CDG - The Costume Designer

30 THE COSTUME DESIGNER | FALL 2021 "We did reshoots a year later and that kid grew a lot. We went up in sizes, but we had to keep the same style about him. He was trying to feel out who he was really through his clothing changes, and trying to emulate his uncle. So we kept him in the same color family as his uncle he idolized." Given the time jump, Westcott made sure to maintain a color palette for each of the characters so they could be more easily tracked by the au- dience despite the shift in silhouette and fashion from the '60s to the '70s. "Livia and her icy blues and greens. She's a cold character and a bit sad and disgruntled and her colors were trying to keep that side of her." Conversely, she put warm- er palette on Giuseppina. "She's the heat and fi re of the fi lm, so I used a lot of orange and purple and reds and greens. Coming from Italy, she had a goddess quality. I used references like Sophia Lo- ren and Elizabeth Taylor. In the '70s, she gets more American, so I turned her colors more toward the jewels and gave her some Jane Birkin type, shorter dresses." He wanted to go to college, not follow the family. He wanted to be a kid in a lot of ways. That jacket was a representation of what could have been. Later, when we see Carmela wearing it, that's his attachment to her." Westcott also used a piece of television history to give the fi lm continuity with the television show. "Michael wears a gold chain throughout the fi lm that Jim Gan- dolfi ni wore in the show. At the very end of the show, he ripped it off his neck. It was broken, but we fi xed it and he wore it throughout." He wanted to go to college, not follow the family. He wanted to be a kid in a lot of ways. That jacket was a representation of what could have been. Later, when we see Carmela wearing it, that's his attachment to her." Westcott also used a piece of television history to give the fi lm continuity with the television show. "Michael wears a gold chain throughout the fi lm that Jim Gan- dolfi ni wore in the show. At the very end of the show, he ripped it off his neck. It was broken, but we fi xed it and T nage T y Sopr o sp ts a 's ja t f cts h • • c• ce. "It w- p€ t ‚ ƒ „ pictu d h life di‰ Š ly. "We did reshoots a year later and that kid grew a lot. We went up in sizes, but we had to keep the same style about him. He was trying to feel out who he was really through his clothing changes, and trying to emulate his uncle. So we kept him in the same color family as his uncle he idolized." Given the time jump, Westcott made sure to maintain a color palette for each of the characters so they could be more easily tracked by the au- dience despite the shift in silhouette and fashion from the '60s to the '70s. "Livia and her icy blues and greens. She's a cold character and a bit sad and disgruntled and her colors were trying to keep that side of her." Conversely, she put warm- er palette on Giuseppina. "She's the heat and fi re of the fi lm, so I used a lot of orange and purple and reds and greens. Coming from Italy, she had a goddess quality. I used references like Sophia Lo- ren and Elizabeth Taylor. In the '70s, she gets more American, so I turned her colors more toward the jewels and gave her some Jane Birkin type, shorter dresses." T nage T y Sopr o sp ts a 's ja t f cts h • • c• ce. "It w- p€ t T nage T y Sopr o sp ts a 's ja t f cts h • • c• ce. "It w- p€ t T nage T y Sopr o sp ts a 's ‚ ƒ „ pictu d h life di‰ Š ly. ja t f cts h • • c• ce. "It w- p€ t ‚ ƒ „ pictu d h life di‰ Š ly. ja t f cts h • • c• ce. "It w- p€ t "We did reshoots a year later and that kid grew a lot. We went up in sizes, but we had to keep the same style about him. He was trying to feel out who he was really through his clothing changes, and trying to emulate his uncle. So we kept him in the same Given the time jump, Westcott made sure to maintain a color palette for each of the characters so they could be more easily tracked by the au- dience despite the shift in silhouette and fashion from the '60s to the '70s. "Livia and her icy blues

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