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Tag: Behind the Scenes (1-10 of 144)

'Dallas Buyers Club' costume designers on Matthew McConaughey and Jared Leto's transformations

Jared Leto learned what it was like to walk in someone else’s heels thanks to Dallas Buyers Club costume designers Kurt and Bart, who brought to life the film’s mid-’80s-inspired wardrobe. Still, the duo — who are nominated for a Costume Designers Guild Award — give full credit to their cast.

“It was fantastic to work with such committed actors,” said Kurt and Bart, who reached out to EW from The Hunger Games: Mockingjay set, where they are currently overseeing the film’s next two installments.

Leto was so committed, in fact, that he remained in character as Rayon — an HIV-positive transgender woman — throughout their time together. “We spoke to Jared once on the phone and then [he stayed in character as] Rayon the entire time from the first fitting out of a suitcase and a plastic bag at his airport hotel room [to] right before his first meeting with [director] Jean-Marc [Vallée].”

Because of this, Kurt and Bart often reference Leto by his character’s name when discussing the costume process. And, according to them, Rayon had one definite opinion when it came to what she wore. “The only thing Rayon was adamant about was she never wanted to wear pants,” they explained, noting that Leto declined to wear a pair of “glam, but also very feminine” high-waisted pink flared trousers that the two had presented. “I know Jared was very into embracing the unfamiliar. He explained it as, ‘I know what it feels like to wear pants.’ I think the vulnerability of a dress or skirt helped him find Rayon, which totally makes sense.”

Kurt and Bart also embraced Matthew McConaughey’s extreme weight loss, though it did pose a unique challenge for the costume designers. The only thing tighter than the film’s budget was its 23-day schedule. “Our shooting schedule didn’t allow for any time to shoot Matthew with a little more weight on him for the ‘healthier’ sequences. We worked really hard to tailor the clothes that he repeated in the film so that they fit differently in different parts of the film. Working with single vintage garments, this was a feat of last-minute tailoring. We made him three different lengths of the same belt to add to the effect,” they said. “We found that if his clothes were more fitted it actually made him look healthier instead of emphasizing how thin he was. We played with oversizing his jeans and shirts a bit when he was sicker to make him look smaller.”

For their hard work, the duo — who have collaborated since 2000 working on everything from music videos (Britney Spears’ “Slave 4 U,” Madonna’s “Me Against the Music”) to television series (How to Make It in America) and films (Stoker with Nicole Kidman) — are up for their first CDG Award. Nominated in the period film category, Kurt and Bart are up against 12 Years a Slave, American Hustle, Dallas Buyers Club, The Great Gatsby, and Saving Mr. Banks. The costume designers couldn’t be more thrilled. “Receiving a nomination from your peers is the best, especially for this film.”

Read on for EW’s exclusive Q&A with Kurt and Bart to learn who made McConaughey’s signature cowboy hats, what it was like working around Leto’s real-life tattoos, and to find out who wore a shirt right off the costume designers’ backs. READ FULL STORY

'Blue Jasmine' costume designer on working with Woody Allen, borrowing Chanel jackets

For her Oscar-nominated role in Blue Jasmine, Cate Blanchett required a designer-label wardrobe worthy of a wilted New York socialite. The only problem? Costume designer Suzy Benzinger had a limited, more Nordstrom Rack-esque budget. (In fact, a New York Times piece estimated that the film’s entire wardrobe budget was $35,000, which is often the cost of just one Hermes Birkin bag.)

Knockoffs simply wouldn’t do to truly sell the story of a woman who lost nearly everything except a handful of luxury goods. That’s when Benzinger — who has worked with director Woody Allen since 1994 on projects like Deconstructing Harry, Celebrity, and Whatever Works — took a deep breath and a leap of faith.

She began calling fashion houses like Chanel, Fendi, Louis Vuitton, and Ralph Lauren to see what strings she could pull.

“I relied on the generosity of all these designers,” Benzinger told EW. “I made a list of things I had to have for Cate’s character in order to tell the story. … Every day, my assistant and I would go through [the list] and I would say, ‘I’m going to call Hermes up. Wish me luck. I’ve got to get this Birkin bag.’ Every day we’d check off things on our list. [When] I got to the Chanel jackets, I thought, ‘Everything is going fabulous and this is where it’ll stop. … I’m not going to get the Chanel jacket. We’re going to try though. Wish me luck.’ When we got that, I burst into tears. I thought, ‘How did I get my whole wish list?'”

