© Courtesy of Sony Pictures Classics, I came off a project that I didn’t particularly enjoy,” Petrie remembers. “And I spoke to my agent and said, ‘I really, really need my next job to be something that I’m really keen to do, that’s right up my street.’ I remember saying I’d love to do something that feels like a Jim Jarmusch film or Aki Kaurismäki or something like, and it was just perfect, so characterful and timeless, and it felt like it took place in its own little world.
It’s this sense of the film existing somewhat out of time that Petrie wanted to reflect in the costuming, with Pfeiffer’s wardrobe flitting between minimalist ’90s New York City sophistication and a more retro brand of luxury steeped in cashmere, fur, and tan leather handbags. “I mean, you can’t ever make anything feel truly timeless, but I tried to look at things that I felt were fairly classic, without wanting it to feel like a period film either,” says Petrie.
It was working within a budget that led Petrie to some of her most creative moments as a designer – particularly when it came to sourcing vintage pieces that could communicate the level of wealth that Pfeiffer’s character once possessed, while also reflecting her slightly shabbier new circumstances.
She’s an icon.
So beautiful woman 🌷🌺