Contrary to popular belief, contemporary design in film is not just about shopping; it involves deep storytelling and thought behind how characters are dressed. Molly Rogers, who worked on “The Devil Wears Prada” as an assistant costume designer and was the sequel’s costume designer, said, “When someone comes up to me and says, ‘I really want to learn and work with you. I love to shop.’ That’s an automatic exit.” Rogers spoke at the Costume Design Roundtable at the SCAD Savannah Film Festival, moderated by Variety’s Senior Artisans Editor Jazz Tangcay.
Joining her were Ellen Mirojnick (“The Odyssey”), Arianne Phillips (“The Invite”), Linda Muir (“Werwulf”), Amy Roth (“I Play Rocky”) and Marci Rodgers (“Michael”). Mirojnick, known for her work on “Wall Street,” “Basic Instinct” and “Fatal Attraction,” discussed the challenges of contemporary costume design. I loved being able to document what New York was like at that period, because yes, it was for film, but it also documented the history of what we were like, even if it was an elevated contemporary character.” She added, “Contemporary design is very difficult and very beautiful at the same time to create.” Rodgers recalled her first job on Spike Lee’s “She’s Gotta Have It.” Coming from Chicago, she knew New York’s style was different, so she asked Lee to sit with her during background casting.
But it would be tidbits of purple. She wouldn’t shop at Saks.” Rodgers focused on thrift stores for Nola’s look. On “Barbershop,” set in Chicago, she emphasized reflecting the community and fashion of the moment.
Rodgers added, “A professor cautioned me that contemporary design would be the hardest thing I’d ever do. Actors will come in with an idea — or no idea — and then, after the table read, everything changes.” Phillips, whose credits include “Nocturnal Animals,” “The Invite” and “I Want Your Sex,” noted that contemporary design is often misunderstood. Directors, writers, producers and studio executives — they’re rich.
They make a lot of money. They have a relationship to shopping, someone shopping for them. They can afford what they want, and they’re experts.
This happens with actors a lot, where they’ll say, ‘Oh, I know my character wore those Prada boots.’ You have to be, as Marci said, a salesperson for your character. Costume design can be disrespected so easily by people sitting behind desks moving numbers around and not giving you the support you need.” Phillips also discussed the increasing influence of product placement in costume design as luxury brands enter the financing space. Ellen Mirojnick crafted over 5,300 costumes for Christopher Nolan, focusing on Anne Hathaway’s Queen Penelope.
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