Latest / The Art of Costume Podcast / The Bikeriders with Costume Designer, Erin Benach

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The Bikeriders with Costume Designer, Erin Benach · The Art of Costume Podcast

• 0:12
  Oh gosh, at some point I think we put Jeff's son to work and he
• 0:15
  made some too. I mean everybody, every we, we
• 0:18
  like, we made like a, an APB announcement.
• 0:20
  Aaron was a Johnny played by Tom Hardy character.
• 0:23
  Just telling people what to do and bring your crafting
• 0:26
  supplies. Yes, that's right.
• 0:31
  And then I told everybody to burn it down.
• 0:43
  Hello, welcome to the Art Costume Podcast.
• 0:45
  I'm Elizabeth Joy Glass. And I'm Spencer Williams.
• 0:48
  Elizabeth, so good to see you. So.
• 0:51
  Good to see you. It's been a minute.
• 0:53
  It's. Been a minute.
• 0:54
  It's been a it's been an interesting hot girl summer that
• 0:57
  just came to an end. Yeah, I'm excited to see you and
• 1:00
  I'm actually going to be seeing you very, very soon.
• 1:03
  Can we talk about this big announcement we're sitting on?
• 1:07
  Oh my gosh, everyone, I'm so excited.
• 1:10
  Spencer and I are going to be at La Comic Con on October 5th with
• 1:18
  a very exciting panel. Spencer.
• 1:22
  I'm so excited. What is our panel?
• 1:25
  OK, so our panel is called Dressing the Multiverse Behind
• 1:30
  the Costumes of Loki. We are getting into all the
• 1:33
  costumes of Loki from season 1 and 2 and we will be having some
• 1:38
  special guests of us, some members of the costume design
• 1:41
  team for Loki on Disney Plus. And I'm just so excited.
• 1:46
  I'm excited to be gaining to our favorite God of Mischief,
• 1:50
  talking about Tom Hiddleston, the TVA, the World's Fair.
• 1:55
  But most of all, I'm excited to be doing it with you in person.
• 1:59
  I. Know I can finally come out for
• 2:01
  one of these things. I'm so excited.
• 2:04
  We just kind of like pitched this idea to Comic Con and they
• 2:08
  loved it. And then I kind of brought it up
• 2:10
  to Elizabeth and she was like, yeah, I'll be be there.
• 2:13
  Yeah, I was. Like yes I will make this work.
• 2:18
  So if you want to see Elizabeth and I for our first in person,
• 2:22
  kind of like a podcast but not recorded conversation, yes.
• 2:26
  LA Comic Con Downtown Los Angeles at the Convention Center
• 2:30
  October 5th. I want to say it's at like 3:00
• 2:32
  PM, but you should check the app for your local listings, yes.
• 2:37
  Absolutely. You never know what might happen
• 2:40
  with those time slots. Yeah, we've already had lots of
• 2:43
  changes, but we're very excited. I hope all of our LA Costumers
• 2:46
  will come out and see us, take some photos.
• 2:50
  It'll be a good time. I'm very excited and maybe you
• 2:53
  and I will walk around the floor a little bit and hang out.
• 2:56
  You know it, I want to go down to Artist Alley, at least for a
• 2:59
  minute. Check it out.
• 3:01
  You know, Elizabeth's bringing a big bag to fill it up with
• 3:06
  everything. I wish I could got an economy
• 3:10
  ticket so OK. Well.
• 3:13
  Your night, it's like, how dare you bring anything?
• 3:15
  So that means artist Ally, she's looking for the one, the one to
• 3:19
  make her day. And you will have something.
• 3:22
  I'll be going home with Elizabeth.
• 3:24
  Yeah, the one that says you must put me on your wall.
• 3:28
  Yeah. Well, Elizabeth, I'm excited for
• 3:34
  today's film. I actually saw this movie a long
• 3:37
  time ago. It is called The Bike Riders.
• 3:42
  It actually was getting ready to premiere during the strikes, but
• 3:45
  then it got pushed back almost the entire year so.
• 3:48
  Yeah. For a lot of you, you might have
• 3:51
  just seen it, but for me, we're going on a year, year and a half
• 3:55
  since I saw this movie. The first time I've seen it
• 3:58
  since but. I remember you mentioning this
• 4:00
  and I was like, OK, completely forgot about it.
• 4:07
  Just there was there was so much going on that summer.
• 4:09
  It was. It was a busy summer.
• 4:12
  It was more than busy. I felt like Chicken Little
• 4:16
  telling everyone to see this movie that no one can see
• 4:18
  because it's not in theaters. But I'm like, I'm telling you,
• 4:21
  once it comes out, it's great. And it is Austin Butler is in
• 4:25
  it. Obviously I I love him, but
• 4:29
  Jodie Comer and Tom Hardy, it's just such a great crew.
• 4:33
  This like movie is right up my alley.
• 4:35
  I used to be such a Sons of Anarchy.
• 4:41
  That's actually kind of shocking.
• 4:43
  Like. I loved that show.
• 4:46
  I I kind of like with school and stuff, I kind of like lost track
• 4:50
  of it. And then I heard how it ended
• 4:52
  and I was like, I don't like that.
• 4:53
  So I'm just going to keep the ending I created for myself in
• 4:56
  my mind till I can like emotionally come to terms with
• 5:00
  it and like finish out the series.
• 5:03
  But yeah, I loved that show. Well, this, this kind of adds up
• 5:08
  because when people think of you and I, they definitely think of
• 5:10
  motorcycle clubs. Oh yeah.
• 5:12
  Yeah. Oh yeah.
• 5:16
  I actually did do a Daryl Dixon cosplay.
• 5:21
  Really. Yeah.
• 5:22
  I still have it. I don't know it I it was like a
• 5:26
  weird con. I was like by myself that day.
• 5:28
  So I don't think I have pictures, but like I got like a
• 5:31
  Jean jacket and made it into his motorcycle jacket.
• 5:34
  That was that was a fun. One the wings on the back.
• 5:37
  Yes. I love that.
• 5:39
  Well, actually, Norman Reedus is in this film.
• 5:42
  He. He plays what?
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  Yeah, he plays, You know, he's in a motorcycle club and he
• 5:48
  looks like Daryl Dixon. But if he survived a zombie
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  apocalypse in, like, Venice Beach and he didn't have any
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  friends, that's what he looks like in this film.
• 5:58
  OK. I love that, but before we say
• 6:01
  too much, we should dive into it because we have a special guest
• 6:04
  that's waiting so. Excited for this?
• 6:07
  I'll start us off with a summary.
