True love never dies! In preparation for the release of the new film directed by Rupert Sanders, costume designers Kurt and Bart offer a deep dive into their creative process for The Crow, a reimagining of James O’Barr’s original graphic novel. They discuss the iconic coat worn by Eric, played by Bill Skarsgård that serves as a focal point, with hidden details like its inside-out construction reflecting the character’s journey. The designers also explore the intentional use of color and delve into the complex costumes of Shelly, portrayed by FKA Twigs, whose fashion influence brought a unique dynamic to the character. Throughout the interview, Kurt and Bart emphasize the importance of creating the film’s immersive world and managing the costume breakdowns required by the intense action sequences. Their reflections reveal the challenges and rewards of working on The Crow costumes that balances iconic elements with a fresh perspective, all while honoring the dark, emotional core of the story.
Spencer: What was it like working with director Rupert Sanders on this film? How did his vision influence your costumes?
Kurt: We have worked with Rupert a lot and work well with him. After a few projects, there becomes trust and a level of communication that is really enjoyable. Rupert has great taste stylistically and also has a sartorial sensibility and language when speaking about costume, which really helps. He really did want to reimagine the classic story, and we were excited to help him do that.
Bart: Rupert’s taste is specific, as was his vision for the film. We always share a lot of images back and forth, and the look gets more refined with each step of preproduction and continues throughout the whole process. Working with Rupert, the look continues to live and grow throughout the whole process, which makes it really exciting.
Spencer: The Crow is a reimagining of James O’Barr’s original graphic novel. How did you bring your point of view to the costumes, and were there specific elements or costumes that you felt were important to reference or reinvent in this new film?
Kurt: It really just boiled down to the coat for us. It’s so iconic and such a great silhouette. We did want the coat to be dynamic and to move and swing for the action scenes. I will be curious if audiences catch that the coat is ultimately worn inside out? We were so inspired by the inside construction of vintage trenches and military coats. We worked it into the storyline that when Shelly removes the coat early in the film, it comes off inside out. That is how he finds it post Shelly’s death, and he puts it on as is. You can see the purple quilted lining, and the inner details. It even has a tag on the outside if you look closely.
Spencer: One thing that I LOVED about this film was that the use of color felt very intentional. Can you discuss your approach to color in this film and what you aimed to convey through your choices?
Kurt: I do think his journey from the soft faded colors to the blackened, bruised, and bloody palette is really beautiful. The lighter colors reveal Eric’s sensitivity and are almost like a faded blossom. Shelly’s death is devastating, and as he slowly understands his predicament and his only way out of it, it is a heavy dark road for him. Shelly was his light in the darkness.
Spencer: The pink uniforms at the rehab facility were a striking choice. It felt like they added to this fantasy romance between Eric and Shelly. Can you discuss the inspiration behind this design?
Bart: We talked a lot about the color of rehab. We wanted it to be seen as prescription anti-depressive. A color to make troubled people feel docile and sedated. That kind of washed-out rosy pink also, hopefully, made it a little surreal and dreamy. I love that it played up the fantasy romance feeling for you.
Kurt: Yeah, I love that would possibly be the intention of the facility, but in reality, it is quite unsettling.
Spencer: Bill Skarsgård’s portrayal of Eric is intense and complex. How did you approach designing his costumes to reflect his character’s journey and emotions?
Kurt: Yeah, he is complex. He is definitely a bit damaged and broken and besides the opening when he was a kid, we don’t get much glimpse into who he is. I think that might be less important than who he becomes with Shelly. She is hope. We definitely wanted him to be an outsider and his clothes to reflect that. There is a punk sensibility, a nod to goth, alternative, artist, and skater, and also a deep sensitivity and otherness. We had Lil Peep on his mood board, who, to us, represented all of those things in a beautiful modern way.
Spencer: Once Eric is on his path for revenge, we see Eric take on this sinister new look that is very dark and ready for action, yet it still has a style. I am interested to know your thoughts on the anti-hero look.
Kurt: I feel like we always try to do something stylized if the character calls for it. Eric and Bill’s performance at the beginning of the film is quite beautiful and sensitive. It’s only after Shelly’s death that he is pushed into unfamiliar territory. I think the fact that we don’t meet much of a hero at the beginning makes his journey to being the action-fueled antihero exciting!
