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The book was our guide and we wanted to honor it.
It was such a great responsibility to have.
We looked at the works of Gordon Parks, Bruce Davidson, and Paul Fusco.
We looked at many photographers from the time.
We wanted to give it a sense of place.
Fonny and the Rivers dont come from money.
Theyre saving for [the baby] and for getting Fonny out of prison.
They do the best with what theyve got, Eselin-Schaefer explains.
I like to think that Tish is wearing hand-me-downs from her sister.
And Tish wears what she works in.
Below, Eselin-Schaefer breaks down some of the films key looks, scenes, and colors.
At the end of the day [in these places], youre a dusty wretch.
You find a million things.
But when she shared it with Jenkins during a show-and-tell, he suggested that it looked more like Tish.
Funny how these things happen, says Eselin-Schaefer.
It ended up being this piece that was so innocent and at the same time so mature.
Its beautiful, optimistic, and protective.
The dress fits Tish so immaculately that youd think its custom-made.
But its not manufactured, says Eselin-Schaefer.
Its from a wonderful place called Rue St. Denis Clothier in New York, in the East Village.
I dont think theyre [in business] any longer, from what Ive seen.
But they had wonderful, wonderful vintage pieces.
And I got a lot of pieces from them for the movie.
They were a great source for the industry and other vintage dealers.
I really was grateful for them.
I see green as life, as fertility, says the designer.
Then there were visually harmonious occurrences that Eselin-Schaefer calls happy accidents, thanks to the close partnership between departments.
It was such a collaborative relationship between Mark Friedberg, set decorator Kris Moran, [and me].
There was always back and forth.
We wanted to share our research and get better in our decisions.
We costumed that in the department, [matching it] with all the colors in the Rivers apartment.
Another dramatic green piece: a corduroy coat Tish wears throughout.
It would have been a winter leftover; probably a hand-me-down for Tish, Eselin-Schaefer says.
I found it at Right to the Moon Alice, about three hours away from New York.
I will go on and on about Alice Lindholms, a wonderful costume house in Roscoe, New York.
Its the most beautiful costume house Ive ever been to.
Its got the most wonderful collection on her farm, and its her business.
We got lots of coats for Tish, and that was her heaviest coat.
They dont have much money.
The green coat has served her well.
Baldwin wrote that Adrienne was in the cream dress with the pink-banded waist, Eselin-Schaefer says.
That dress is very useful.
This is where we get Adrienne in something that is too young for her, sort of girly.
And Sheila is in something that is a little old for her.
Thats the inspiration for these costumes.
Sheila is so little, sitting like shes not really comfortable in that.
Its a periwinkle blouse with a popped collar and a cream skirt.
Its wearing her; shes not really wearing it.
Shes the best big sister you could ever want.
I cant take credit for her bedroom slippers that was Barrys request, and I think it was brilliant.
Shes had her work clothes on, but shesnottaking off her slippers: Youre coming inmyhome.
It was a great find.
Frank works in the Garment District.
And if theres anybody that will wear the latest and greatest in 70s fashion, it would be Frank.
Hes more up-to-date in his style and has that sort of swagger.
She both attempts to blend in and play up her femininity.
She knows shes got to do this work.
Shes going to this club to find this man, and shes [almost] wearing a disguise.
Shes pulled this out of the closet that shes had for years.
She was a singer in the early years, in the 60s.
She was younger then.
Fonnys Red-and-Black Jacket
Fonnys signature outerwear is almost synonymous withBeale Streets widely seen stills.
He wears it like a second skin.
Thats straight from Baldwin, absolutely, Eselin-Schaefer says.
In the book, he wears it a lot; he wears it all the time.
Its still his security-blanket piece.
