As a costume designer with a deep appreciation for the theatricality of the 18th century and the punk spirit of the Bowery, I found the creation of Harley Quinn‘s costume in “The Harley and Joker Show” an exhilarating challenge. The combination of high fashion (Cher-inspired outfits) and low culture (punky miniskirts and tights) was a delightful dance that echoed the duality inherent in Harley’s character.
SPOILER ALERT: This article contains spoilers for “Joker: Folie à Deux” now playing in theaters.
In my role as a movie critic, as I delved into the intricate world of “Joker: Folie à Deux,” I found myself captivated by the elaborate thought process of costume designer Arianne Phillips, particularly in her meticulous crafting of Lady Gaga’s character, Lee Quinzel.
In the movie, Lady Gaga portrays Lee, a patient at Arkham State Hospital in Gotham City. She attracts the attention of Arthur Fleck, played by Joaquin Phoenix. Immediately, they forge a strong bond. Her eyes sparkle, and so do his.
At Camp Lee”, Phillips (the director), Lady Gaga (referred to as Stefani by Arianne Phillips), and the team, worked on figuring out how to portray the character of Lee. In an interview with EbMaster, Phillips explained, “It was a dilemma deciding whether we should first see Lee at her origin in Arkham, or at the end when she’s fully transformed into Harley.
As a passionate film enthusiast, I found myself deeply captivated by the creative partnership between Bradley Cooper and Lady Gaga in “A Star is Born.” Beyond the obvious, their collaboration delved into something profound – I discovered that behind the enigmatic character of Ally, there was a rich backstory. She had an affinity for musical theater, a revelation that opened up a realm of possibilities for her on-screen persona, even extending to the choice of her shoes.
In this piece, Phillips delves into the process of designing Lee’s character development through costumes, incorporating the distinctive diamond motif and Harley’s bold color scheme of red, black, and white in their execution.
The first time audiences meet Lee is in the B ward at Arkham. She’s in hospital sweats, a white t-shirt and that cardigan. What did you want to say?
She’s located in B Ward, a low-security area. Todd recently shared an eye-opening documentary titled “Titicut Follies,” which provides a stark look into a harsh and rundown mental institution for criminals. Despite its grim subject matter, the film served as a powerful source of insight. I’ve also conducted similar research for the project “Girl Interrupted.” I found the blend of hospital-related issues and personal belongings particularly captivating.
The concept behind Lee’s character is that she mirrors the state of New York City during its most troubled times, when Gotham was dark, gritty, and dangerous, with the art wave and punk movement beginning to rise. I envisioned her wearing hospital scrub-like pants, paired with a men’s tank top, but with a hint of femininity suggested by what lay beneath. To make her appear larger-than-life, I designed an oversized sweater that she could wrap herself in comfortably. The sweater was inspired by the fashion trends of the 1960s for men. It was crafted from a mix of mohair and angora fabrics. Stefani was keen on incorporating elements of Harley Quinn, the character, into Lee’s appearance, so I emphasized the diamond pattern, a common feature in Harley Quinn’s costumes.
Initially, Sarah Tanno (Lady Gaga’s makeup artist) removes her makeup, while Freddie (Frederic Aspiras, Gaga’s hairstylist) styles her hair to look slightly greasy. I envisioned a comfortable, warm, and soft sweater would be perfectly illuminated by our Director of Photography, Lawrence Sher. And she is gracefully bathed in backlight, creating a halo effect that adds a touch of softness and femininity to her image.
When she goes to the courtroom to support Arthurs, how did you want her costumes to evolve?
During our initial consultations, Stefani and I discussed silhouettes extensively. I found myself drawn to the Biba girl silhouette from the late ’60s, ’70s, and Ossie Clark’s designs of the 1940s – all epitomizing extreme femininity. This was a stark contrast to her character portrayed as an overzealous fan, emotionally limited, and fixated. By subverting the overly-feminine silhouette with her edgy hairstyles and makeup, we aimed to give her a sense of instability.
