‘Opus,’ directed by Mark Anthony Green, delves into the media industry while highlighting the importance of fashion as a metaphor for self-discovery and evolution.
A24’s latest film, “Opus,” takes audiences into the throes of the media industry and showcases the complexities of pop culture fandom through a horror-thriller lens. Directed by Mark Anthony Green, the film opens in a stark, grey conference room, where writers at a music publication reminiscent of Rolling Stone gather to pitch their story ideas. Central to this scene is Ariel, portrayed by Ayo Edebiri, the only Black individual in the room and noted for her distinctive style that sets her apart from her predominantly male and more conservatively dressed peers.
Costume designer Shirley Kurata described Ariel’s look as inspired by “a cool ‘Black Ivy,’ New York kind of style,” reflecting both her educational background as a Spelman College graduate and her ambition to carve a niche in the competitive media landscape. Ariel’s first pitch at the conference table is met with enthusiasm from top editor Stan, played by Murray Bartlett, yet it is unexpectedly reassigned to a more senior editor, highlighting the prevailing biases within the industry.
Green, who has extensive experience from his years at GQ, ensured that the film accurately represents the sartorial challenges faced by those in media. Kurata noted that while many in the industry might not earn hefty salaries, there remains a path to fashionable choices, whether through thrift finds or sales. This blend of aspiration and realism is exemplified through Ariel’s high-low ensemble featuring a sweater vest from the trendy Lower East Side brand Bode, underscoring her struggle and style.
As Ariel and Stan venture to visit the reclusive figure of Moretti, played by John Malkovich, who is staging a return to the music scene, the film shifts visually. Ariel’s outfits, particularly during this journey, reflect her character’s evolution—from a grey sweater layered with a houndstooth coat to a sophisticated Prada gown when attending an event organized by Moretti, whose followers are dressed in less fashionable attire. Kurata aimed to ensure that Ariel’s wardrobe conveyed a sense of timeless elegance, distancing from trendy looks, with the transformation marking her character’s increasing confidence and prominence.
Throughout “Opus,” the theme of fashion becomes a metaphor for personal evolution. The film’s narrative propels Ariel into various encounters, including a dramatic moment when guests are asked to change into new outfits purportedly meant to elevate their identities. Ariel ultimately dons a chic, light yellow Prada dress, juxtaposed against the more ostentatious red gown worn by fellow journalist Clara, portrayed by Juliette Lewis, whose style is described as reminiscent of “Real Housewives.”
Kurata tailored the costumes significantly for Moretti, drawing inspiration from iconic figures such as David Bowie and Elton John. Malkovich’s input was instrumental, even conceptualizing Moretti’s distinctive sarong, which added a unique silhouette that eschews typical pop star tropes while evoking a cult-like presence.
As the film progresses into its climax—Ariel’s reflection on her harrowing experiences and her transition into a successful author—the evolution of her wardrobe parallels her personal growth. Kurata emphasized the progression of Ariel’s outfits, which shift to chic suits from brands like Philip Lim as she embarks on a press tour for her bestselling book.
The film offers a visual exploration of the relationship between self-expression and societal expectations through its fashion choices. The story culminates when Ariel, dressed in a striking trench coat for a visit to Moretti in prison, encapsulates an image of empowerment. As she navigates through the treacherous waters of her career and personal life, her outfits reflect a newfound confidence and success, signaling her journey towards self-acceptance and visibility within a challenging industry.
Source: Noah Wire Services
