Dive into the captivating world of The Iron Claw with an exclusive interview featuring the brilliant mind behind its authentic and visually striking costumes, costume designer Jennifer Starzyk. In a candid conversation with Spencer Williams, Jennifer shares insights into The Iron Claw costumes with her creative process, collaboration with the cast, and the meticulous details that went into recreating the 1980s Texas setting. From the vibrant wrestling scenes to the heartwarming wedding moments, Jennifer’s expertise as a costume designer shines through, offering a behind-the-scenes look at the making of this outstanding film. Discover the challenges, triumphs, and the unique touch she brought to each character’s costumes, making The Iron Claw a visual spectacle that transcends the screen.
Spencer Williams: I am so excited to welcome my friend, costume designer Jennifer Starzyk. Hey Jenn, how’s it going?
Jennifer Starzyk: It’s great. Thank you so much for having me!
Spencer Williams: I’m thrilled to be speaking with you. I’ve been so excited for this interview because The Iron Claw is such an outstanding film, Jenn.
Jennifer Starzyk: I’m so pleased you enjoyed the movie. That’s really important!
Spencer Williams: It was a lot of fun. Let’s dive into The Iron Claw costumes. I have to admit, Jenn, I had zero insight into the story before I saw The Iron Claw. I’ve never been part of the wrestling world, and initially, I was hesitant about this film, thinking maybe it’s just not for me. However, after finishing the film, I walked away with a deeply emotional experience that resonated with me on many levels. So, first, what was your experience with wrestling, and how did you connect to this story when you first signed on to design The Iron Claw costumes?
Jennifer Starzyk: Great question. A little bit similar. I knew nothing about wrestling. I definitely had some preconceived notions of wrestling, and my first thought was that I needed to read this script and see what was going on inside it that Sean Durkin had written. As soon as I finished, I was like, what did I just read? This is so incredible, so fascinating, so different and interesting. Yes, it’s a biopic, but it’s about this whole entire family. So, my first foray was definitely like step one: hopped on the internet and looked up what the Von Erichs look like. Because, of course, if I didn’t know anything about wrestling, I did not know anything about the Von Erichs.
Once I looked up the Von Erichs and saw what an amazing costume opportunity it would be, and to be a part of a very dynamic film, I thought, “This has to be my project. This is my movie.” I was very thrilled when it was offered to me to take on The Iron Claw costumes.
Spencer Williams: That’s so exciting. I mean, that’s the fun thing about this film is you start to pull back the layers and realize there’s so much fun and color, then so much emotion, too. So it really is a costume designer’s dream, isn’t it? You really get to play with a lot of different elements here in The Iron Claw costumes.
Jennifer Starzyk: Yeah, definitely. Our movie starts around 1979. I also designed “Mindhunter,” which takes place in 1979. So what’s really fun as a costume designer or anybody in the film industry is you can take those same years, and they can look completely different because of what your script is about, who you’re focusing on, and what that whole aesthetic looks like.
So, when I went to start doing some further research outside of an internet site process, looking at books, photography, and things, I pulled out some of those same books, those same references, because they still related. But I’m looking at it completely differently because these boys were Texas Americana, a little country, a little rock and roll. Just like you start any project, you’re thinking, who are these characters? Where do they live? How much money do they have to shop? Where would they shop? Do they shop?
Even though they performed in Dallas, Texas, they lived in Denton, Texas. And they were very young. When they’re wrestling, they’re still in the heart of it, not making a lot of money, very basic clothing. How can we represent that to make sure each of our cast has their own style?
Spencer Williams: So with all that being said, The Iron Claw takes place in the 1980s, a time not too far gone. And I think before we get into the wrestling of it all, I think it was equally important to you to make the world feel real and authentic. How did you and your team approach the general idea of recreating 1980s Texas?
Jennifer Starzyk: Yeah, definitely. Obviously, you had the brothers, and you had so much research you could draw upon that. So, to flesh them out, each of the guys had their own personality. But in the whole big scope of Texas, what was kind of interesting is I always thought about, if Crystal Gayle, Linda Ronstadt, and Smokey and the Bandit were going to a wrestling match, what would they wear?
