The costume designer behind Netflix’s hit tart-tongued dark comedy talks about how the iconic Cher Horowitz influenced the hundreds of pastel-colored pieces she made for the film.
are Easter eggs dotted throughout. As an older millennial reporting for duty, these are all formative movies I watched on VHS countless times and still hold close to my heart. Luckily, Robinson and Morshead aren’t simply putting Hitchcock and ’90s teen movies in a blender to tick algorithm boxes.Morshead’s first reaction when she read the script was, “I have to do this movie. This is every movie I love and grew up on.” She describes the initial pitch meeting with Robinson as kismet.
Beyond the main cast, there were 300 background actors who required the same pieces. There was no alternative: “It was worth it. I didn't want a backup. I'm like, ‘No, if you manifest the backup, then it won't happen.”student body does get to add flourishes besides berets, knits, and capes. “The few things they could accessorize with or make it their own would be socks, shoes, and jewelry. That is where we honed in on making them more individual,’ Morshead says.
Then there was sheer volume she was responsible for: “One look on one girl has ten pieces because everything had to be thought out like what socks? What rings? It's a full head-to-toe look.”has a makeover scene, in which Drea takes a down-on-her-luck, Eleanor, by her unmanicured hand. Morshead didn’t want Eleanor to become a Drea clone, so she looked at two different decades as inspiration for each woman.
There was one design that Hawke was hesitant about: the outfit conceived by Morshead for the pivotal Admissions Party climax. The fire and ice of Drea and Eleanor’s look “clicked.” The latter’s custom-made chain-strap frock was inspired byof Carla Bruni in a pale blue dress that had a silhouette that Morshead thought would be perfect on Mendes
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