The costume designer admitted her experience was far from the norm. While brands often loan to celebrities for the red carpet, they rarely loan to films. “None of my friends who are costume designers have had the same experience that I’ve had,” she said, crediting Cate Blanchett’s personal fashion house relationships as a huge help. “The gods were watching when Woody wrote the script, because I [initially] thought, ‘Oh my God.’ I never thought I would have gotten all these things. I really owe it to Cate.”

With one character down, Benzinger turned her attention to Jasmine’s sister, Ginger (Sally Hawkins), who had a more casual aesthetic that reflected the character’s working class status. For this, the costume designer bargain hunted at stores like Century 21 in New York and Loehmann’s in San Francisco, where Blue Jasmine was shot. The biggest irony? “Sally Hawkins’ wardrobe cost more than Cate Blanchett’s. Isn’t that hysterical? I actually spent more money on Sally then I did on Cate. You have to laugh. But it’s only because of the generosity of designers like Karl Lagerfeld.”

Thanks to her thriftiness, Benzinger is nominated for her first Costume Designers Guild Award. “I’ve been doing this for many, many years. It’s nice to get the recognition on this. My feeling is that it’s for the whole Woody Allen family.”

Read on for our exclusive Q&A with Benzinger to learn what makes a Woody Allen set different from all others, Sally Hawkins’ surprising reaction to her wardrobe, who kept those designer pieces, and what it was like working with Bill Murray on Ghostbusters. READ FULL STORY

'The Bachelor' stylist on dressing Juan Pablo: 'He would wear every color of the rainbow'

The Bachelor needs help getting dressed. That’s where wardrobe supervisor Cary Fetman comes in.

Since 2006, Fetman has overseen the wardrobe on The Bachelor, The Bachelorette, and special episodes like the recent nuptials of Sean Lowe and Catherine Giudici. He pulls clothes for the star of each season, doles out fashion advice to the contestants, and has even designed a few one-of-a-kind ensembles. “Once we start shooting we really don’t stop, so everything is done the week before we begin. We pick the clothes for a whole season [in advance],” Fetman told EW. “You [anticipate] those emergency situations and try to prepare for them. We’ve arrived in countries where our suitcases don’t arrive — all of a sudden we’re trying to find a clothing store that has what we need. And all the sizes are different. That’s why I’m there.”

Fetman says that Juan Pablo Galavis didn’t rely on him as much as past Bachelors have. “He was not afraid to try anything. He never worried about what people would think if he was wearing bright yellow pants with an orange shirt and purple socks. He loved it all,” the stylist said of the former pro soccer player’s sartorial instincts. “[Juan Pablo] said, ‘I want Miami hot, and a little taste of Latin.’ I took that and ran with it.”

Galavis even taught Fetman a few things. “Off-camera, he’d wear a brand [called Guy Look] from Korea that I’d never heard of. It’s sweats from the ’80s [that look] like M.C. Hammer pants with the crotch hanging down to below the knees. I was like, ‘There’s not a chance in hell that’s what you’re wearing on camera!’ But I fell in love with [other items from] the line and started ordering things. Some of the stuff wasn’t [too] scary for the audience. Every once in a while, I’d say, ‘No, no, no. Middle America is going to be looking at you going, ‘What the hell is going on here?'”

As for the female contestants, they were on their own until the finale. “I bring a whole fitting to the country [we’re filming in] — I’ve got all the gowns, all the accessories, and all the shoes in two bags — and each person gets her own bag,” Fetman explains. “I always pray that both finalists are the same size, but that rarely ever happens.”

Read on for more to see what Fetman had to say about Juan Pablo’s style, making sure that the contestants don’t accidentally flash the cameras, and what went on behind-the-scenes at Catherine and Sean’s wedding.


'Face Off' exit Q&A: 'I should not have been eliminated'

Dragons had their moment in the spotlight on this week’s Face Off… Host McKenzie Westmore brought the group to Malibu, CA’s Point Dume State Beach, where films like Planet of the Apes and Iron Man were once shot. The artists were then told they would be tasked with creating dragons for their first solo challenge. Shields that were damaged by different substances (from ice to tar) stood nearby. The contestants were told that each of their dragons had to breathe one of the substances represented. But that wasn’t the group’s biggest challenge. The 18 hour deadline was.