Aside from the actual photos of the guys and looking up their matches on YouTube, I definitely did a dive separately into the atmosphere’s pop culture of the time what movies might relate to that, and how they were addressed aesthetically in those movies.
So for me, a movie that I thought really kind of did relate in a way was Footloose. I absolutely thought it kind of was similar where it’s like small-town Americana, very basic, not a lot of access to things, but everybody has a nice sass and a nice little character to them. So that definitely set a tone for me. And then there were two documentaries, which I myself made sure anybody on my team watched: “Dark Side of the Ring” and “Heroes of World Class: The Story of the Von Erichs and the Rise and Fall of World Class Championship Wrestling.”
I just love research, books, and photography. So I definitely turned to Richard Avedon, “American West,” and pulled out some references, some of which I completely recreated for Pam when she first met Kevin. These are real people, and Sean was very drawn to more of the real aspects as well. So that was a nice dialogue and dance to try to mix all of these reference points together.
Spencer Williams: Wow. A lot of world-building going on here. I love it. So let’s get into what we want to talk about with The Iron Claw costumes, which is the wrestling of it all. It’s a lot of fun, a lot of colors. The Von Erichs were really professionals and knew exactly what they were doing in terms of selling the performance. How do you put together these very colorful wrestling scenes?
Jennifer Starzyk: Absolutely. Well, Sean, obviously, in the script, had a lot of wrestling scenes, and then we needed exact dates. So, you know, the first question was, are we replicating as close as possible? Do we have a little leeway? What kind of license can we take? Sean was open to either, as long as we made sure we hit the beats of each brother’s personality.
Our first step was to take a photo of each brother’s silhouette. For example, with Kerry, it’s always this little tiny shorty robe that barely covers his bottom. Jeremy was like, “How short?” And I said, “Up to here,” and he asked, “Here?” And I said, “Yep, that looks like this photo. This is how we’re doing it.” And he agreed.
Recreating each brother’s silhouette and personality was crucial. The yellow rose of Texas robe that David wore became one of my favorites. David’s whole persona was the yellow rose of Texas, and that’s what fans used to throw at him during matches. Stetson hats in the ’80s had a higher crown, similar to what you see in the Dallas TV series.
I called Stetson to see if they could recreate it, and the gentleman working with film, who grew up in Texas and watched the Von Erichs, was eager to collaborate. Many collaborators we reached out to were fans of the Von Erichs and were excited to contribute, making the process even more special. Once the movie is theatrically released on the 22nd, we’ll have even clearer images to share.
The robe David wore was likely velvet originally, but when discussing with Mateus, the DP, we decided it needed more sheen for better visibility in the dark wrestling scenes. Mateus emphasized the importance of luminosity, leading to the choice of luxurious fabrics with elements like lyrics, sparkle, and metallic vibes.
Kevin’s robe is more like a hoodie. He embodied the all-American jock vibe right from the start, and that’s the essence I wanted to capture. I predominantly dressed him in neutrals. He’s our survivor, the focal point of our stories—a perspective we follow. I aimed to keep him grounded throughout.
At the LA premiere, I was able to ask Kevin Von Erich, “Who made your robes?” I never knew who was behind their creation. I had envisioned it might be his mother, Doris, crafting them. However, Kevin shared a fascinating revelation – a lot of fans, particularly girls, were eager to contribute and make their robes.
Spencer Williams: That is the coolest answer ever! There’s a lot of action in store for The Iron Claw costumes, as you mentioned. How are these pieces being kept together? I imagine you must’ve had tons and tons of multiples.
Jennifer Starzyk: You would imagine. We started out at the ranch, and then we went into the wrestling scene. So we had a couple of weeks or so until we got into the wrestling matches. In the end, we ultimately made almost a hundred trunks, 21 ring robes, 24 pairs of knee pads, and 26 pairs of boots, all custom-made. It was a giant feat figuring out how to make it, how to accomplish it, and how to execute it.