Spencer: FKA Twigs plays Shelly. I was excited for this as we all already know FKA Twigs to be quite a notable figure in fashion. How did you approach designing her costumes, and what aspects of her character did you aim to highlight through her wardrobe?
Bart: Twigs is a creature with sartorial superpowers. It’s wild because she literally changes the clothes when she puts them on. There is something that happens, she doesn’t just inhabit the clothes, but she actually alters them, on a molecular level – it makes fittings daunting because she can basically make anything look incredible. This meant we needed to stick to our guns with the story and character. Luckily there is a lot of Twigs in Shelly and vice versa. The initial reference points were artist and style icons like young Nina Hagen, Siouxsie Sioux, and Patti Smith. Living by their own rules and making their own standards of beauty.
The character also felt connected to the punk girls we ran with, who could take a torn slip out of the trash or cut up an old t-shirt and make it their own. The anchor to all of Shelley’s looks were stacked combat boots. They were Twigs’ own boots, and they anchored everything.
Spencer: Danny Huston plays a sinister character with a dark secret that presents as someone who could be approachable and perhaps kind. Are there clues in his costume that might allude to the underlying darkness?
Kurt: Danny was wonderful. We wanted his character to feel almost untouchable and otherworldly. That level of power and darkness wrapped up in an impeccable suit. We were really inspired by Gianni Agnelli, who is simply one of the most stylish men in history. Someone who was impeccably dressed in a classic way, but who also imbued some personal quirks into his dressing and made it all his own. There is a devilish charm to his character…literally. I don’t think we see that darkness in his costumes until we see him in his bedroom when Eric arrives. The slick black and blood-red dressing gown and the loneliness of his estate speak volumes of who this man is.
Bart: Rupert always called Danny’s dressing gown, the color of liver, and we miraculously found an Italian cloque with that color and sheen. There was something very Francis Bacon about it!
Spencer: The Crow should be commended for its ability to create an immersive world. Behind the scenes, there was clear collaboration between all of the departments. Can you tell me about your collaboration with hair/makeup and the production designer, Robin Brown?
Bart: Thank you! Like all films, this was a collaboration of people really passionate about the story. We spent much time with HMU, working together to have the aesthetic marry. We did an exploration of The Crow look even before getting to Prague. We were attached to the project early on and spoke a lot with Rupert about his vision of The Crow. We even played around with some ideas in New York and did some exploration early on, which meant there was a great springboard to work from when everyone got to Prague.
The collaboration with production designer Robin was so good! When we initially started sharing images and talking about aesthetics, we were all leaning in the same direction: contemporary but also very moody historical nods. He has such great taste. Walking through each of his sets was always motivating to keep refining the look of the clothes and the world these people live and die in.
Spencer: There is a lot of action, violence, and blood in The Crow. How did you approach the breakdown and aging of the costumes to reflect the intensity of these scenes?
Bart: With the operatic level of violence and blood in the third act, not to mention the stunt and water work, we needed to make ten “The Crow” coats for Bill. The end result is a testament to our amazing Czech crew. Each coat had so many pieces and was quite complex in construction, with them needing to be seen both right side out and inside out. Our cutters and makers in the workroom did such an incredible job. The Czech set team and Bill’s costumer were also phenomenal in keeping the continuity of the levels of destruction, bullet holes, and blood levels throughout all of the elaborately choreographed action sequences, not to mention taking great care of Bill. We couldn’t have had a better team.
Spencer: Looking back on the project, what was the most rewarding part of working on The Crow?
Kurt: Every film is a lot of work and we just try and surround ourselves with the best people we can. The most rewarding thing is meeting crew and talent from all over the world and creating something memorable. We had an incredible costume crew, and the makers in our shop did beautiful work. Plus, Prague is one of our favorite cities!
Bart: This film was special for us. It was an opportunity to work with Rupert again, which is always fun. It was also reconnecting with the city of Prague where we had shot 25 years prior. The city has the perfect backdrop and vibe for this film. I think maybe the most rewarding thing for me was a chance to be part of bringing the iconic The Crow story of two outsiders finding love and loss to the screen for a whole new audience.
