Sandy Powell on theirishmanfilm and her seventh collaboration as costume designer with Martin Scorsese
” marks her seventh time collaborating with Scorsese, but this was an epic. The film spans five decades from the 1950s to 2003, Powell says, “It was like doing three or four films in one at the same time.” For’s character, Powell had 102 changes for him. It was a mighty task and so she teamed up with Christopher Peterson as a co-designer on the film, once she had Peterson on board, Powell says, “I felt confident we could have the energy to do it.
He’s designed himself for many years. The only way I knew I could think about handling this and on this scale, was to work — and I begged Christopher to work with me as a co-designer. When he agreed to that, I felt confident we could have the energy to do it. The one funny thing and I found it to be eccentric was that he always wore white socks with whatever he was wearing. You’d see him in a smart navy blue suit with black shoes, but then he’d wear white socks. In every photo, he had white socks, and it’s what he did.
Normally, you’d chart everything in script order, but the script jumped backward and forwards so much that it was confusing to look at. For me, we put every costume in chronologically. So, when we were doing a scene from 1963, I could go to my early ’60s bit and pick an element of one. It was a long process but ultimately very satisfying. It was during the fittings that you could see things come together and what works and what works for the character.
A lot were original pieces and we found a lot of original clothing which miraculously did fit. It’s always best to get originals because the fabrics of the suits, you cannot get for love or money right now. You have to do the best you can. I’m never satisfied with fabrics now; I always wanted to have the real ’60s sharkskin. You have to really hunt. Sometimes you can hunt vintage fabrics, and it was a real hunt. We tried to get something that resembled all these fabrics.
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