In an interview with The Observer, Emmy-award winning costume designer Odile Dicks-Mireaux talks about her inspiration for the latest Edgar Wright project, Last Night In Soho.
Dicks-Mireaux, when asked about the research done to properly encapsulate 1960's London fashion, said, "Edgar very kindly put together a whole research package for his team. He put about 15 films together, showing where he was getting his inspiration from. I don’t know if I watched all of them, some of them were big movies like [Edmond T. Gréville’s] Beat Girl and [John Schlesinger’s] Darling and [Nicolas Roeg’s] Don’t Look Now, some of them have nothing to do with the 60s, like the 70s italian horror movies that he really likes. He also gave us reading material about Soho at the time and obviously I did my own research as well. Like him, I tend to look at films and the famous people that are around at that time, people that the characters would look up to. For instance, Thomasin would look up to the fashion magazines of the period, because she wants to be a fashion designer; Sandy would be looking more at film stars for her look. Research is fantastic and the prep time, the time when you’re collaborating with all the different departments, is the best."
When asked about what the thought process was for Sandie's first dress in the film, Dicks-Mireaux said, "There’s an old Terrance Stamp movie called Modesty Blaize where Monica Vitti is wearing a dress that is very similar. I had to find a dress that would inspire a fashion student to then be able to create a believable fashion show at the end. That was one of my slight anxieties, because ‘60 to ‘65 was very much all about showing a slim silhouette, so that’s where the idea of having an overdress, which was slightly see-through came from. I thought that it would give a student more opportunity to come up with something later on. We made some prototypes so we could see Anya move, and then we suggested colors to Edgar and peach was our favorite. When he shot the scene of her walking down the stairs for the dance, it was Anya’s idea to flick it up, she really makes clothes work, they both did, it’s nice to work with actresses who own their costumes."
Information originally sourced from The Observer.