• 6:09
  The Bike Riders is a film based on Danny Lyons 1968 photo book
• 6:14
  of the same name which documented the Chicago Outlaws
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  Motorcycle Club. After a chance encounter,
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  headstrong Kathy's drawn to Benny, member of Midwestern
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  motorcycle club the Vandals. As the club transforms into a
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  dangerous underworld of violence, Benny must choose
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  between Kathy and his loyalty to the club, and that is bike
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  riders. And I just got to say I've seen
• 6:40
  Dandelion's book. It is really cool.
• 6:42
  It's this great book just full of photos.
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  You just really get to see, you know, the culture that is
• 6:48
  brought to life in this film. You know, it's the story is
• 6:52
  fictional, but the lifestyle and actually I believe one of the
• 6:56
  characters is even based on, you know, a real time and a real
• 7:02
  motorcycle club. So it's actually quite
• 7:04
  fascinating. Interesting.
• 7:08
  I cannot wait to dive into this Spencer.
• 7:12
  Going behind the costumes, we have director Jeff Nichols and
• 7:17
  costume designer Erin Bennick, who you will know her work from
• 7:22
  Blue Valentine, Devil Drive, The Neon Demon, A Star Is Born,
• 7:31
  Birds of Prey, a personal costume favorite of mine, and
• 7:38
  Spirited. I didn't know Birds of Prey is a
• 7:41
  favorite of yours. I've still yet to see it.
• 7:44
  I love that movie. It's probably one of the top
• 7:47
  three like DC movies of like the new the newer ones.
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  Well, Elizabeth, to get into the bike riders, we actually have
• 7:55
  here costume designer Aaron Bennick.
• 7:59
  I got to meet her and talk about this film.
• 8:02
  Of course, you know, we had met the first time when we saw the
• 8:06
  film originally like a year and a half ago.
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  So I was excited to finally reunite with her all this time
• 8:11
  later and actually talk about the movie.
• 8:14
  We get into everything from all the jackets, all the patches, of
• 8:19
  course, all the breakdown of the costumes because riding around
• 8:22
  on a motorcycle all day probably is not great for your skin and
• 8:28
  or your clothes. And of course, we talked about
• 8:32
  working with actual references, like the photo book we were
• 8:35
  talking about or interviews with the character that Jodi Comer
• 8:40
  plays, Kathy. I believe they got to listen to
• 8:43
  some of the actual audio. So they really got to get into
• 8:47
  these people. So I'm excited to talk about all
• 8:49
  that with Aaron, and afterwards Elizabeth and I will come
• 8:53
  together to tell you guys what we have coming up in our spooky
• 8:57
  season. Yes, I cannot wait.
• 9:00
  So stay tuned for that after our interview.
• 9:28
  I am so excited to finally be here with my friend, costume
• 9:33
  designer Aaron Bennick. Hey, Aaron.
• 9:36
  Hello. Spencer.
• 9:37
  It's good to finally talk to you, yeah.
• 9:40
  I've been, I feel like I've been anticipating talking about the
• 9:43
  bike riders for several hot minutes as of September.
• 9:47
  So, but I mean, I have been keeping the faith going and
• 9:50
  telling everyone how great this movie is.
• 9:51
  They just, you know, awesome. Thank you for doing that.
• 9:55
  I'm very grateful. We're grateful.
• 9:56
  Yes, this finally is going to get be able to be seen by the
• 10:01
  world. Yeah, yeah.
• 10:02
  Well, it's an incredible film and I've had a lot of questions
• 10:05
  for you, so I'm excited to get into it.
• 10:08
  So let's start from the beginning.
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  Actually, from 1965 to 73, Danny Lyon, a photographer, documented
• 10:16
  and interviewed a Midwest motorcycle club for which the
• 10:19
  Book Writers film is inspired by.
• 10:23
  So already that's a lot to go off of, so I want to talk about
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  your process for finding the inspiration for the costumes
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  you've mentioned before, sticking close to the photos
• 10:33
  that you saw in the book. So how did the book influence
• 10:36
  your designs, and could you elaborate on how you translate
• 10:38
  those images into costumes? Sure.
• 10:42
  You know, much like I do all all of my costume design, I always
• 10:45
  start with the character. I'm always looking at, you know,
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  what's the person, the personality.
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  The psychology you know behind each individual 1 so.
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  It was very similar with this, you know it was OK.
• 11:00
  What is the? What's?
• 11:01
  Johnny's, you know, story. Where did he come from?
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  What does he do? He's a, he's a truck driver.
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  He, he's watching and being influenced by the wild one by
• 11:13
  Marlon Brando. You know, he loves racing.
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  He's wearing leather because it's purposeful for protection.
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  He's probably got a 1950s silhouette because that's more
• 11:25
  his heyday and more, you know, what he's coming off of because
• 11:29
  we actually pick up on our film in 1963.
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  So like, I knew, you know, I wanted.
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  To, to, to. Go into a 50s silhouette with
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  him and make him different than the the 60s boys.
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  And yeah. And then, you know, and then I
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  just, I would go through like each one and, you know, Jeff and
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  I would talk about, you know, Jeff would be able to give me a
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  lot of background. But also the book I mean Danny
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  wrote a lot about and had a lot of transcripts from.
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  These actual characters, so it was like a very cool, like I
• 11:58
  into you. Know we had voice recordings
• 12:01
  from Kathy. We had voice recordings from Zip
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  Go and you know it. Was just, it was, it was like it
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  was all. Just like that kind of
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  information to make them, you know, make them real.
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  And, and so even though they were in a uniform, I wanted them
• 12:19
  to each feel really individualized and feel like
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  they had their own story. I mean, they were making all
• 12:25
  their own cuts and all their own, you know, their looks, they
• 12:30
  were doing them themselves. So it wasn't they weren't
• 12:33
  sitting around doing it together.
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  As a group. They were doing it on their own
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  and. Could you imagine?
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  I, I just got a visual image of all of them just crafting, which
• 12:41
  I still love, but it's pretty great.
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  Yeah. But you really, it almost felt
• 12:45
  like a reality show in a way, where you get to just really see
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  people live, you know, their lives.
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  And you really got to get to the philosophy of each of these
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  characters, which you're really getting from looking at
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  photographs and voice recordings, which is, I mean,
• 12:59
  like the best costume designer tool, honestly.
• 13:01
  You know, it really is it's, it was so helpful.
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  And then there was this really cool source material.
• 13:08
  In addition, you know, dandelions was was amazing.
• 13:10
  But then also, oh, he also sent us a couple of random pictures.
• 13:16
  He'd like e-mail us in the middle of production and he
• 13:18
  would like drop us like an unseen yet, you know, picture.
• 13:23
  And I remember at one point I was actually having a lot of
• 13:26
  trouble with Benny's jeans. I was like, I couldn't find a
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  silhouette and a cut and like a rise.
