a Visa seat after my show.
• 29:19
  She's like, look at that sweater.
• 29:20
  If you don't ask Shirley about that sweater, I'll murder you
• 29:23
  like it so good. Like, yeah, it's like good.
• 29:29
  So the bagel Universe, which was kind of one of the big finales
• 29:33
  and was just extraordinary to look at.
• 29:37
  Can you like walk us through the process of your inspiration and
• 29:41
  how you came to the look of the bagel Universe?
• 29:44
  Because it's probably one of the most unique.
• 29:47
  Meek of the film and we've heard about your your reference to, to
• 29:52
  a co co co who we talked about on this podcast, basically,
• 29:56
  every episode salvation. One of my favorite costume
• 30:00
  designers and actually have a funny story about trying to meet
• 30:06
  her. Because so, I studied fashion in
• 30:09
  Paris and when I was living there, my neighbor who is like a
• 30:13
  photographer was friends with a CO, you know, Damn, I really
• 30:17
  want to meet her. And this is before we even, you
• 30:20
  know, got into like costume designing, you know, because I
• 30:24
  was sitting fashion at the time, but I still just like, you know,
• 30:27
  really wanted to meet her. And apparently they tried to
• 30:30
  come by, and I wasn't home. So, I never got to meet her, but
• 30:34
  I got her address and I wrote her a letter.
• 30:37
  So, once I was finished with, you know, with my schooling
• 30:41
  there and I decided I'm going to get into like, you know, costume
• 30:45
  design instead of fashion. And I wrote her a letter saying,
• 30:49
  you know, I would really love to work with her.
• 30:51
  And this is like, you know, like pre email days, right?
• 30:57
  And, you know, I never heard from her but like, you know, I
• 31:01
  totally get it too because it's like, I'm in La.
• 31:04
  I don't even know where she was working at that time, you know.
• 31:07
  It was probably one of those like logistically, like, you
• 31:09
  know, probably very difficult things to actually make happen.
• 31:14
  But I've always been a huge fan of her and You know, definitely
• 31:19
  was like, you know, Revisited the book that I have of her and
• 31:22
  like, was looking at her costumes and so that that did
• 31:27
  play it. You know, that did influence me
• 31:29
  with this. But I also just wanted to sort
• 31:33
  of mix a little bit of the Sci-Fi world with the historical
• 31:37
  world, you know? And I love rough.
• 31:39
  So, I just love the way it looks, you know, and I wanted to
• 31:43
  incorporate that but then also use like materials that were
• 31:47
  were like a little bit more like, you know, connected to, to
• 31:51
  the Sci-Fi world, right? So like vinyls and and sort of
• 31:56
  like and X. Yeah.
• 32:01
  And so, it was kind of a little bit of getting stuff
• 32:07
  custom-made, but then also piecing together things.
• 32:11
  So like the skirt, you know, I worked with a designer Claudia
• 32:16
  lie. Before working on, like, you
• 32:20
  know, photo shoots and like, music videos.
• 32:23
  And I had reached out to her during my prep to see if she
• 32:26
  would help, she would want to collaborate and, you know, she
• 32:29
  said that she would. And so she made all the sort of
• 32:32
  bagel follower robes for me. And then made the Plaid look
• 32:38
  that Joby wears when she first enters.
• 32:41
  Mmm. Love that look.
• 32:43
  Yeah. And it's a there was a skirt
• 32:45
  that she had and I was like, I know I We love a skirt.
• 32:48
  I think this will be really cool for the scene.
• 32:49
  So I kind of basically like, started with that and like kind
• 32:53
  of built a costume around it and just like found these amazing
• 32:58
  gloves by Mana wrath, which was in this shop called La rocks.
• 33:08
  Well, they Ella rocks. They like I've worked with them
• 33:11
  in the past where they, you know, build costumes for so many
• 33:15
  like musicians and they do. A lot of great custom work.
• 33:19
  So, you know, with these gloves, you know, I wanted to make a
• 33:24
  bodysuit that sort of like, you know, worked well with it.
• 33:29
  And then from there, I just sort of like, you know, added you
• 33:33
  know, the pearls and them abolishment, it's it's sort of
• 33:38
  completed, but it was sort of a lot of trial and error.
• 33:41
  I have I think like three or four fittings with Stephanie
• 33:44
  tutorial. Wow, figure out what would be
• 33:46
  best. Cuz I had different capes, you
• 33:48
  know, and some were just like, would just swallow her up too
• 33:51
  much. You know, I wanted something
• 33:53
  that seemed Regal, but that like, also worked well with
• 33:57
  like, the movement and yeah, just like take away too much
• 34:01
  from the scene. But also just like felt like,
• 34:04
  you know, it contributed to this sort of like weird sci-fi,
• 34:09
  Celestial world, It's such a beautiful costume.
