For costume designers Antoinette Messam and Kirsty Cameron, the Western genre is a canvas splashed with fresh paint and timeless character.
, the game-changing Western set in the 1890s with a cast made up predominantly of Black actors, designer Antoinette Messam took her cue from Samuel, using historic figures such as Nat Love, Rufus Buck and Mary Fields — many of them former enslaved people — as a jumping-off point for creative license that’s both invigorating and crowd-pleasing.
Buck , newly sprung from prison, goes from jailhouse stripes to pinstripe suits, determined to reclaim his place as Redwood City’s mayor and savior, even if he rules with an iron fist. In one scene, he sports luxurious matching gray pants and vest, a crisp white dress shirt with studded collars and, as a grand stroke a plush, red velvet jacket.
The film’s most exotic scene occurs as Stagecoach Mary confronts Buck for the first time in his saloon in Redwood City, and she’s greeted by a writhing, sprightly figure who looks like she could have sprung from the Ballets Russes. “It was the most challenging scene,” informs Messam. “[The dancer Aahkilah Cornelius] had the least clothes of anyone in the movie, but she was the most difficult to dress, because it had to hit multiple beats.
“One of my great loves is work wear,” says Cameron, Campion’s fellow Kiwi colleague . “It’s something that I observe and collect and have a great passion for, both in its textural quality and pragmatic necessity, as well as its timelessness and wear and tear.”
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