Costume Review, Remix and Rendering #11: IF BEALE STREET COULD TALK
REVIEW
The adaptation of books into films can go sideways hard and fast. But in this case, I think the film version of this story is a beautiful compliment to the story that James Baldwin was telling with his novel.
I’ve said it before and I’ll say it again, James Baldwin’s work is super dense, and I personally find him very difficult to read. There’s so much packed into every paragraph, sentence, word. So the thought of turning one of his pieces into a two hour film, seems impossible. But I think the way the film is structured, coupled with Barry’s unique ability to show black people in a different light (literally) makes this story, albeit tragic, more palatable.
This story of injustice, racism and poverty is wrapped up in a sepia-colored tale of love. I found, as I was watching already knowing what the outcome would be, still feeling hopeful for a different ending and eventually comforted by the fact that, even though it’s not the ending I wanted, love still won…in a way.
Designer Caroline Eselin, frequent collaborator with Barry Jenkins, once again hits this one out of the park. Every creative choice made here (color, print, fabric, aging/dying, silhouette), felt informed and deliberate. The characters felt authentic, and I believe that their costuming was tantamount in transporting the viewer into the space and time of the film.
Ten out of ten. Highly recommend.
REMIX
I decided to combine silhouettes and patterns from two characters. I loved the paisley print of one of the dresses that Tish (Kiki Layne) wears in the department store scene as well as the contrast suit that Alice (Aunjanue Ellis) wears when she has a sit down with Tish’s family.
I found a vintage 60’s print fabric at FIDM’s Scholarship store and a vintage-repro pattern from the 70s. I added piping to the pattern to give it a contrast feel by defining the panels. The most difficult part of making this dress was getting the collar right. Because the framing is so square, there was a lot of room for error by the corners of the neckline. The construction of the sleeves was also a little dicey because the connection wasn’t a typical round armhole. Instead, the pattern called for an armhole that was flat on the bottom and round on the top…like an oval cut in half.
Patterns: Vogue 1948 Misses’ Dresses
Fabric: Vintage corduroy from the FIDM Scholarship Store
Style: Dress
Vintage/Contemporary: Vintage Reproduction
RENDERING