Obviously, we needed at least four trunks because we needed two for the cast and two for our stunts, more for backup in case of tearing or damage. We didn’t want to hold up the camera. It was a big deal. We even had to partner with someone to make those trunks because they’re a bit different than you might think. It’s not just a straightforward thing. They look like speedos, but there’s a process to making sure the fabric is right, it’s lined properly, and they don’t wear dance belts. My ACD, Aileen Abercrombie, had a great idea. We bought samples from a wrestling company called High Spots, and she suggested they could fit us into their schedule for manufacturing, which they agreed to, again, because of the Von Erichs.
Spencer Williams: Of course. They were just waiting for the call!
Jennifer Starzyk: Yes! We gave them our schedule, which they did not seem to be too bothered by. We had to make some patterns for them. For any of the subsequent tasks, even if they lived in New York or someplace else, I would send someone to go meet them, try on the trunk and make a pattern, get the fabrics, make an illustration, and send that off to High Spots. So it was a collaboration for sure to make sure everything worked out fine.
The boots, I was so grateful that Kevin wrestled barefoot because it was one less character needing boots. Again, that was a bit of a tricky subject because the usual shoemakers and bootmakers in Hollywood couldn’t take our schedule. So I was looking online on Instagram, typing in David Von Erich boots or Kerry Von Erich boots to see if something would pop up. A Kerry Von Erich boot did pop up. I looked at the guy and thought, okay, this guy’s a bootmaker. I sent a message saying, “Hi, my name’s Jenn. I’m working on a movie with Von Erichs. Would you be interested in talking about making boots? I can send you an NDA.” He replied, “Yes. When?” And I said, “Okay, great. We’ll talk right now.” Luckily, Ray from Ace’s Boots also collaborated with us to help make all of our 26 pairs of boots; otherwise, it would never have happened. Even for him, it was challenging because he was fitting into an already busy schedule he had. Some of our cast was last minute, and there were regular delays, or something would run out. One time the boot glue didn’t cure, and it was almost torrential rain. So he had to wait for it to cure and then drive the boots personally, almost 23 hours straight, to get them to us. It was insane, but I’m so grateful.
Spencer Williams: That is insane. It sounds like there was a lot of collaboration happening in this film, which leads me to my next question. I want to talk specifically about some of the Von Erichs now, and I was so impressed by Zac Efron. I thought he did an incredible job. Can you talk about your collaboration with Zac Efron and the cast and bringing these characters to life?
Jennifer Starzyk: Absolutely. Zac was completely open when he came in for his fitting. I think he was the second person I fit but had the most looks in the film, around 60 changes. So, I knew it was going to be quite a few fittings to make that happen. Basically, I had the cast, and their costume changes, and I had a few insert ideas in each of those changes of what could work. He was super open, very professional, and a genuinely nice guy. Years ago, one of my first assistant costume designer jobs was on “17 Again,” so I told him, “You’re not going to remember me, but we did work together at some point.” He was like, “Oh, I kind of remember.” I said, “No, you don’t, but that’s the kind of person you are, so nice.” He came in, and we collaborated well, considering our limited resources. He was encouraging and appreciative, and we had a great time fitting him throughout the process. He worked the most and was just fine, hopping into my trailer and doing what needed to be done—a nice, polite person.
The other cast members, like Jeremy, also had multiple fittings. Jeremy, especially, started working out, so he was going to undergo physical changes during our weeks of preparation before filming.
Spencer Williams: I love his costumes. He has such a bad-to-the-bone energy. You kind of want to be him a little bit.
Jennifer Starzyk: Absolutely. The real Kerry had that bad-to-the-bone, sexy, rockstar quality, so it was perfect casting, and Jeremy embodied the character flawlessly. He was a true pleasure to work with, and already a fan coming into the project. He had just finished The Bear, which had just come out that week, and I thought it was an amazing show. It turns out everyone agreed. Jeremy was open and had no qualms; he was willing to try things and have fun with the costumes. He had a lot of choices, and even towards the end of the film, he’d request things like wearing the white cowboy boots again, which I understood – cowboy boots are fun to wear. Working with all of them was great; they were nice and professional.
Holt McCallany was a joy to work with, especially since I had collaborated with him on Mindhunter.