• 34:16
  I love the rough actually kind of does remind me of like the
• 34:18
  Lucy westenra character from Dracula when I said yes.
• 34:24
  So beautiful. And I love the white.
• 34:26
  I think about the hot dog finger Universe, quite often.
• 34:30
  Actually, some of the most emotional moments in the film,
• 34:32
  takes place, and this universe. But I love the costumes are so
• 34:37
  much subtle storytelling happening between a costumes to
• 34:40
  plot that cat paintings. Even Blinds are giving me hot
• 34:44
  dog. I was never big on the color of
• 34:48
  hot dogs but now it's like, I love this color.
• 34:50
  So what's going on here? Yeah, I wanted.
• 34:54
  I wanted their wardrobe to be the colors of like hot dogs and
• 34:58
  then with accents of you know like maybe yellow like mustard
• 35:05
  and red which ended up not you know, not really being seen in
• 35:11
  the wardrobe but there was a scene.
• 35:13
  That was cut where they're having a dinner party and the
• 35:19
  Daniels were like the sort of like the dinner party friends,
• 35:25
  but we only see their feet basically holding glasses of
• 35:29
  wine and stuff. So I had actually been put them
• 35:33
  in like, you know, mustard and red.
• 35:38
  Unfortunately, yes, they cut themselves out of a scene if
• 35:42
  anyone's going to do it at least See ya.
• 35:46
  Bye love these look stirs. So Chic love the colors.
• 35:51
  It's just uh it's beautiful. Thank you.
• 35:55
  Another really stunning costume is the Evelyn singer look.
• 36:02
  It was so striking what sort of influences were you trying to
• 36:05
  channel through her costume? Yeah, but when I really just
• 36:10
  went, you know, and just wanted to stick with the sort of like
• 36:13
  historical or, you know, like accurate try to be as accurate
• 36:17
  as possible and what, you know, people wore a Chinese operas.
• 36:22
  And so this was, you know, something that I was able to
• 36:28
  source that I felt, you know, was, you know, perfect because I
• 36:33
  loved the sort of color combinations in it and You know,
• 36:38
  was colors that we didn't really use and other parts of the film
• 36:41
  so, but it worked. Well, there are so many costumes
• 36:45
  in the film. We really don't get time to see
• 36:48
  them all, but choubu save some of her best looks for last this
• 36:54
  Scene. It was just, it felt like just
• 36:57
  costume after costume after costume, like, what kind of time
• 37:01
  and effort of that. Take I know.
• 37:05
  I mean the that was probably Only like, like the bulk of my
• 37:10
  work. And in this film was just, like,
• 37:12
  trying to, like, get all these costumes together and there were
• 37:18
  scenes to that were cut to or like answer.
• 37:21
  Yeah. So we're confident that we're
• 37:23
  like scripted that we did that end up shooting but you know you
• 37:28
  could definitely see my influence of like sort of
• 37:29
  Japanese fashion. You know, in my love for all
• 37:33
  things, come to Garson. You know my love for like sort
• 37:36
  of I heard you Goose or you know anime manga style so that's sort
• 37:45
  of like all all these three represent, you know, that that
• 37:49
  that sort of obsession that I have.
• 37:52
  Yeah, definitely. Like the the gospel you know,
• 37:55
  the goth look that was that was so much fun.
• 37:58
  She's wearing like a Tata come to Garcon top.
• 38:02
  Actually and I just you know just piled on The sort of like
• 38:08
  spiky the spikes and studs and and I had so much fun with that
• 38:14
  outfit. And then, of course, then I'm
• 38:19
  also obsessed with that book fruits and the magazine fruits
• 38:23
  and all the, all the sort of like amazing.
• 38:25
  How hard, you know, looks that you see in Harajuku.
• 38:27
  And so the sort of Kpop look was definitely inspired by that and
• 38:34
  you know, I actually Just in order to save money because, you
• 38:39
  know, my budget was, I kind of I had this that Jeremy Scott
• 38:45
  jacket just in my kit to use one day.
• 38:50
  I was like this is so cool. You know, one day I'll just,
• 38:52
  I'll just keep it and I'll find a home for, you know.
• 38:55
  Yeah. And so, you know, when I was
• 38:58
  trying to come up with different looks for for jobu, I had
• 39:03
  mentioned to the Daniels that I had this jacket.
• 39:06
  Jacket. And maybe we can, you know,
• 39:08
  build a look around that and they loved it.
• 39:10
  Because you know, like especially from like the side
• 39:12
  angle, you could just see the Bears and everything and yeah,
• 39:15
  the colors were so fun, it's so fantastic.
• 39:18
  I just love how like everything, you know, as everything starts
• 39:21
  to kind of fall apart at the end her costume, is Gala been were
• 39:24
  jumbled to, we have all these different Fabrics working
• 39:27
  together because this costume, kind of represents where our
• 39:30
  heads were at this point and the film me.
