We did a lot of research, we had a lot of pictures, we had a starting point.Ĭatherine Martin So there’s a different sensitivity here to the reality of Elvis Presley, whereas Gatsby was based on a novel.Ī lot of people going to see the movie have lived through these decades-but not the 1950s for me, to be clear! But it was different, because although there was some interpretation, it was very much trying to be true to the soul of the story, the humanity of the man, and that was very much one of Baz’s aims.
There are images of the people and images of the times. Well, this story isn’t completely imagined. My next question was going to be about how costuming Elvis differed from costuming Baz’s previous film The Great Gatsby. Really, it starts with research and understanding the script, and how Baz wants to envision it in terms of the style, and what he’s looking for in terms of sets, costumes, and the revelation to the audience of the story. The process always really starts with the telling of the story and the kind of story Baz wants to tell: the context, how it’s going to be told, who the characters are, and how the script is developing. How do you even begin to approach a project this big?īaz always has a strong vision of how he wants things to look, and he’ll often do scribble drawings or show you an image he found on the Internet. The films you and Baz Luhrmann make are unbelievably enormous in scope, and Elvis covers multiple characters across multiple decades. Martin was so generous with her time that she may have been a minute or two late for the Cannes premiere of the film itself, for which we apologize-but when a film’s costumes are this good, sometimes they just need to be talked about.
#SALMA HAYEK DUSK TILL DAWN COSTUMES ARCHIVE#
We geeked out about archive Prada pieces, as well as the finer points of designing costumes during a pandemic. On the morning of the film’s premiere at Cannes last month, we talked with Martin on the phone to learn more about how the pandemic changed the way she had to work, about yet again collaborating with Prada and Miu Miu for some of the film’s costumes, and about (the character of) Priscilla Presley’s iconic sky-high wig. Her work on Gatsby secured her an Oscar for Best Costume Design, and we wouldn’t be surprised if she won similar accolades this time around, as well. To get more scoop on the film’s dreamy '50s, '60s, and '70s fashions, we caught up with Catherine Martin-producer, costume designer, as well as life and creative partner of Luhrmann. And having had a sneak preview of the film ourselves, we feel confident in sharing that lovers of costume design will find this film nothing short of thrilling. In a sweeping biopic that ranges from the dusty backwoods of the segregated South to the neon-drenched, positively bedazzled stages of 1970s Las Vegas, Luhrmann is back with a cinematic ride that is every bit as visually arresting as Gatsby. Now, nearly a decade later, Luhrmann’s latest release, Elvis, takes a turn examining one of the 20th century’s most iconic and unforgettable showmen. It’s been nearly 10 years since Baz Luhrmann’s visual feast The Great Gatsby graced our screens-and who could forget? Leonardo! Carrie! The Prada costumes! Luhrmann’s singularly luscious and over-the-top filmmaking style is instantly recognizable, and simply begs the viewer to think, How did they even make this?Īs it turns out, the answer is: slowly.
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