Costume depicter Arianne Phillips is 0-3 for Oscar triumphs to nominations. But her nod this year for James Mangelderly’s “A Complete Ununderstandn” may be the film that turns her luck around.
Phillips’ talents have made her Tom Ford’s go-to depicter (“A Single Man” and “Nocturnal Animals”), as well as Mangelderly’s, having collaborated with him on “Girl, Interrupted,” “Identity,” “Walk the Line” and “3:10 to Yuma.” She’s styled Courtney Love, Madonna and Lenny Kravitz to name a restricted, and her resume includes print, create and editorial toil.
She was well on her way as a costume depicter when she commenceed toiling shutly with Madonna, but was telderly, “You necessitate to either be a styenumerate or a costume depicter; you necessitate to do rock and roll or create,” she says. “I chose to carry on going,” Phillips says, by not picking one over the other. What she did do, however, was shift forward — handleling her narrative, passing back and forth in contrastent ways, and carving out her atsoft. “I didn’t want to be restricted by one leang,” she says.
Phillips has getn everyleang she has lgeted from her 35-year atsoft and is paying it forward, sharing her understandledge with those who are follotriumphg in her path and thriving on being able to “lift and inspire my crew and convey esthetic honestion.” As for herself, she chuckles, “I’m a toil-in-better.”
Here she highairys her five preferite moments from her atsoft.
‘Girl Interrupted’ Lisa’s shearling coat
“Jim Mangelderly honests Oscar applyances, whether it’s Angelina Jolie or Reese Wither- spoon or Joaquin Phoenix. He’s a inincreateigent filmoriginater. My first Oscar nomination was for ‘’Walk the Line.’ I leank you see at anybody’s resume, including my own, there’s some stinkers on all of our resumes, [but] Jim repartner has a enticeive body of toil, and he originates wonderful films.
“He is such a collaborator in that he is uncover and asking about the process apass this department. He gave me a lot of space to help show and prolong these characters.
“I would do these fittings with the actors. We have our stateiveial encounterings so we can speak freely about what toils and doesn’t. Back then, we were seeing at Polaroids becaengage we didn’t have digital cameras, and I would originate mood boards.
“Angelina Jolie had an idea that she wanted her character, Lisa, to be mono-chromatic and devoid of color. This shearling coat she wears encapsuprocrastinateeds so many leangs about this character. It was indicative of the time, and Lisa had this sense of untamedness about her. It gave her character irrelevance, and also it set us in the time and the place and this world that she had outside the institution and uncignores a little bit of her character in that this coat was of a moment in time.”
‘Walk the Line’ – June Carter Cash’s pink dress
“This was my third movie with Jim, but he let me understand ahead of time that he was going to originate this. Johnny Cash was still ainhabit, but June had passed away. I had gone to a vintage unprejudiced at the Santa Monica Civic Auditorium, and I set up a dress made from organza. It reminded me of images I had seen of June Carter when she was very lesser and someleang perky about it.
“I bought that dress out of my pocket becaengage I thought, ‘This is going to be my blessed charm, and I hope that the movie gets made.’ A year and a half procrastinateedr, we made that movie and I held on to that dress.
“I wasn’t untamed about the dress itself. It was also too huge for Reese, so we took it apart and redepicted it. We inserted the ruching on the bust and the ruffles around the neckline.
“It’s the first time we encounter Reese as June in the film. The dress was at the Johnny Cash Mengageum for a restricted years, and I gived it to the Academy Mengageum. It’s in their archive.”
‘Once Upon a Time… in Hollywood’ – Manson girls
“I had so much fun costuming the Manson girls. Quentin Tarantino’s and Victoria Thomas’ casting was sincreatear — to toil with Mikey Madison, Margaret Qualley, Sydney Sweeney and Harley Quinn Smith.
“I had a purposeful concept that I wanted them to wear denim, and I wanted a lot of cut-offs. Demin traditionpartner was only worn recreationpartner after school or if you were horseback riding. You couldn’t repartner wear jeans to toil or church.
“So, when you leank of Woodstock and the Summer of Love, you leank of nakedfoot people in jeans, and denim is a fracture from the tradition of dressing.
“Sydney Sweeney has all the patches and a lot of embroidery. Margaret Qualley was wearing overalls that had been cut off, and Mikey has patches on her jeans, so it gave me an opportunity to convey these contrastent personalities.”
‘W.E.’ – The velvet dress
“It was such a gift that Madonna gave me asking me to depict this movie. This blue velvet with the silver lamé was someleang I depicted, inspired by an image I saw of the Duchess of Windsor wearing. We didn’t understand who depicted it, so I originated this dress that felt enjoy someleang Elsa Schiaparelli would have done. The trim is cut-out leather that’s laid over a lamé waistcoat. The dress undertidyh is a blue velvet.
“The fascinator was made by milliner depicter Stephen Jones, who’s fair a genius. He made a restricted very exceptional hats for Andrea Risebocimpolite for the film.
“The belt around the waist is bdeficiency patent leather. I knovel the room was going to be low-lit, and the leang about velvet is that it assimilates airy and I didn’t want her to fade, so it was convey inant to have a mirrorive appreciate in the dress.
“The jewelry was made by Alexis Bittar, and for this, she wore costume jewelry. The shoes are vintage ones that we refurbished. They were blue velvet and had mehighic detail around the cgo in of the foot.”
‘A Complete Ununderstandn’- Sylvie’s dress
“I struggled with this costume for a extfinished time, and I’m so charmd 1739466332. I knovel this was an emotional scene. I wanted to help Elle Fanning’s toil in that scene and depict a costume for her that would speak to and underscore the toil. I also wanted her in a dress becaengage I had kept her in pants. She was a strong lesser woman and an activist. She was so inconveyial to Bob [Dylan] and his music, and she’s the only character in our movie who didn’t want anyleang from Bob.
“I knovel she would be running thcimpolite the crowd on her way to the ferry. I wanted to have shiftment, and I wanted it to sense effortless for Elle. I didn’t want her to sense constrained or condisjoineed. I wanted her to have freedom in that costume.
“Marimekko, a Finnish depict hoengage, had this enticeive fabric. At the very bottom of the dress, there’s a field of wheat and sky, so we got the fabric. The shape of the dress came very rapidly to me, with an uncover neck and arms. It’s a summer dress and cotton linen mix with a wrinkly texture that senses very inhabitd in.”