I realized those church dresses she had dated back to her teenage years, seeming more reminiscent of the late 1960s and early 1970s than the 1980s. In the courtroom, these dresses transformed. Initially, they were heavily floral-themed. She wore a sweet baby blue floral dress paired with tights featuring a diamond pattern.
Stefani crafted the background story revealing that Lee had a keen interest in musical theater since childhood. During her time at Arkham, she was often seen in ballet shoes, and these were intentionally made to appear dirty to underscore her vulnerability and femininity.
All the shoes she donned were procured from distinct dance boutiques scattered across New York. In one particular sequence, she sports Tango or dance-appropriate heels, lending her a sense of confidence. It was quite astute of Stefani to do so, considering her role in this film involves both singing and dancing – traits that resonated with her childhood persona.
In the courtroom fantasy scene, she adorns her face with blood and dons a dark ox-blood baby doll dress, custom-made for her. Towards the end, she appears with an oversized white collar reminiscent of a female clown’s attire, hinting at her unique interpretation of the character. This vintage dress was particularly appealing to us because it contrasted sharply with the first floral one.
What about the last courtroom costume, when she’s fully realized with the red, black and white outfit?
We explored numerous concepts for the ultimate Harley character. Collaborating with Freddie and Sarah made the process smoother and more effective. Initially, I envisioned her wearing a black-and-white corset that she might have torn from a formal outfit, such as an 18th-century dress. We crafted it out of muslin, a material not typically used for external costume layers due to its unrefined and frayed edges. Joanne Mills, our tailor, made the jacket from red silk wool that resembles costume fabric. It features a pleated tuile on the forearm, which was supposed to be a piece of costume she found at a thrift store and repurposed. For the jacket’s design, we employed a technique where the diamonds could be pleated.
She owns a compact leather mini skirt adorned with large zippers on both sides, giving it a punkish vibe that would fit perfectly in the Bowery or CBGBs. The diamond pattern tights reappear, now in black. Once more, she dons her dance shoes.
As a cinephile, I found myself captivated by Stefani’s coat, crafted from the familiar texture of upholstery fabric with striking red accents. The choice of these bold hues – red, black, and white – seemed to pay homage to the comical essence of the character. In many ways, it echoed Mark Bridges’ innovative design of the Joker’s original suit, rooting itself in reality as a clown costume. However, I felt it necessary to ground Harley’s costume within reality too, reflecting her punky and scrappy persona – this spirited, rebellious girl we all know and love.
The Harley and Joker Show costumes reminded me of the Sonny and Cher show. Was that the inspiration behind that?
The design called for an outfit similar to Bob Mackie’s, but with a modern twist, inspired by Cher. I chose vibrant colors for the costume, wanting to steer clear of overly ornate designs that are typically associated with Mackie. Instead, I aimed for a lively and flexible look. The goal was to create an outfit that felt youthful. Maintaining the baby doll shape, it featured a double bell from the swingy halter top, and the long bell bottoms were elongated for added drama. There was some beading detail added to the design.
To make her appear extraordinarily tall and impactful, we decided to have her wear vibrant, shimmering rainbow heels. Moreover, Sarah skillfully applied some enchanting makeup, gradually transforming her into the captivating character of Harley.
Arthur’s outfit, too, was a fresh take on the Joker’s attire. It stood out more, with bolder and more vibrant shades, a fiery and powerful red.
What about their wedding outfit ideas?
I opted for a silhouette reminiscent of the ’60s and ’70s, avoiding the stereotypical long dress, instead choosing a mini dress that mirrors her court attire. This dress was designed by Joanne Mills. The top stitching is intricately patterned in diamonds, subtly referencing Harley, as it’s white. We endeavored to incorporate the theme as extensively as possible without being overly obvious.
Arthur dons a white version of his Joker attire, while Gary Puddles sports a white Members Only jacket – identical to the one he wore in court.
This interview has been edited and condensed.
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2024-10-08 01:17