The artists quickly got to work… and just as quickly problems arose. During their first day in the lab, Tess Laeh struggled with symmetrical issues–having sculpted one side of her dragon’s face before the other. Chloe Sens’s seahorse-inspired dragon might have already proved to be a tad too ambitious. The multiple components set her back time wise. Conversely, the remainder of the artists–particularly Rashaad Santiago and Tyler Green–seemed to be right on track.

On fabrication day, Green found himself ahead of the rest of his competitors. He used his excess time to create wings and icicle horns for his vulture-esque dragon creation. Meanwhile, Santiago used the day to create a chest, back, arms, and wings. Elsewhere, many of the other contestants faced time management issues. Laeh was forced to cut one of her dragon’s legs off, a major setback since she now needed to better blend her sculpture. Elsewhere, Niko Gonzalez’s chest mold cracked, which forced him to airbrush his model instead. Meanwhile, Sens struggled to finish her sculpture in time with many of its elements–like her dragon’s chest and back–still incomplete by the end of the day. Once application day arrived, she did her best to troubleshoot, but–due to creative setbacks and time constraints–she left portions of her dragon unpainted. She worried that she’d be sent home.

Judgement day arrived. George Schminky, Green, and Santiago wound up with this week’s top looks. Green was singled out as this week’s winner for his ambitious final product. While Gonzalez, Laeh, and Daniel Phillips found themselves in the bottom, only Phillips was sent home. The judges felt he made “perplexing” decisions and that his make-up lacked dragon elements. (And they had a field day with his dragon’s floral robe.)

EW caught up with Phillips about what it was like being a part of the show, what he would have done differently in his challenge, the story behind that floral robe, and what he’s been working on since filming wrapped.


'American Horror Story' costume designer on 'Coven' and working on Ryan Murphy's new series

We may finally know who reigns supreme on American Horror Story: Coven, but series creator Ryan Murphy is keeping everyone guessing about what’s in store for season four — cast and crew included.

“You’ve heard more than I have,” joked costume designer Lou Eyrich — who made the move to AHS after overseeing the wardrobe on the first three seasons of Glee — when told that Murphy had hinted that the next installment would be set in 1950 and that “Jessica Lange has already started practicing her German accent.” While the Costume Designers Guild Awards nominee claims she’s in the dark about the details, she did admit that she’s heard rumors season 4 could return to New Orleans in June.

What is it like designing for an entirely new time and place each season?

“It’s like doing a movie every week,” Eyrich told EW, adding that she only had six weeks to ready the wardrobe for Coven and about four days to prep each episode. “Ryan Murphy has a vision before we even get started. He shares his ideas with me and then I do mood boards and we go over each character and decide what their look would be. This [past] season he wanted each character to have an iconic look. It’s both fun and quite intimidating.”

Read on for EW’s exclusive Q&A with Eyrich on her favorite costume moments from American Horror Story: Coven.


Costume designer Michael Wilkinson on 'American Hustle' and 'Batman vs. Superman'

Much has been written about Michael Wilkinson’s Academy Award-nominated American Hustle wardrobe, but the praise isn’t lost on the costume designer.

“This film has been a tremendously exciting journey for me,” Wilkinson — whose past credits include Man of Steel, 300, Watchmen, and The Twilight Saga: Breaking Dawn – Parts 1 & 2 – told EW. “The most surprising thing for me is that people seem to have had a personal reaction to the film. They really love the clothes… There’s talk of a reemergence of 70’s styling in the way people are dressing themselves. I’m thrilled the exuberance and the self-expression of the 1970’s is resonating with people today. People seem to want to translate it into their own wardrobes and that was something we absolutely weren’t thinking about when we made the film.”

The Oscar, BAFTA, Critics Choice, and Costume Designers Guild Award nominee is already hard at work re-imagining some of the iconic superhero costumes for director Zach Synder’s highly anticipated Batman vs. Superman, set for release in May 2016. “It’s incredibly thrilling,” he said of the experience. “I love going to work every day. We’re so excited about creating the next Batman and Wonder Woman for the 21st century. It’s great to think about making these characters relevant and really resonate with audiences today. It’s such a thrill to be working with our director Zack Snyder. He’s creating such an exciting universe for this film. I think it’s something we’re all going to be really proud of.”