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  Really. That?
• 13:36
  Was. Good.
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  And I was also like, I didn't, I didn't have enough information
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  because a lot of the imagery is really like tight, you know,
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  it's like close-ups or, you know, like.
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  You just it was hard to see. His silhouette.
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  And so there was one time that Danny sent ahead an e-mail.
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  And I got to see Benny's finally, his jeans, and I could
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  see it and it was like it was real.
• 13:58
  It was really exciting. But I remember like screaming
• 14:00
  actually. It's a little.
• 14:05
  Things. A little things, a little
• 14:07
  things. So good.
• 14:10
  Yeah. And then we build.
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  Jeans that you know were exactly that, because that was the
• 14:14
  answer, you know, it needed to be.
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  It was also like. You know Austin's body in.
• 14:20
  You know in in character. You know, in in the jeans.
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  Wanting to wanting them to fit like like those did. 60s were a
• 14:27
  funny gene to end it was like. They were.
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  Still really high waisted, you know, the and like the the way
• 14:35
  that they fit these guys was just really specific.
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  It was, it was definitely not like a 70s, you know, bell
• 14:43
  bottom time. And it was not a 50s cuff.
• 14:46
  It was like right in between. But yeah, it was, it was
• 14:50
  interesting. And they had to fit over all the
• 14:52
  the boots. You know, like.
• 14:53
  They all wore boots and they had to fit over the boots and the
• 14:57
  jeans. Were looking for their own
• 14:59
  identity at this time. They they were.
• 15:01
  They were. They definitely were.
• 15:05
  I will say 1U thing I did do is that every single piece of denim
• 15:10
  that you see in the film went through our Adri Dyer Troy's
• 15:14
  shop and he over dyed everything with a cast of like greenish
• 15:18
  bluish. Tint so that it all felt and
• 15:21
  looked. A certain kind of blue denim.
• 15:24
  Oh, I love that. Well, I have actually several
• 15:27
  aging and dying questions. So we'll we'll circle back to
• 15:30
  that because I love it. Sounds good.
• 15:32
  Let's take a moment to talk about collaborating with writing
• 15:35
  director Jeff Nichols. I have a quote in my notes from
• 15:38
  Jeff saying that after he found this book 20 years ago, that'd
• 15:41
  become an obsession of his life ever since and called it one of
• 15:44
  the coolest books he had ever come across.
• 15:46
  So clearly he has a passion for it.
• 15:49
  And I think, you know, that really shows through to film.
• 15:51
  So what was it like working with Jeff and what did that
• 15:53
  collaboration look like? This is Jeff and I's.
• 15:56
  Third film together. I mean, I'm just going to say
• 15:59
  it. He's like my favorite director
• 16:01
  to work with on the planet. He's so wonderful and
• 16:05
  commutative and. Just.
• 16:07
  So good at what he does. And really helps like all the
• 16:15
  departments work so well together, you know, Chad and
• 16:19
  Adam. Adam Stone are cinematographer
• 16:21
  and Chad are production designer.
• 16:24
  So talented and so great and so easy to work with.
• 16:27
  And just, it's just like you're, it's like a dream team.
• 16:29
  It really just is. I know a lot.
• 16:31
  Of people say that, but I like. Really, this is the one.
• 16:34
  This is the dream team for me. You know, I always.
• 16:37
  I have a rule with my husband who he's a cinematographer and
• 16:41
  we have. Kids and so a lot of times.
• 16:44
  We're negotiating who gets to go make a movie, but Jeff.
• 16:47
  'S my, Jeff's my no matter what. I get to go, yeah.
• 16:52
  Sorry, kids, Jeff calls. That sounds horrible.
• 16:58
  I mean, we're all thinking. It we all get it so.
• 17:01
  I mean, it's just real. Well, it's just true.
• 17:04
  I come right back. I always come back.
• 17:06
  Right. Yeah, so, so, you know, I I knew
• 17:12
  about bike riders years before because Jeff had told me about
• 17:16
  it, you know, back in the day when we were shooting other
• 17:19
  things or talking or whatever. And so I knew about it.
• 17:23
  And I remember, you know, I remember just being like.
• 17:25
  Well, when that one gets off the ground, I am going to have a
• 17:30
  field day. I was just.
• 17:32
  I knew it. I knew it, you know?
• 17:34
  I knew. I knew.
• 17:35
  The I knew it was just going to be one of those like juicy,
• 17:38
  juicy, amazing costume, you know, movies and I was so
• 17:42
  excited to to be able to get to do it so.
• 17:45
  Yeah, well. Yeah.
• 17:47
  I'm glad that he called because it was obviously worth it and I
• 17:50
  loved seeing it. So thanks Jeff for.
• 17:53
  Thanks, Jeff. Thank you, Jeff.
• 17:56
  But but I will say he. Oh, the red there, yeah.
• 18:01
  I'll say for audiences, we're looking at a picture of Tom
• 18:05
  Austin and Cal Boyd. Holbrook.
• 18:10
  On on their on their bikes. And this red shirt that I gave
• 18:14
  to Johnny was actually something that was in the reference
• 18:16
  material on him. And as soon as I clocked it, I
• 18:19
  knew that I wanted to use red for him.
• 18:21
  Red is always that, you know that color that on film and on
• 18:24
  anything. Just if there's not a ton of
• 18:26
  red. It really pops and stands out,
• 18:28
  so I was. I was very purposeful in my in
• 18:32
  my use of it, and Johnny was the only one that really had it.
• 18:35
  Well, since we're talking about Johnny, Johnny's played by Tom
• 18:38
  Hardy, who's my favorite character.
• 18:40
  I love all of his scenes and Johnny, he's so good in this and
• 18:45
  he's the Vandals founder a long time, you know, owner, and he's
• 18:49
  trying to set an example for the up and comers as best he can.
• 18:53
  We have to give him some grace. That being said, Johnny presents
• 18:58
  a little differently than the new recruit.
• 18:59
  So as he started to say, how would you define Johnny's style?
• 19:04
  Yeah, Johnny is 1950s silhouette.
• 19:07
  Versus 60s. He instead of, you know, going
• 19:12
  leather with the denim cut over it, he'll just go leather jacket
• 19:17
  clean with his colors directly on the back.
• 19:21
  He's also got his denim, which is which he's got his colors on
• 19:25
  the back. Is that as well?
• 19:27
  You know, he, he, he has some more options.
• 19:30
  He doesn't need to make it interchangeable like the other
• 19:32
  guys do. And so he, yeah, he just kind of
• 19:36
  has some more options because he's he's he's a leader.
• 19:38
  He's a boss. He's a bit more leisurely, you
• 19:41
  know, he comes into office a little late if he wants and.
