Hello there 🙂
Unpopular opinion: Rom-Coms don't get the recognition they deserve. Do not get me wrong. There are so many great ones serious films and shows and rising stars that deserves all the awards, but who wouldn't love a little heart-warming movie?? To all boys: P.S. I still love you, the continued from Hit Netflix To all the boys I loved before, is exactly that. I will not give away spoilers, but like every style lover, I was not only dizzy about the budding love story, but also about the ensembles. Fashion is my first love forever, in contrast to the protagonist Lara Jean (played by Lana Condor). After seeing it, I tapped the seasoned costume designer behind the film, Lorraine Carson, to reveal all the details of how they made a youthful Rom Com wardrobe so chic that an editor could fall in love. Think of this as a love letter to the costumes, the movie, and the universal story like ours Style develops from our youth to adulthood and beyond. But first a little bit about Lorraine Carson …
Can you tell our readers about yourself for those who are not familiar with your work?
I started in the theater world as a seamstress at the Stratford Theater in Ontario, Canada and from there I have been designing costumes in the film industry for many years. I have worked on a variety of project types, from very small independent projects to large feature films like Pirates of the Caribbean, The exorcistand the film To all boys: P.S. I still love you.
You have so much work. Which production have you loved to work on and why?
I have to say I have a passion for historical pieces. Last chance to work as a costume coordinator Pirates of the Caribbean Film was fabulous. But I also personally designed several projects that originated in the 1940s, such as the series Nothing too good for a cowboy. We created a lot of the clothing for this series from scratch because 1940s clothing was carried to death, so it cannot be rented or bought. It's always fun to dive into the past and research and recreate costumes for historical pieces, and those were my favorite productions.
The costumes for a historical film are so different than for a contemporary film. Is your approach any different when you think about costumes for these different types of films?
It is actually not. It's very different in what you see in terms of the application and what you see on the screen, but my process is the same. Whatever I do, I do research. So if it's like a movie about teenagers To all the boysI research what teenagers wear. When I do a piece about cattle breeders from the 1940s, I do research. A lot of referencing is therefore required to create costumes. It is a different kind of research, where I search online for current fashion than for books for historical pieces. But the process is still the same. You need to get your homework done and know what you're doing to do it on the screen.
Why To all the boys? What interested you in this project? And why do you think this story is still a relevant story that can be told from a style perspective?
The reason why I was attracted to this project is how I am attracted to most of my projects. It's about the story and the content of the story. And I will always tend to choose a project that has a positive history because I think I can help keep going in the world. Because this series is based on Jenny Hans' collection of three books, I think it's a very positive message to young women. It's about something you may not think someone else is going through, but everyone is going through, and it expresses it in a very humorous and loving way.
To all the boys it’s obviously about a teenager’s life. How did you get to create looks that not only match your age, but are also relevant for viewers of all ages?
Since Jenny Han's work also has a fan base of all ages and the film itself has the same fan base, we had to approach the costumes by honoring these iconic characters from the first film and the novels and expanding them into the second and third films. I took snippets of her past from the previous film and added them to her costumes for this film, so I made sure there was something vintage or retro. We have moved away from her signature Combat boots and gave her shoes in a small size to show this maturity of character while using very current fashion from North America and Korea and stuff from Europe to inspire her looks. We threw everything together and made it a unique look for Lara Jean, and we did the same for all characters. But aside from honoring the characters, the story is about growing up, growing into a relationship, and changing within family dynamics. All of this has helped me to define this by looking visually in front of the camera, which I hope can convey the universality of this story to all viewers.
How did you get the parts for the costumes? How long did it take to create the looks?
I had about six and a half weeks to prepare for the film, and my team came out after five weeks. So we created mood boards so that the producers, directors and my ideas can be combined and refined so that we can get the pieces as soon as my team is on. We went to the vintage stores, went online, and that was how we got the costumes for this film. I knew I wanted to incorporate vintage into the film because it gave her character a more versatile feel. At the same time, we needed current fashion.
Where did you get the current pieces from in the film?
I had a team of six buyers and myself, and we just moved from anywhere. It's very difficult to name a source, but when you talk about a custom outfit, none of the characters' looks were from one place.
What was your approach when you dressed Lana Condor as Lara Jean in the film? Can you get a little involved in the mood board process for them?
