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Keep it cruel costume movie#

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She’ll get the chance soon enough - the movie is being released in theaters and Disney+ on Friday. “I’d love to see it again on a bigger screen,” she adds. She recently returned after several months in Prague, where she was working on the World War II-era film “White Bird: A Wonder Story.” While there, she watched a final cut of “Cruella” for the first time, and liked what she saw. Harris Goes to Paris.” (In the book, set in 1950s London, a cleaning lady becomes enamored with a couture Dior dress.) For now, Beavan is enjoying a short break back home in London. “I chose fabrics that had a certain structure to them so we could be sculptural,” she says, adding that she rooted those costumes in brown and gold tones.īeavan spent even more time with Dior’s designs after “Cruella,” working on the film adaptation of “Mrs. “The Baroness is a very good designer she’s just slightly old-fashioned,” says Beavan, who based the character’s tailored looks on Dior’s New Look aesthetic. The Baroness, the movie’s central antagonist, serves as a counter to the youthful, eclectic fashion scene from which Cruella emerges. “I love some of her earlier looks when she starts to work at Liberty London, and when she was starting to work for the Baroness,” says Beavan, who put Cruella in culottes and little jackets and funky accessories - “bits and pieces.” (As a young aspiring fashion designer, Cruella would surely have been impressed by Stone’s Louis Vuitton ambassadorship - one of the character’s early looks is accessorized by a Louis Vuitton Capucines bag.) But while Cruella has several grand costumes in the film, Beavan notes a particular affinity for its most simple looks. In another scene, Cruella rides off on the back of a dump truck as her dress unfurls a 50-foot train constructed from The Baroness’ recent fashion collection. “So we had to get a dress that had enough fabric in it, so we could just about believe that this new dress came out of the old dress.”

Out of that dress, she recuts it,” says Beavan. “In the script, Cruella finds a red dress, that was the Baroness’ old dress, in a vintage store in Portobello. “The whole look becomes sharper, more tailored, more Cruella-y,” says Beavan.Įmma Stone as Cruella in Disney’s live-action “Cruella.” Photo by Laurie Sparham. As the character becomes darker throughout the film, so do her costumes. For Cruella, Beavan stuck to the character’s iconic color palette, rooted in black, white and red. ”ĭirector Craig Gillespie already had a solid visual outline for the film, which Beavan used as a starting point to create her mood boards to convey her sartorial plan for the story. I hadn’t really done the period and I hadn’t done that kind of Disney.

“The story was strong, the characters were great,” says Beavan of the appeal of “Cruella.” “It was a wonderful challenge, and it was something different. “I’m not a fashion type of person,” says Beavan, whose multidecade career as a costume designer is marked by 10 Academy Award nominations - she won twice, for “Room With a View” and “Mad Max: Fury Road.”

At first, Beavan was surprised she was being considered. The call for “Cruella” came “slightly out of the blue” for the costume designer, who received a text from Kristin Burr, one of the film’s main producers, asking if she was busy. Costume designer Jenny Beavan on the set of Disney’s live-action “Cruella.” © 2021 Disney Enterprises Inc.