• 19:47
  Boing it down. Well, let's get into the Vandals
• 19:56
  Motorcycle Club. The costumes really add to the
• 19:59
  immersion of the film, which is what I love about it.
• 20:02
  So we've talked about a little bit, but authenticity, I feel
• 20:06
  like in the bike riders was the most important.
• 20:09
  And, you know, ensuring the accuracy through every layer of
• 20:13
  clothing, which I've read from you, goes all the way down to
• 20:15
  the men's underwear. So crafting the biker's vest as
• 20:19
  a reflection of each of their character's personality
• 20:22
  affiliations, Just how did you costume so many different, you
• 20:26
  know, characters in this club while giving them each or
• 20:28
  different personality? How are they customizing it?
• 20:31
  What does that look like? Yeah.
• 20:33
  I think that was that was. One of my biggest challenges and
• 20:36
  something that I was really. Trying to make sure that I did,
• 20:40
  which was make characters not just a, a bunch, you know, a
• 20:45
  group of guys. We would start by, you know,
• 20:49
  making a, a base kind of cut over, you know, jacket denim.
• 20:56
  Over, over cut. And.
• 20:59
  We would. We would have our base, we'd
• 21:01
  have our. Automobile Association patch
• 21:05
  over here and then everybody would have their vandals patch
• 21:07
  over here, their one percenter patch which the Automobile
• 21:11
  Association Club of America had made a a public statement and
• 21:16
  said, you know, 19. I think people were complaining
• 21:18
  about the motorcycles that were appearing on the road and they
• 21:21
  were saying, you know, 990. 9% of our riders are completely law
• 21:27
  abiding citizens. Wow.
• 21:29
  So yeah, the bikers really like that.
• 21:32
  And they, they took their 1% and they, they owned it.
• 21:36
  I mean, it's a great merch, I get it.
• 21:43
  Good stuff. Yeah.
• 21:44
  So then, you know, and then on top of that, it was all about
• 21:46
  like how, you know, Benny, for example, he was so nonchalant
• 21:51
  and. And the idea was that he he
• 21:54
  didn't care enough to do too much to his you know, we didn't
• 21:59
  want to like overdo him. You know, he was he's the
• 22:03
  ultimate, you know, I don't give up like guy.
• 22:06
  And as soon as you like put too much on him or anything it like
• 22:10
  it. Kind of it.
• 22:11
  It lost its its. Authenticity, you know, for him
• 22:16
  it was just about a drapey silhouette with his, you know,
• 22:21
  his jacket, his mother jacket and his cut.
• 22:24
  Even his pants were like had a a slightly different baggy or
• 22:29
  kind. Of cut than how the other guys
• 22:32
  did. Yeah, it was all just about
• 22:34
  exuding like a nonchalance and I'm not trying in an
• 22:37
  effortlessness for for Benny. That's interesting.
• 22:41
  Yeah. I mean, Benny, he the story
• 22:44
  really revolves around Benny and he's kind of unique in the sense
• 22:48
  that you kind of mentioned he's a lone wolf and he's just trying
• 22:51
  to figure out his place, but he's still looking for that
• 22:53
  community and such a major character.
• 22:56
  And obviously Austin Butler has been on fire recently.
• 23:00
  So I was going to ask you, was it like working with the man,
• 23:04
  the myth, the legend, Austin Butler and creating Butler and
• 23:07
  creating Benny? He's he's.
• 23:09
  Wonderful, I mean. He's.
• 23:12
  You know, he's like a, he's very professional, He's very
• 23:15
  interested in figuring out the character, really intrigued by
• 23:20
  the process, You know, because a lot of these guys, I would start
• 23:22
  off in the fitting room and I would basically put a brand new
• 23:26
  denim jacket over a leather jacket and they would look at it
• 23:30
  and they'd. Be like this looks kind of
• 23:32
  weird. And I'd be like, trust me, trust
• 23:34
  me, trust me. Next time you see me, it's going
• 23:36
  to look very different, you know, but it's all like, how
• 23:39
  does that, you know, how does the the denim like lay?
• 23:42
  On top of the. Leather and getting the right
• 23:44
  fit in size and then and then we just started like hacking away
• 23:49
  and like creating these denim vests, you know, and each were
• 23:51
  just hand done. By.
• 23:53
  You know. Several.
• 23:55
  Different people in my department.
• 23:57
  I mean, at some point we're all just sitting around crafting the
• 24:00
  vests ourselves. You know you're joking around
• 24:03
  about the bike riders doing it, but.
• 24:04
  We actually do that. That was actually us.
• 24:08
  That's actually us. Oh gosh, at some point I think
• 24:11
  we put Jeff's son to work and he made some too.
• 24:15
  I mean, everybody, every we, we like, we made like a, an APB
• 24:18
  announcement. Come, come make it.
• 24:20
  Aaron was a Johnny played by Tom Hardy character.
• 24:23
  Just telling people what to do and bring your crafting
• 24:26
  supplies. Yes, that's right.
• 24:31
  And then I told everybody to burn it down.
• 24:37
  Well, another character in this film that we have to talk about
• 24:41
  is of course, all the patches going on, all these vests.
• 24:44
  I mean, thank you, yes. The you must have a story about
• 24:48
  the patches because they are they they take control and I
• 24:53
  love it. I love looking at all the.
• 24:54
  Different. Patches.
• 24:56
  I should send you a picture too. Of.
• 24:59
  I bet I could find it of of. The patchwork, so all the
• 25:04
  patches of the aging and dying in the aging and dying facility,
• 25:08
  because we had to make them all and, you know, we couldn't use
• 25:11
  anything existing. So we had to like create all of
• 25:14
  these, you know, images at all of these words and slogans and
• 25:19
  and pictures. And did you know?
• 25:22
  That evil spelled backwards is live.
• 25:25
  That was not one of the patches. I I guess I did not know.
• 25:30
  That no, you know, not enough. I.
• 25:34
  Had. No idea.
• 25:36
  Yeah. Yeah, it was good.
• 25:38
  It was good stuff. Anyway, so yeah, we made, we had
• 25:41
  to make them all and it we had to make them once you had your
• 25:46
  base. Patch.
• 25:46
  Of the, you know, the vandals and then the other one,
• 25:49
  everything then became individualized and it was really
• 25:53
  important that they all felt different and they didn't feel
• 25:55
  like they were all. Just choosing from the same.
• 25:57
  Batch. So we, you know, each of the
• 25:59
  bike riders here kind of had their own little like stash.
• 26:04
  And the way we did it in our department was we made probably
• 26:06
  like 120 patches and then did multiples of each of them
• 26:10
  because you know, a lot of these guys needed multiples for stunt
• 26:13
  writers and scenes and all that stuff.
