The up and coming campy Saltburn, starring Barry Keoghan and Jacob Elordi, includes refreshingly iconic outfits that fit vividly in the 2006 time capsule in which the movie takes place. Saltburn is set at an eccentrical and sumptuous estate, in which reveals casually chic looks, pieced together by costume designer, Sophie Canale. She explains though– this is done with purpose.
The main characters of the film don’t need anything extravagant to wear, in fact, Canale describes the characters to not need this, and rather need the cheap look of the early 2000s. This makes the film feel more real and understanding of each character, for Jacob Elordi’s posh yet worn down pieces displayed throughout the film feel timeless and returning to current styles, but all the more purposeful to his character’s casual wellborn personality.
In the climax of the film, there comes a wonderfully euphoric Midsummer Night’s Dream themed party, in which each character is carefully placed in an outfit. Sophie Canale makes Barry Keoghan’s moth-resembling character in an all white blazer embroidered with moth symbolization and topped with emerald elk ears. The emerald adds a cheapness and more lacklusterness to Keoghan’s outfit, depicting the character's flaws and new exposure to extreme wealth in surroundings. Though the white blazer works with both the sleekness in and of itself, and its standout at this colorfully dark party, just like his character.
Rosamund Pike wears a beautiful emerald gown, resembling that of being lost in reverie, very relatable to her character, and whimsical whilst still classic. The emerald is a bold but still refined look, also complementing Pike’s character and the darkness she may carry. On the complete opposite, her daughter in the film, played by Allison Oliver, has been shown in a similar approach to look rather cheap in effort, yet still expensive at large and in congruence with the time and her innocent, young style. Archie Madekwe’s character, is in turn, shown with more effortful and unique costumes, likely due to the character’s pretentious but relaxed sense of self.
Saltburn’s symbolic fashion take, thanks to Sophie Canale, puts a greater insight into the Y2K looks, quickly resurfacing, and their impact on societal standards, shown in characters that are born into wealth, and those posing to appear more wealthy and in congruence with that tier. It carries through to the campy elegance of the film, which was thoroughly haunting and enjoyable, and the costume choices— slique and sleek, with purpose.
Comments