Spencer Williams: Oh yes by the way, shout out to Mindhunter. What a great show. I miss that show.
Jennifer Starzyk: Thank you so much. It means a lot to hear that people loved Mindhunter. When Sean mentioned Holt McCallany, I was over the moon. I reached out to his agent for permission to text him directly, and the collaboration took off in a new and different setting.
For Mindhunter, Holt had transformed into the character Tench, adopting a more substantial physique akin to a silverback gorilla. After the show, he returned to his regular fit and thin self. His role in The Iron Claw required him to portray his prime physique from the early ’60s when he invented the iron claw. But for the rest of the film, we creatively incorporated a pregnancy belly from Amazon into his costumes, seamlessly built into a suit. Holt embraced the role wholeheartedly, often seen reading lines shirtless with the pregnancy belly in his room.
We gave Fritz some iconic looks such as the blue boiler suit from Sears, expertly crafted by Hargates Costume. Fritz’s obsession with winning and the title belt was felt throughout the film so, we designed an everyday belt with an extravagant buckle adorned with sheriff stars—a detail that felt just right.
Spencer Williams: Yeah. I think it’s safe to say that there was a lot of masculine energy happening in The Iron Claw costumes. So when you see Lily James as Pam, she really brings a softness to the film, which is really kind of refreshing. So, what’s your concept behind Pam’s costumes?
Jennifer Starzyk: Well, you’re absolutely right about the prevailing masculine energy. Even before delving into Lily’s character, Doris, the mother, struck me as a mother on steroids, handling her motherly duties with grand breakfasts—it was truly exhausting. Consequently, I noticed that in most pictures of Doris, she was in pants. To carry this through, I ensured she mostly wore pants as well. Now, when Lily came in for Pam’s fitting, it was exhilarating. As you mentioned, there’s a warmth, a softness, and we wanted to convey that she’s the love of Kevin’s life—still together, in a healthy relationship, a stabilizing force amid Kevin’s tribulations.
We witness Kevin grappling with life’s hardships, convinced he’s cursed, while Pam, the rock in his life, remains steadfast, raising kids and maintaining her strength. Pam is no pushover; she’s sassy, asking Kevin out, envisioning her future with owning a veterinarian clinic. It was fascinating to transform this beautiful British princess into a Texas woman. This scene, the second or third time we see her, is when she’s introduced to the family during Thanksgiving—a casual affair. She exudes sass in jeans from a label called Pizzazz paired with a vibrant red T-shirt—a simple, sexy look that resonates well.
Continuing to develop her character, I aimed to present Pam with a soft aesthetic. For Christmas, she wears a flannel with 1980s-style ruffles, emphasizing a soft, cozy, and motherly vibe. This aligns with my interpretation of her character, creating a natural and authentic portrayal.
Spencer Williams: Right. She’s just absolutely lovely. I loved all of her scenes. But another character who I absolutely was in love with, I have to ask you about Ric Flair. Mostly because he’s the only wrestler I actually knew besides Dwayne “The Rock” Johnson. Ric Flair is very over the top, and extravagant. You and I were texting after the movie and I could sense that you had a lot of fun with this character in terms of The Iron Claw costumes.
Jennifer Starzyk: Definitely. Ric Flair’s the showstopper and just so much fun. As you start to do a deep dive… you are immediately thinking “What is going on here?” *both laugh* Like, who is this? You have like this Liberace-like wrestler with the nickname “Nature Boy.” I mean, it was just too good to be true. And I was very lucky that Sean was okay with me picking whichever Ric Flair felt right to me. Any of the robes will be a good choice. I was able to really think about it, which became a difficult decision because I wanted to make sure I made the right decision.
Perhaps I got carried away, as I returned with an array of materials, discussing the execution with my cutter, fitter, Brik Allen. The sheer volume of sequins and intricate details posed a challenge, prompting him to devise a brilliant solution involving glue, ensuring a secure attachment. The process resembled controlled chaos, with panels of bright pink, feathers, and sequins adorning our workspace. Despite the apparent madness, our efforts were met with enthusiasm, as everyone recognized the significance of crafting a robe that captured Ric Flair’s flamboyant and cool essence.