• 26:16
  So then we had like at least 5 or 6, you know of each one got
• 26:21
  you know, then it went to the Adri Dyer went to Troy's World
• 26:26
  and got, you know, all aged and died.
• 26:28
  And then we had these like nicely aged and dyed patches
• 26:32
  that we then. We actually use like a tree a.
• 26:36
  A shoe bag, hanging shoe bag organizery thing.
• 26:40
  And we just had all the patches like lined up in these things.
• 26:45
  And it was just like, it was like, you're in a craft store
• 26:47
  and you're like, yeah, I'll take one of those these.
• 26:50
  This kind of makes sense for this guy.
• 26:52
  And this makes sense for zip code.
• 26:55
  He seems like he's from Europe and he would talk about this
• 26:57
  and. You know, it was just about
• 26:59
  like, and then, you know, knowing how many multiple
• 27:02
  multiples we would need and yeah, so we kind of like created
• 27:05
  like a store of all that GAC really, you know, whether it was
• 27:09
  like barbed wire metalwork that we used or pins that we made.
• 27:15
  We made the pins again because you just needed so many of them
• 27:19
  and multiples and they new, new ones just don't look good.
• 27:23
  They don't look right. They don't look, period.
• 27:26
  Well, Speaking of multiples, then, I'm excited to talk about
• 27:28
  the aging and dying process, which you've hinted that I
• 27:31
  imagine with a film like this, it must have been quite
• 27:34
  extensive. And it really shows throughout
• 27:36
  the film because they go through dirt, you know, whatever you go
• 27:41
  through in a motorcycle club, cigarette smoke, blood all.
• 27:46
  Of it, all of the above. I don't think any of these
• 27:50
  people shop at Target in the bike riders so.
• 27:53
  I don't think they do. No.
• 27:55
  What did that process? Look.
• 27:58
  Like. I mean, it's a it's a good point
• 28:01
  though. I mean you can't picture them
• 28:02
  shopping. They seem to be wearing a lot of
• 28:04
  their stuff until it's it's good and done.
• 28:08
  Exactly, exactly. My hero is Troy David so.
• 28:14
  Talented. He's so awesome.
• 28:17
  He really understood the kind of grime that we wanted and needed.
• 28:27
  That's the word. I was looking for crime.
• 28:30
  There you go. It's.
• 28:31
  Proper and he really. Just got it.
• 28:34
  He really understood the that. I had a rule.
• 28:37
  That I was like, nothing goes set without going through him.
• 28:40
  First, it cannot it it cannot. And so, you know, it was just
• 28:46
  constantly, even if he just. Had to hit it a little bit but
• 28:51
  everything really got. Really got the once over over
• 28:56
  there, you know, it was the airbrushing and the shading to
• 28:58
  give it that like overall dust feeling Rd. dust, you know, then
• 29:03
  it was like grease stains for like the bike their hands.
• 29:08
  You know, they had grease on them all the time and it was
• 29:11
  amazing because I know from experience that it never looks
• 29:16
  as much as it does in person. I mean, I think it's like it
• 29:20
  always looks 30% less than what you see in person.
• 29:23
  Maybe 40. And especially with film, I kind
• 29:30
  of knew I was like even maybe 50, so I pushed it really hard,
• 29:35
  which was hard on Troy. Hard on my old team but I was
• 29:40
  like always like. More, more, more more.
• 29:43
  And when you see these pictures of like these pieces kind of
• 29:47
  like in regular lighting on their own, you just it they look
• 29:50
  insane. They look like they they look
• 29:53
  insane. But then when it got on camera
• 29:55
  and when it got to like filming and between, you know, the
• 29:58
  lighting and the kind of natural lighting that Adam does and, and
• 30:02
  just the film and everything, it, it didn't look crazy at all.
• 30:05
  So. Yeah, I mean, it levels out and
• 30:08
  it feels very authentic and true.
• 30:09
  Like I would believe each of these people are working on
• 30:12
  their cars after work or, you know, they've been wearing it
• 30:15
  for a three day ride and they've been sweating in it and it's
• 30:18
  just every bug is hitting them on the road.
• 30:21
  It's, you know, it's messy in the best way possible.
• 30:24
  And I. Love it.
• 30:25
  One character who is not very grimy, at least when we met her,
• 30:29
  is Jodie Comer's Kathy, who serves as a narrator for this
• 30:33
  story. At first, I felt like Kathy's
• 30:36
  very buttoned up when we see her walk into that bar at 1st.
• 30:40
  And much like the audience, much like myself, you know, she kind
• 30:44
  of goes through an evolution throughout this film.
• 30:45
  She starts to become a little bit a part of the culture from,
• 30:49
  you know, come from a point where she was very kind of
• 30:50
  disgusted and terrified at first when she meets, you know, Benny
• 30:53
  and whatnot. So how did you show that
• 30:56
  evolution and Kathy? Kathy was such a great
• 31:01
  opportunity to show because we live so much of the time in the
• 31:05
  bike riders world. It she, it was so great to see
• 31:08
  her outside of the bike riders world.
• 31:12
  So you you, you felt that juxtaposition.
• 31:15
  One of the things that was really important to to Jeff and
• 31:18
  Jody and myself was that Kathy didn't like lose herself in the
• 31:23
  bike riders culture. You know, she didn't just become
• 31:26
  a biker. Chick she, she.
• 31:28
  Always stayed her own person. She always stayed true to who
• 31:32
  she was. And it was important to reflect
• 31:35
  that, you know, in her clothing that she, yeah, you know, she,
• 31:39
  she, she grabbed the denim and she had some.
• 31:41
  Boots. But she had a brown suede
• 31:43
  jacket, you know, not a black leather jacket.
• 31:46
  And she, you know, she. She had her issues with the
• 31:50
  club. You know, it both saved her and
• 31:53
  gave her family, but it was also, you know, hurtful and
• 31:56
  harmful for her family. So yeah, it was important to me
• 32:00
  that she threw out she, even though she's sort of she, she
• 32:06
  Dons pieces, but it's not all the time and it's not completely
• 32:10
  and totally. All the way.
• 32:12
  And I think she, so in the beginning, she's got a lot of I,
• 32:15
  I really like using a lot of kind of popping purples on her
• 32:19
  and popping pinks like a bubble gum pink.
• 32:21
  And kind of this, like I, I actually really imagined it the
• 32:25
  first time I ever read the script without even looking at
• 32:27
  the book yet. I literally pictured the purple
• 32:31
  that she wears when she comes into the bar.
• 32:33
  It was this very specific. I don't know.
• 32:36
  I just like it was like it's like a pinkish purple and I
• 32:41
  really, I had, you know, sometimes you do that when you
• 32:43
  read a script. You're just like.