Read to find out where the American Hustle wardrobe is now, which actress wore a stained dress on-screen, Wilkinson’s favorite stores for vintage shopping, and a few hints about the Batman vs. Superman costumes.


'The Invisible Woman' designer on the film's Oscar nominated costumes

The Invisible Woman opened in limited release on Christmas Day, but the small period drama caught the eye of Academy voters, who recognized costume designer Michael O’Connor with an Oscar nomination.

The Ralph Fiennes directed film, which takes place in Victorian England, tells the story of Charles Dickens (Fiennes) and Nelly Ternan (Felicity Jones), the author’s secret mistress and muse.

“The inspiration came from Victorian art and painters like Frith who did Derby Day. [We also looked to] Charles Dickens — his writing, his life, the stories he wrote, the way he described people,” O’Connor told EW. What was the designer’s reaction to hearing the news that his work had scored him an Oscar nod? “It’s odd. You kind of think, ‘I wonder how?’ But I’m thrilled.”

O’Connor, who had previously worked with Fiennes on the 2008 historical drama The Duchess (for which won the costume Oscar), said that the actor-director was involved in every aspect of Invisible Woman. “Ralph was there at my initial meetings with the other actors to see their responses and how my ideas played,” the designer remembers. “He understands the feelings of the actors and what they may be thinking in that early stage.”

Read on for an exclusive Q&A with O’Connor and see the designer’s Invisible Woman costume sketches.


Zooey Deschanel to release clothing line with designer Tommy Hilfiger

Zooey Deschanel is bringing her quirky style to a Macy’s near you.

The New Girl star has partnered with Tommy Hilfiger to create a 16-piece clothing collection called “To Tommy, From Zooey,” which is scheduled to arrive in stores this spring.

Items like coats and peek-a-boo print dresses will be priced between $98 and $199.

Several pieces combine ’60s mod silhouettes with color-blocking and nautical accents, a look the actress describes as “Modical.” According to a release from Hilfiger’s press team, the line “captures the buoyant attitude of the sixties, the decade in which Hilfiger made his fashion debut and from which Deschanel borrows her doe-eyed look.” READ FULL STORY

'The Bachelor' Wedding: What Catherine Giudici and Sean Lowe wore

The bride wore a gown from — gasp! — two seasons ago, and the groom wore a borrowed designer tux.

From the nuptial ensembles to the rings and even the bride’s wedding night lingerie, ABC pulled out most of the stops for the nuptials of The Bachelor‘s Sean Lowe and Catherine Giudici. (Life & Style estimates the cost of the made-for-TV ceremony to be somewhere around $250,000, which is just a drop in the bucket compared to the reported $4 million dollars spent on the nuptials of Trista Rehn and Ryan Sutter in 2003.)

“I’ve always felt like a cute girl, trying to be fun and playful, but this time I’m really coming out as a woman and I want to wear something very form-fitting and sexy,” the bride told GMA‘s Lara Spencer during her hunt for the perfect dress. The groom also envisioned himself in a one-in-a-lifetime look. “This is my one chance to wear a baller tux,” he told ABC News.

Read on for all the fashion details from the Bachelor wedding.  READ FULL STORY

'The Hunger Games': New costume designers for 'Mockingjay'

Costume designers Kurt and Bart are overseeing the wardrobe department for parts 1 and 2 of The Hunger Games: Mockingjay.

Reached by email, the duo — who are nominated for a 2014 Costume Designers Guild award for their work on Dallas Buyers Club – said they were not allowed to share specifics on the Hunger Games gig, but did admit that it’s “really exciting.”

Kurt and Bart succeed Catching Fire costume designer Trish Summerville, who is currently at work on David Fincher’s movie adaptation of the 2012 bestseller Gone Girl. Their previous credits include Stoker, Step-Up 3D, and Justin Bieber: Never Say Never. They were also behind many of Britney Spears’ most iconic music video ensembles, including ‘Slave 4 You,’ ‘Toxic,’ and ‘Me Against the Music.’  READ FULL STORY

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