• 39:33
  Yeah, exactly. And and that one Just sort of
• 39:37
  like a natural sort of like, freeform draping on my end, you
• 39:41
  know, I got like a black jumpsuit and I was like, I'm
• 39:43
  just gonna, like drape different, like fabrics and like
• 39:47
  kind of throwing different elements from our past costumes,
• 39:50
  you know? So like the glove, the silver
• 39:52
  gloves and she's wearing his from her like, you know,
• 39:55
  Luchador outfit. Mmm.
• 39:58
  And she's wearing the sneakers. The Converse that Joy.
• 40:04
  Where's there's like the golf socks?
• 40:06
  There's, I think her polo shirts, somewhere mixed in there
• 40:11
  and I wanted to put a blue plaid shirt and in that outfit, but
• 40:18
  then I found out that it was going to be shot in front of a
• 40:22
  blue screen and that who's been looks like almost like identical
• 40:26
  to it. So I had to change it to the red
• 40:27
  plaid, but we do see her in a red plaid suit later.
• 40:30
  So, you know, it kind of and I think the red plaid actually
• 40:34
  works pretty well against that orange and yellow.
• 40:36
  So I think it worked out. We are at the end here.
• 40:41
  Surely this film was really one of our favorites.
• 40:44
  I mean, we've been talking about this, you know, for months now.
• 40:47
  And I'm so excited to see all the public love for this film.
• 40:49
  They cast and directors, all the Departments, including the
• 40:52
  costume, designing, I'm sure this has been a profound
• 40:55
  experience for you. So I just want to know, you
• 40:57
  know, what does this film mean to you personally
• 40:59
  professionally. It's, it's been an incredible
• 41:02
  experience. I imagine.
• 41:03
  Yeah, it's been so amazing and I'm just so happy that you know
• 41:08
  people you know people were like really emotionally moved by it
• 41:14
  and it's also like just hearing stories of people who you know,
• 41:19
  might have been like going through a rough time seeing it
• 41:23
  and then just you know sort of changing and being you know like
• 41:28
  just just sort of really thinking about life and what's
• 41:35
  important to you. It and hearing.
• 41:38
  Those kind of stories really makes me feel like what I'm
• 41:41
  doing is really important. And gives me sort of like
• 41:47
  meaning and motivation to continue to work on projects
• 41:51
  like this. I just like, I'm honestly Blown
• 41:56
  Away by the fact that I even got nominated, you know, against
• 42:01
  like customers eyes, like Ruth Carter.
• 42:03
  And like, you know, these are just like people, I admire so
• 42:06
  much, so So to me like it's really is just so magical and
• 42:16
  special to me to be a part of this film and have all the all
• 42:21
  these things happening. You know, I'm still kind of
• 42:24
  reeling from it, you know. And you know this I been working
• 42:29
  a long time in working in costumes and you know styling
• 42:34
  and all that stuff, you know. I don't have a ton.
• 42:37
  Of films under my belt. But I've been working in the
• 42:39
  business, you know, working on commercials and short films and
• 42:44
  music videos and you know, also print work.
• 42:47
  So it's kind of nice to finally get, you know, a little bit of
• 42:51
  attention for that. And hopefully this will allow me
• 42:57
  to get, you know, more jobs and films coming my way that or you
• 43:04
  know, special and unique. Like this film was, you know,
• 43:08
  and I just really just want to continue to work with, you know,
• 43:12
  creative people and work on projects that like do something,
• 43:16
  you know, good for the world whether it's like, you know,
• 43:19
  telling a story that people, you know, relate to or respond to or
• 43:25
  move by or just working with, you know, amazing storytellers
• 43:33
  actors. Creatives.
• 43:36
  That's, that's what you know, is what I care about more than
• 43:40
  anything, you know, more than like any award or whatever.
• 43:44
  It's a sort of like, having that that ability to sort of like
• 43:48
  work. With really amazing people that
• 43:54
  kind of contribute to just life art, you know, storytelling.
• 44:05
  And You know, I hope that more projects like this come my way.
• 44:12
  Shirley is been such an honor having you with us.
• 44:16
  I'm so endlessly. Happy for you.
• 44:18
  We both are that's fans and I just wish you the best of luck,
• 44:22
  you know? Not just in this award season,
• 44:24
  but just going forward because I really think that your voice and
• 44:27
  costume is so important. And I'm just so excited to see
• 44:29
  what you do next. Yes, I know.
• 44:32
  I feel like I, you know, I still have a lot more to show so I
• 44:35
  can't wait to, you know, No be able to do that.
• 44:38
  So stay tuned and we'll be right there alongside here along the
• 44:43
  way and let us know when you want to talk.
• 44:46
  Thank you, thank you. You're out of costume.
• 44:53
  Blogcast is hosted and produced by Elizabeth Joy, glass, and
• 44:58
  Spencer Williams. Our audio engineering and
• 45:01
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