• 32:44
  You just imagine a color, you just, you have it.
• 32:48
  And that particular 1 I had really imagined, I remember we
• 32:51
  found something at a costume house that was similar and but
• 32:55
  it didn't fit right. And so we, we know, we wound up,
• 32:58
  I think making it or cutting down the multiples or I don't
• 33:01
  know what we did something, something to, but, but anyway,
• 33:07
  it was like really important to me that you had those like
• 33:08
  really fun popping colors to start out with.
• 33:10
  And then slowly as she gets into, you know, bike rider
• 33:13
  culture and she's like, she's slowly starting to get more into
• 33:17
  their color palette with the Blues and the Browns and the
• 33:20
  blacks. And then finally kind of towards
• 33:22
  the end, we're into the 70s at that point.
• 33:25
  And she's, you know, she's in her like little brown shorts
• 33:29
  and. Like a like a light lightly.
• 33:33
  Heathered pink and green sweater and yeah, she's more into like
• 33:39
  her 70s color palette. But it was really important that
• 33:42
  she felt very authentic and real to the original Kathy that we
• 33:47
  had, you know, listen to all that audio footage of and
• 33:51
  figured out, you know, where what she was like and what her
• 33:57
  socio economic status was and her education and her, you know,
• 34:03
  all those things that inform a person.
• 34:05
  Yeah, I know. And she was a great anchor and
• 34:07
  just someone that, you know, you felt comfortable with.
• 34:09
  And you could just kind of see the conflict that she has
• 34:12
  between wanting to be a part of something, but then also want to
• 34:16
  get it get away from all these people, which isn't the same for
• 34:20
  all the characters and all the women.
• 34:22
  I there was actually a character that I was kind of struck by the
• 34:24
  first time I saw her. I believe her name is GAIL.
• 34:27
  I loved seeing her costume. She was very much in it where
• 34:31
  she was wearing the black leather.
• 34:33
  She had the big beehive hairdo. We're just talking about this
• 34:36
  character for a moment. I like she was.
• 34:38
  Striking, please. She's so striking.
• 34:41
  She was so great. She was so fun.
• 34:46
  I remember actually doing her and feeling like the first
• 34:51
  couple times I didn't get it right because she was like
• 34:54
  somebody that kind of came to a slate and I remember being like,
• 34:57
  oh, this is like a really important character.
• 34:59
  Or this is an opportunity I. Think I remember thinking, you
• 35:02
  know, like this is like an opportunity to really show some
• 35:04
  some women's style here and I think I'm I think I like did and
• 35:08
  redid her like a bunch of times because it was kind of a little
• 35:11
  bit tricky to find it, you know, sometimes it like.
• 35:14
  Happens. She's like the one character
• 35:15
  that's kind of like in between both worlds, where he could
• 35:17
  really understand the period but then also understand the club
• 35:21
  and understand Kathy like she does a lot.
• 35:23
  She's a big piece. She is, she is.
• 35:26
  She's really she's. Really informative and yeah, it
• 35:30
  was important that she was like that.
• 35:32
  She was one of them, and she really felt comfortable around
• 35:36
  all the guys. And she she also represented
• 35:40
  like, what it was to be a female like, so embedded into that
• 35:43
  culture. And yeah, it was interesting.
• 35:46
  It was interesting to see like, finding her femininity within
• 35:50
  all of it as well. The story introduces many
• 35:54
  characters, of course. We could feel the real tensions
• 35:57
  start to rise when some of the younger new members like for
• 36:00
  ways to break their way into the club.
• 36:02
  And with these characters I found to be very interesting,
• 36:06
  you know, obviously without spoiling anything, that caused
• 36:09
  lots of trouble. And you could see the difference
• 36:13
  in conflict between the younger members and the more established
• 36:18
  members. And in fact, they also looked a
• 36:21
  little bit differently. I mean, they just looked like
• 36:23
  they were trying to be something that they weren't at times.
• 36:27
  Thank you Spencer. That was the goal man all.
• 36:30
  Right, well, we're done here then.
• 36:32
  Yeah, I mean, they they they needed to feel youthful and
• 36:39
  young and not part of the group yet.
• 36:41
  And they needed to feel like an outsider trying to be in it as
• 36:44
  an insider. And so, you know, sometimes like
• 36:49
  doing costumes is like you almost have to let you if once
• 36:54
  you know what you're your end goal is, you have to like then
• 36:57
  kind of like peel back to get to like where you want to be.
• 37:00
  And so I kind of knew already by the time I had started doing
• 37:03
  Toby Wallace, you know, one of the newbies I had known kind of
• 37:08
  what our. What our crosshairs was like,
• 37:10
  what our like goal was like, of what they needed to look like to
• 37:13
  feel authentic. And I had found it at that
• 37:16
  point. And so when I started doing him,
• 37:17
  I was like, OK, cool, I want to. Go shy.
• 37:19
  Of that I want to like make sure I go shy of that and so it's
• 37:21
  like. A little ill fitting, a little
• 37:24
  bit too big, but not in like the right places, kind of in the
• 37:28
  wrong places. And he was also like, really?
• 37:31
  Poor and we I didn't want it to feel like he, you know, he like
• 37:36
  came on the screen and like looked so good, you know and.
• 37:40
  Part of that was like the T-shirts.
• 37:42
  That he would wear super oversized T-shirts he'd wear
• 37:45
  underneath and the pants that, you know, barely fit there.
• 37:48
  Maybe his dad's. We kind of had thought like,
• 37:50
  maybe he took his dad's and like, chopped them up a little
• 37:53
  bit and like, you know, made them look a certain way to like,
• 37:57
  sort of feel a little bit more individual.
• 37:59
  But. But yeah, that was important.
• 38:01
  And the other kids, too. Yeah, they felt like if I were
• 38:05
  to join a motorcycle club tomorrow, I'd be like, well, I
• 38:08
  think going to wear something like this and you know which?
• 38:13
  I mean, they did it. Better but.
• 38:15
  I think, I think you can walk right into one of these bike
• 38:19
  riders, these vandals looks. I think you walk right in.
• 38:22
  Yeah, put on my Vans and my my Stevie Nicks concert T-shirt I
• 38:27
  have on and just blend right in. What would happen if you jumped
• 38:31
  on a motorcycle? Would it fall down?
• 38:33
  Would you die? Oh yeah, it would fall down.
• 38:35
  I have actually tried to ride a dirt bike before and that ended
• 38:38
  in complete failure. So I I feel like that's like the
• 38:41
  training wheels version. Yeah, that'd be hard.