Naturally. The scene shows what the outfit is, whether it's pants or skirts or a hanbok made from traditional Korean clothing. So the plot shows a lot of the style of clothing, and then our team will go out and get things. And then we make an adjustment Lana Condor and then the creative producer (Jenny Han) and myself to decide the look. And because we shot the film in 4HD, this has a slightly limiting effect on the fabrics you can use for costumes. So you can't use ripped fabrics because they cast shadows and so much contemporary clothing is ripped because it's body conscious. So we had to find a way to get the same effect. That is why we have adapted all looks so that they achieve the same visual effect as a ribbed fabric. The costume design process has many facets that people don't know, and you can't use certain fabric colors.
Let's talk about the traditional Korean hanbok look that Lara Jean wears in the film. Can you tell us a little bit about how you found this look and are sure to appreciate the story surrounding this traditional garment?
I have to start with the fact that I went to Jenny Han who wrote the story and I went to her to create looks for everything that is traditionally Korean for the story and legacy behind this look. And then I did extensive research on the history of the Hanbok garment that Lara Jean wore in the film, and learned that it was made in the 11th century. In addition to learning the story behind the look, we had a certain color palette for the film for the film, and all of the colors of the characters and Lara Jean were so specific because they are included in 98% of the film. So we wanted to keep their hanbok in these colors, so we got two traditional Korean hanbok stores in Los Angeles with Jenny Hans' help, and Jenny called us on the phone and bought the fabrics for the look through FaceTime.
Wait – is there a color palette for the film? Why was it so integral to the making of this film?
Our director Michael Fimognari had the vision to have this color palette for the film. He had brought this into play for the first film when he was a cameraman, and now he was both a director and a cinematographer, so it was extremely important for all of us to uphold this request that he made. It was ambitious, but we did it and I think it worked really well. It added an interesting depth to the film because for Lara Jean and for all the other characters, because they all had individual color palettes, these palettes had to be represented in the scene by either the costumes or the set design, so it was pretty much working with mine Team and the production designer to appreciate this in every scene.
What colors was Lara Jean’s palette?
The entire color palette for the film corresponds to the palette of individual characters by Lara Jean. Regardless of the scene in which Lara Jean is, we had to use one of these three colors – magenta, cyan or yellow – regardless of whether it was depicted on her as a piece of clothing or in the room as a piece of furniture.
Would you say there are key pieces that make up a Lara Jean outfit?
Certainly. The thing that mimics the most is the outfit we created for her first day of school, where she wears a little pink skirt that I got in Vancouver that comes from Korea. And we combined it with a Zara coat that we tailored because it was quite box-shaped, so we made it more like a car coat from the late 50s and early 60s. We combined that with some Jeffery Campbell high heel loafers. It was an outfit that belonged to her, but was a bit more mature and retained the feeling of her in the first film, but represented her development as a youthful figure.
Speaking of outfits, we cannot Not Talk about the dress Lara Jean wears in the movie. Where did it come from
Of course everyone loves the Cinderella moment dress! It was actually a red carpet dress by J. Mendel. It was strapless, but we shortened it to fit Lana Condor and took the extra fabric to make a shoulder strap for the dress. And then we combined it with a pair of Aldo shoes. That look was every girl's dream, including mine.
Was there a look or a figure that you loved to create costumes for?
I honestly think they're all so great, but the character that was the most fun was Stormy. Just because of all the 48 costume changes that Lara Jean had, Stormy's approach was very different. She had been a world traveler, so that had to be reflected in her closet. So it was great fun going to the vintage stores and saying, "Oh, yes. That comes from Morocco. Let’s understand that. "Her looks were everywhere and we combined all of her vintage things with Zara from last season. Her looks were all very Katharine Hepburn-ish.
What do you hope the audience will take away from the costumes in this film alone?
I don't want people to be afraid of experimentation. I want people to go: "Maybe I'll go shopping in this second hand store, and maybe I'll try this 1940s jacket with my jeans." I want people to experiment more and the average teenager to experiment more with their style, and that shouldn't stop when you grow up. Style is a way to encourage creativity. So don't be afraid to try different things to strengthen your personality. And the age diversity of the film – it's all between 12 and 70 years old – shows that style can be explorative no matter where you are in your life.
This is your third time in post-production To all the boys. C.And do you give us clues as to what we can expect from the film in terms of costumes?
I'm a little bit confidential, but once you've read the books, you can know what to expect in the next film. And from a costume perspective, the third film is even more exciting. We have almost 65 to 66 costume changes in the next film. And Lara Jean & # 39; s closet grows and her life changes even more when she travels and turns 18. This way your style development becomes even more visible.
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