Two full length dresses were bought and fitted to the performers. Then they were ripped, gathered, and dip-dyed green to create these unique looks. The long sleeve dress (center) was made out scrap fabric and a thrifted shirt. Photo credit: Matthew Echelman
The brain-child of designer Rachel Anne Gottlieb, a black baseball cap served as the base for this furry donkey head. Photo credit: Matthew Echelman
Deliciously 80's, this green screen shoot looked to films like Star Wars, Blade Runner, Dune, and Mad Max. The costumes were mostly pulled from the personal collections of the cast and crew. Silver Sound's own equipment was re-purposed into belts and accessories. Watch the full ad here.
This uniform costume was the product of a very specific vision from the director. The green jumper was dyed to make its color softer. Yellow ribbon was added to the collar and sleeves of the undershirt. Finally, the director's own black and white oxford shoes were painted green to match.
A dream project, the character pictured takes her old Communion dress and transforms it into a angel costume. The final piece had to look magical but also, believably hand made. Detachable underskirts also allowed the actor to rip the skirt multiple times on camera.
The skirt of the angel costume included four types of fabric. Lining fabric made the underskirt. The petals were made of stiff organza for fullness, glittery tulle for shimmer, and weightless silk chiffon to make the petals float around the actor as she danced.
This nightgown was thrifted but the skirt was not as full as desired for the final dance sequence. In an attempt to preserve the top of the nightgown and save the production money, the skirt was removed and used to pattern new, much fuller skirt pieces. The new pink fabric had to be washed and aged to match the texture of the top.
The mother character was meant to look like a classic 1950's housewife. Her dress was tailored on set and paired with a vintage petticoat, girdle, pantyhose, and shoes.
The large cast of talented dancers were styled to look like a cohesive gang. Each performer brought in their own pieces and the minimal budget was put towards thrifting elements like jean jackets and distressed jeans. Artist Hannah Schultz also created custom tshirts printed with splattered gold foil. RESH, the writer of the song, brought in his own leather jacket so it could be covered with silver studs.
Detail of RESH's studded jacket.
A bra and sheer black dress were combined to create this teddy. It was layered with shorts and a leotard to allow the actors to dance freely.
When RESH's character is killed he bleeds luxurious red silk. 20 feet of fabric had to be concealed under his white tshirt.
A red varsity jacket was customized for the final scene. The shoulders are covered in gold studs and a custom letter "R" was attached. The soles of RESH's red converse are also hand foiled in gold.
These three brothers were costumed to emphasize their extremely unique personalities. But they all had to look like they were from the same (undefined) era. Each costume was bought in multiples so they could be dirtied and bloodied for various scenes throughout the film. They each also had a nearly identical version of their costume in black for a funeral scene.
The sheriff and her assistant sheriff were costumed to look like timeless authority figures, complete with a silver "sheriff" badge. Unable to source authentic-looking cowboy hats in New York, the wicker hats were a generous loan from our hosts while filming in Tennesee.
The script called for twenty Klu Klux Klan robes and hoods. The robes were, unsurprisingly, a hard item to source. So each robe was patterned and sewn in a variety of sizes out of thrifted bed sheets and scrap fabric.
The script called for two headdress inspired by Geronimo. As opposed to creating a traditional headdress, it was made to look as if it could have been made by the characters, using items found at a dollar store. White feathers were dip-dyed to look like eagle feathers. Felt-covered drinking straws took the place of traditional beads. A leather belt made the headband. The feathers were threaded and tied off with thick thread as opposed to traditional horse hair.
This entirely original dress was meant to look like a nightgown that the character had worn for years.
This dress is meant to look like an alternative version of the dress above, but now the character is transformed. A white leotard served as a base. A thick band of cut-work lace was cut and pintucked to create the top. The underskirt was made out of a recycled white bed sheet. The top skirt was made out of three circles of silk chiffon. The entire piece was dyed with beets to create an organic-looking pink color.
The green dress worn by the mother character was a very lucky thrift store find. The only thing wrong was its huge white bib collar. So the collar was removed, reshaped, and reattached.
This pivotal scene called for very specific wardrobe: a red robe, with a black and blue lining. A thrifted silk white robe was dyed red using wax to preserve the color of its embroidery.
The same robe as above worn inside-out, showing its custom black and blue lining.