• 38:47
  Yeah, so Aaron, we're getting to the end here, but I'm having
• 38:51
  such a good time. In your in your opinion, how do
• 38:55
  costumes contribute to character development and storytelling in
• 38:59
  a film such as The Bike Riders Looking Back?
• 39:02
  I mean, I think that when you're talking about a world that was
• 39:10
  almost like a microcosm within this, you know, period time, the
• 39:16
  60s, you're, you know, you need all your firings, right?
• 39:22
  You need all the things to like give you the information and to
• 39:25
  make you feel the world around you.
• 39:28
  You know, you need your production design, you need
• 39:30
  your, your walls and your chairs and your signage and your
• 39:34
  lighting and, and you need your haircuts and your faces and your
• 39:38
  facial hair and, and your head hair and all that stuff.
• 39:42
  And then, yeah, you really need, you really need the clothes to,
• 39:46
  to to help tell that story. You know, both the, the story of
• 39:50
  who they are as individuals, you know, within the group and also,
• 39:54
  you know, I mean, these guys, they were, they were
• 39:57
  intimidating and they needed to feel it.
• 40:00
  They needed to look really scary.
• 40:02
  And, and I think it was important too.
• 40:05
  I hope, I hope I I did that. I hope they look that way.
• 40:08
  I hope they look intimidating. I hope they look kind of insane.
• 40:12
  And in some ways, you know Corky, he was one of my
• 40:16
  favorites. He would like.
• 40:18
  I remember the fitting. I was just like, I don't even
• 40:21
  think he wears a shirt. I mean, why does he even need to
• 40:23
  wear a shirt? He's just like, he's so insane.
• 40:25
  He's like the. Guy who just like.
• 40:26
  Put a vest on and like not wear the shirt and you know and it.
• 40:30
  It it it. Is that it was that it was about
• 40:33
  about trying to find the sort of that energy of like defiance and
• 40:39
  kind of insanity and yeah, and just anarchy, you know, and, and
• 40:46
  I that was, I hope it was, I hope it was captured in the
• 40:49
  clothing. It definitely was.
• 40:51
  I mean, I feel like, you know, before I even saw the bike
• 40:53
  riders, I feel like this would be a difficult project to design
• 40:56
  A costumes for because we all kind of know what like a biker
• 40:59
  might look like, or at least what I think might look like.
• 41:01
  They're wearing denim and leather.
• 41:03
  But you have to really tell like the story of each of these
• 41:06
  characters with like subtle differences such as, you know,
• 41:09
  Johnny, he, he, you know, is scary, but you also kind of feel
• 41:13
  like you might be able to talk to him through the way he
• 41:15
  presents himself. But then like Norman Reed is his
• 41:18
  character. You're like, oh, like I know
• 41:19
  that guy. He's, you know, I've met him in
• 41:22
  Venice before. Like so like, like all these
• 41:25
  different characters, they're very in ways similar, but
• 41:29
  different. And that really has to do a lot
• 41:31
  with the costume design and makeup and whatnot, so.
• 41:35
  Yeah, you killed the Oh, thanks to Spencer.
• 41:39
  Thanks so much for saying that. It it really means so much to
• 41:42
  me. I mean, yeah, failing.
• 41:44
  At a project like this is. I think it just, yeah, it would
• 41:49
  be embarrassing. Well, that didn't happen, so no
• 41:54
  worries about that. Costume designer Aaron Bennick,
• 41:56
  thank you so much for joining. This has been.
• 41:58
  Such a join. Thank you, Spencer.
• 42:00
  Thank you for having me on I. Really really, really love your
• 42:03
  podcast. Thank.
• 42:05
  You. Hi, this is Dan, Audio engineer
• 42:22
  of the podcast here to let you know that if you wanted to
• 42:26
  support the show, you can head over to the Art of
• 42:29
  costume.com/podstore. There you can buy some awesome T
• 42:34
  public merch with the podcast logo such as a shirt, coffee
• 42:39
  mug, stickers, and of course a baby onesie.
• 42:44
  Thanks for all your support. That was such a fun interview.
• 43:07
  Oh my gosh. Like the work she put into that
• 43:10
  is incredible. Yeah, it was, it was a lot of
• 43:13
  fun. And like I said, like I'm very
• 43:16
  close, dangerously close to gain a motorcycle and putting on the
• 43:19
  jacket and, you know, maybe putting this whole thing behind
• 43:23
  me and just being out on the roads, you know, you'd see that
• 43:27
  for me. No.
• 43:30
  So Eliza was just looking at me with shame in her eyes.
• 43:33
  It it would be fun. Hi I know you would fall once
• 43:39
  and be like ow I can't do this. It is true, I do remember
• 43:43
  getting on a dirt bike when I was a kid and I just did not get
• 43:46
  how you keep those things up. So I remember my parents got us
• 43:50
  a dirt bike once and I remember watching my brother try to learn
• 43:55
  how to ride it. And I was just like, oh, that's
• 43:58
  scary. Actually, I'm good.
• 44:01
  Well, thank you so much to costume designer Aaron Bennick
• 44:04
  for joining us. It was so fun to get to know her
• 44:08
  and have a one-on-one talk because every time you know,
• 44:10
  we've met in the past, it's always been at parties or at
• 44:13
  this movie premiere. So it's good to get to know her
• 44:15
  and I'm excited what else she has coming up because she has
• 44:19
  such an eye for costume design. Elizabeth, it's time to talk
• 44:24
  about what we have coming up next.
• 44:26
  And I'm very excited actually. So this year we really didn't
• 44:32
  have like a plan for what episodes we were going to
• 44:34
  release. We were just kind of making up
• 44:35
  as we go, except for spooky season.
• 44:39
  I think our spooky season has been written since probably
• 44:42
  December 2023. I am so excited because this
• 44:47
  spooky season is the season of the witches, Spencer.
• 44:54
  Daniel, can we get like some lightning and Thunder and scary
• 44:58
  noises? Yeah.
• 45:02
  Oh, OK. Season of the Witch.
• 45:04
  I'm very excited. We're going to be talking about
• 45:05
  all of, you know, our favorite spooky witches that we could
• 45:10
  pack into one month. So we won't get to airy spooky
• 45:13
  witch, but we're going to talk about some specific ones that
• 45:15
  we're excited to talk about. Elizabeth, what is our first
• 45:19
  film going to be? Spencer we are starting with a
• 45:23
  classic. We are starting with a 90s
• 45:27
  classic. I'm talking about the craft.
• 45:31
  Yeah, I'm excited for this one. Me too.
• 45:34
  I've never seen this movie because I I wasn't allowed.
• 45:37
  I wasn't allowed to watch anything with like witches
• 45:39
  growing up. So I've never seen the craft and
• 45:45
  I've I've always been interested.
