The costume designer for ‘The Sun’ elaborates on the importance of wardrobe pieces that capture characters’ personalities and the historical backdrop of the film.
In conversation with GQ, costume designer for the upcoming film “The Sun” shared insights into the intricacies of selecting wardrobe pieces that reflect not only the characters’ personalities but also the historical context in which the film is set. The production’s attention to detail is evident in its choice of clothing, which plays a critical role in portraying the narrative.
One particular highlight is a gray sweater sourced from Berlin’s Theaterkunst. This original vintage piece is described as “immaculate” and “sculptural,” boasting a unique design that the designer claims has never been seen before in either old or new clothing. Throughout filming, actor Adrien, who plays the lead role of László, expressed great admiration for the sweater. “It’s incredible,” he remarked, photographing it frequently. This sweater features prominently in a scene set in a New York apartment during the mid-1950s, where László’s niece announces her plans to move to Israel. The juxtaposition of the modern setting with László’s historical garment creates a visually compelling narrative, resonating with the beatnik culture that defined that time period.
The designer noted a surprising amount of interest from viewers regarding the sweater, with many assuming it was a contemporary piece. “I’ve had so many emails inquiring about that sweater in particular,” the designer highlighted, indicating a desire to potentially reissue the sweater to meet this demand.
Further illustrating the film’s commitment to authenticity, the designer emphasized the sourcing of clothing that reflects a sense of lived experience. In scenes depicting László’s work in construction, the wardrobe includes well-worn pieces, typically from the 1940s, which align with the aesthetic of hand-me-downs, an appropriate choice for the socio-economic conditions of the time. “It was just really lovely to find original pieces that had a beautiful age to them,” the designer explained.
Another striking piece examined in the interview is a shiny, grayish, pleather-like raincoat worn by László on the construction site for the Van Buren Institute. This coat is also a vintage Theaterkunst item, and the designer praised its modern and utilitarian qualities. In a scene where other construction workers are depicted struggling under the weight of traditional rain gear, László’s practical attire stands out. “Just to have him there, no hat, in this rubber kind of mac, just dressed super practically—again, it just felt really true to who he is as a designer,” the designer concluded.
The attention to detail in the film’s wardrobe not only serves to enhance character portrayals but also enriches the storytelling, providing viewers with a window into the era’s aesthetic and social fabric. Each garment has been carefully curated to ensure authenticity, allowing the film to resonate deeply with its historical context.
Source: Noah Wire Services