Spencer Williams: I am obsessed with Ric Flair’s costumes! They were so much fun, just like that wedding scene was a blast. It felt so heartwarming, and the costumes were absolutely fascinating, capturing a distinct era and setting. I’m curious about how you and your team went about recreating this wedding. Were there actual photos of the event, or did you have to approach it differently?
Jennifer Starzyk: Yeah, the wedding scene was a pivotal moment where we illuminated a brighter, happier side of the film. It’s a time of hope, even though there’s a twist to come when you watch the movie. So, we really wanted to convey the warmth of their love, which is truly transformative. For this, I drew inspiration from Kerry Von Erich, who has this collection of vintage tuxedos. Fortunately, my Assistant Costume Designer Aileen Abercrombie had a connection with someone in the Midwest who owns a treasure trove of vintage tuxedos.
Spencer Williams: Everyone has a guy, right?
Jennifer Starzyk: Exactly. I just need to know the guy has what we need. So, we selected a pale gray, dove gray tone for the tuxedos, reminiscent of what Kerry wore at Kevin’s real-life summertime wedding, giving it that Sixteen Candles look. For Pam’s dress, I initially tried different silhouettes to replicate her style, but once we settled on a very princessy dress typical of the ’80s and put it on Lily, I realized it was perfect — a Cinderella moment. She wore it so effortlessly, and when she mentioned dancing in it, I was a bit skeptical, but she insisted she’d make it work, and it turned out amazing.
We had a blast with the background characters too. It was so much fun dressing the entire background. On that particular day, we had two completely different scenes with background actors. We started with a funeral scene, went to another location in the middle of the day, and then had the four o’clock call for the wedding. It felt like a whirlwind, spinning around with racks full of looks tailored to the specific atmosphere and town for those scenes.
Spencer Williams: It sounds like you really relied on a collaborative team to bring everything together.
Jennifer Starzyk: Absolutely. Having a dependable team of key players who are willing to dive into the process is crucial. Knowing you can count on your team ensures that you can successfully execute the vision. When we all gathered on set, Sean expressed his appreciation for all the department heads. He loved what James did with the metallics, how it made everything pop. The hair and makeup on Pam and everyone being polished up after scenes with sweat or blood in between—it was a delight. Sean had the Frankie Avalon song ready, and it seemed like he knew he was going to use it. So, everyone just danced, creating a fantastic way to end the night. It was gratifying to see everything turn out well, especially watching them dance.
Speaking of Kevin, Zac’s dance was impressive. We all wondered how Zac, being a triple threat from “High School Musical,” would approach it. I think he subtly captured how Kevin would dance, reflecting an athlete’s natural style. It wasn’t overly choreographed; he was always glancing around, observing what his brothers and sisters were doing. It was a nuanced touch to his portrayal of the character.
Spencer Williams: Right! Especially. I mean, I grew up watching High School Musical, so I buckled up for the dancing! Jenn, The Iron Claw is now in theaters. What do you hope audiences will take away from the film, the story, and The Iron Claw costumes?
Jennifer Starzyk: That’s a really good question. I think what people I’ve seen take away already is an immediate response to wanting to tell a loved one they love them. And I think that’s just so special. I remember when I was at the Dallas premiere with my partner. I was like, “Are you crying?” And he was like, “Maybe,” you know, and so I was so happy. I feel like just people wanting to share love with their loved ones. And I think it’s obviously a very interesting story. It’s very tragic. I think Sean did a beautiful job telling the story. And for costumes, I hope that my peers and the audience really appreciate the detail and the thoughts and the care and all the time and effort and everything that went into it because this is truly one of those films where I think, “Oh, I’m close to getting to exactly what I wanted to achieve.”
Spencer Williams: Costume designer, Jenn Starzyk. Thank you so much for joining me. It’s been such a joy. I love The Iron Claw and The Iron Claw costumes. I hope everyone runs to the theaters and checks it out because it was such a great film. So, thank you so much for joining.
Jennifer Starzyk: My pleasure. Thank you so much!