• 45:46
  So I cannot wait, especially because like it's influence on
• 45:49
  fashion is pretty even with never seeing it.
• 45:53
  I'm like, Oh yeah, like 90s staple.
• 45:56
  In terms of costume and fashion, absolutely, 100 per cent.
• 46:03
  And then after the craft, Spencer, we have a favor of
• 46:07
  yours. Yeah, I'm so excited for this
• 46:10
  one. I can't believe that we, I
• 46:12
  somehow snuck it into the schedule, but it's happening.
• 46:15
  We are taking it all the way back to, you know, the Salem
• 46:20
  witch trials and whatnot, and we're going to be watching The
• 46:24
  Witch featuring a very baby Anya Taylor Joy, one of her first
• 46:30
  films. I love this movie.
• 46:32
  It is creepy and disturbing, everything that I love.
• 46:38
  This is another movie I haven't seen, even though you're
• 46:41
  convinced. I.
• 46:42
  I saw it in the theatre with you.
• 46:44
  We've been having this argument for This is why we haven't done
• 46:47
  it on the podcast, probably. We've been having this argument
• 46:49
  for like two seasons now where I'm very convinced we saw in
• 46:52
  theaters together with our friend Avisha, and Elizabeth
• 46:56
  swears it didn't happen. It did not happen who that third
• 47:02
  person was, but it was not me. It was so you.
• 47:07
  It was not me. One thing, however, that you did
• 47:10
  convince me to watch in college was one of our favorite witchy
• 47:15
  TV shows. Oh gosh.
• 47:17
  Salem. Okay, this we recognize this
• 47:22
  episode might be a stretch, but there is this great show.
• 47:26
  I can't tell you where it was on originally, but it's called
• 47:30
  Salem and it is. It can't be Salem Witch trials
• 47:35
  messed. It's fantastic.
• 47:38
  I mean, this could be our Penny Dreadful of the year where we
• 47:41
  find a bunch of closeted Salem fans.
• 47:44
  Yeah, I mean it very well could because the the costumes in that
• 47:48
  show slap they are. So good.
• 47:52
  They are. The show is bonkers.
• 47:55
  The costumes are amazing. Yeah, it's such a stretch, but
• 48:01
  it's going to be so fun. But the next film I'm very
• 48:05
  excited to get it to is none other than The Witches, starring
• 48:09
  Angelica Houston. I know Elizabeth probably hasn't
• 48:13
  seen this one yet, but it is Angelica Houston just at her
• 48:18
  prime. I think it's right up there
• 48:20
  against her. Morticia Adams.
• 48:23
  This is like oh. It's bull talk.
• 48:26
  I It's so good and Joka Houston is insane and just seeing all
• 48:31
  the witches come into this town that's definitely like in New
• 48:35
  England somewhere. I want to say Maine or whatnot.
• 48:37
  It's just it's the perfect spooky season vibes.
• 48:41
  You'll want to have some soup, wrap yourself up in a blanket
• 48:45
  and watch the witches. You're gonna thank me after this
• 48:47
  episode. OK, OK.
• 48:49
  Yeah, I'm trusting you on that. And for our very last episode,
• 48:55
  we are all trusting Disney Plus with this last edition to our
• 49:02
  season of the witch spooky season lineup.
• 49:06
  Spencer this We've all been waiting on this witch.
• 49:11
  We are going to be watching Agatha all along and I'm very,
• 49:16
  very excited for this. I thought Agatha was such a fun
• 49:18
  character in Wanda Vision, which is.
• 49:20
  So fun. I just remembered we have an
• 49:22
  episode about Wanda Vision, don't we?
• 49:24
  We do. It's like Season 2.
• 49:26
  I want to say it's Season 1. I think it's early.
• 49:29
  I think it was our first TV series we ever did.
• 49:33
  Do you think so? I think it was.
• 49:36
  Let me do some detective work. Yeah, well, you fact checked
• 49:40
  that while I ramble about Agatha.
• 49:42
  But I love Agatha. I think Catherine Hahn is so
• 49:45
  great. And you, she uses all those
• 49:47
  purples and interesting fabrics. But then we get to see her in a
• 49:50
  more quiet, you know, powerless way in this film, and I'm very
• 49:55
  excited for it. Also, it has Aubrey Plaza and
• 49:58
  Patti Lupone. Oh, I.
• 50:00
  Forgot about that. That's going to be great.
• 50:02
  So I'm very excited for this title.
• 50:05
  Oh, you're right, Spencer. It was season 1.
• 50:07
  Oh my gosh, it's one of our long episodes.
• 50:09
  Yeah, that one's probably a doozy, but I I want to say it's
• 50:14
  probably worth it though. So if you all want to scroll all
• 50:17
  the way back to baby Spencer and Elizabeth podcasters, there's a
• 50:21
  great episode about one division, and that is our Season
• 50:24
  of the Wish lineup that'll be coming out in October.
• 50:27
  And then you're going to want to stick around though, because our
• 50:29
  very first episode in November is an absolute anger.
• 50:35
  We just actually recorded most of it yesterday and I think both
• 50:40
  of us are still kind of shaking. I've never been so nervous for
• 50:44
  an episode and so excited all at the same time.
• 50:47
  It's such a good one. So we have a lot to come out
• 50:50
  this year. In the meantime, make sure you
• 50:53
  subscribe to us on youtube.com slash at the Art of Costume
• 50:58
  Instagram at the Art of Costume Pod TikTok at the Art of
• 51:02
  Costume. So don't forget to leave us a
• 51:04
  five star text review on Apple podcasts and it's starting to
• 51:07
  get a little chilly out. I hope by the time you hear this
• 51:10
  because it's still kind of warm out at the moment, but.
• 51:13
  Yeah, it's a lot warm out. It's our merch store,
• 51:16
  theartofcostume.com/pod store, and get yourself maybe a long
• 51:19
  sleeve shirt or a hoodie and ready for that cold winter.
• 51:23
  You're going to need it for the season of the Witch because it's
• 51:25
  going to get chilly. Absolutely.
• 51:29
  So excited. Thank you all for listening and
• 51:33
  we'll see you soon. Have a great week everybody.
• 51:41
  The Art of Costume podcast is hosted and produced by Elizabeth
• 51:45
  Joy Glass and Spencer Williams. Our audio engineering and
• 51:50
  editing is done by Dan White. Follow us on TikTok at The Art
• 51:55
  of Costume and Instagram at the Art of Costume Pod.
• 51:59
  If you want to support the show, go to theartofcostume.com/pod
• 52:04
  store. For more podcast updates,
• 52:07
  costume reviews, deep dives and interviews, go to
• 52:12
  theartofcostume.com, A blog dedicated to highlighting the
• 52:17
  best in costume design.