Podcast Summary: Designing the Period-Accurate Costumes for 'Killers of the Flower Moon'

Podcast: All Of It
Host: Alison Stewart (WNYC)
Guest: Jacqueline West, Costume Designer
Date: February 16, 2024

Overview

In this episode of "All Of It" (The Big Picture series), Alison Stewart interviews acclaimed costume designer Jacqueline West about her Oscar-nominated work for Killers of the Flower Moon. The conversation reveals the depth of research and collaboration involved in authentically costuming the Osage Nation and white characters in 1920s Oklahoma, discussing the significance of garments, community involvement, and how costume subtly broadcasts character and culture.

Key Discussion Points & Insights

Jacqueline West’s Approach to Costume Design

• Methodical Script Analysis

  • Reads the script at least seven times to deeply understand characters—a practice inspired by Edith Head.
    • Quote:

      "You have to know the characters inside out before you even start to dress them. I try to get under their skin and dress them from the inside out."
      — Jacqueline West [01:57]

• Actors and Costume Collaboration

  • While actor builds influence the fit, the vision comes from pre-casting character study.
  • Costumes act as a bridge between actor and character.
    • Quote:

      "As soon as [Brad Pitt] put the clothes on, he went back in time. And that's the biggest compliment you can get as a designer."
      — Jacqueline West [03:12]

Authentic Research & Osage Community Involvement

• Extensive Research Process

  • Utilized archival materials, home movies, photographs from the 1920s Osage Nation; collaborated heavily with production designer Jack Fisk.
    • Quote:

      "Home movies at that time were $1,800 a minute. So only the Osage and the Royal Family in England could make home movies."
      — Jacqueline West [08:13]

• Family Artifacts & Trunk Show

  • Osage community members shared heirlooms during “trunk shows” at the film’s wardrobe location, contributing silverwork, textiles, and clothing.
    • Quote:

      "They'd open up their trunks of their cars, and they would have magnificent pieces... They shared everything with us. It was magnificent."
      — Jacqueline West [09:08]

  • This process became cathartic and inclusive for the Osage, supporting storytelling about a difficult chapter in their history.

Costume Detail & Cultural Significance

• Blankets as Iconography

  • Osage blankets were custom-recreated by Pendleton to match the era precisely; significant effort made to accurately translate black-and-white research to color reality.
    • Quote:

      "For me, the blankets weren't blankets. For Molly... that's armor to me."
      — Jacqueline West [16:02]

  • The fringe of each blanket was hand-applied in familial macramé patterns; the way blankets were worn indicated occasion, mood, or character status.

• Subtle Symbols of Wealth

  • Wealth for Molly (Lily Gladstone) is expressed in wardrobe quantity, fabric quality (fine silks, bespoke shoes), and subtle jewelry—not ostentation, but refined abundance.
    • Quote:

      "Her wardrobe was modest because the Osage didn't flaunt their wealth. It was more in the number of pieces she had and the quality of the fabric."
      — Jacqueline West [18:54]

• Costuming Character and Change

  • Molly’s palette and garments shift in mood with the character’s journey—from joyous and light to dark as the narrative darkens.
  • Her sisters’ costumes reflect their own relationships to tradition and modernity (e.g., Anna as a “Thoroughly Modern Millie” flapper, never in Osage clothing).

The White Characters—Status and Intent Through Dress

• Ernest Burkhart (Leonardo DiCaprio)
  • Starts as a disheveled WWI veteran; wardrobe becomes increasingly fine as he marries into Osage wealth, highlighted by specific purchase references (Sears and Roebuck, bespoke boots and hats).
    • Quote:

      "He gets this more and more expensive-looking wardrobe as the movie progresses."
      — Jacqueline West [23:01]

  • Boots and hats sourced from authentic early 1900s Western artisans.

Notable Quotes

| Timestamp | Speaker | Quote | |-----------|-------------------|--------------------------------------------------------------------------------------------------------------------------------------------------------| | 01:57 | Jacqueline West | "You have to know the characters inside out before you even start to dress them. I try to get under their skin and dress them from the inside out." | | 03:12 | Jacqueline West | "As soon as [Brad Pitt] put the clothes on, he went back in time. And that's the biggest compliment you can get as a designer." | | 08:13 | Jacqueline West | "Home movies at that time were $1,800 a minute. So only the Osage and the Royal Family in England could make home movies." | | 09:08 | Jacqueline West | "They'd open up their trunks of their cars, and they would have magnificent pieces... They shared everything with us. It was magnificent." | | 16:02 | Jacqueline West | "For me, the blankets weren't blankets. For Molly... that's armor to me." | | 18:54 | Jacqueline West | "Her wardrobe was modest because the Osage didn't flaunt their wealth. It was more in the number of pieces she had and the quality of the fabric." | | 23:01 | Jacqueline West | "He gets this more and more expensive-looking wardrobe as the movie progresses." |

Timestamps for Key Segments

• 00:17–05:00 – Jacqueline West describes her approach to costume design and working with directors/actors.
• 06:06–10:38 – In-depth on Osage research, archival sources, local collaboration, and the trunk show.
• 10:54–14:26 – Specific inspirations: Molly's blanket, importance and reverence for authentic Osage textiles.
• 14:26–18:25 – Recreation of Osage blankets, translating historical references into screen-accurate, emotionally resonant costume choices.
• 18:25–22:51 – Nuances of showing wealth among Osage women, differentiating sisters by costuming, Anna as the flapper archetype.
• 23:11–26:01 – Ernest Burkhart's visual journey from bumpkin to dandy, sourcing for white male characters’ costumes.

Memorable Moments

• The community trunk show, where Osage participants contributed family heirlooms, bridging community and Hollywood storytelling [09:00].
• The process of using Pendleton’s records to painstakingly reconstruct Osage blankets, even down to custom fringe [14:26–18:25].
• The “armor” symbolism of Molly’s blanket and how it references identity, protection, and pride [16:02].
• Revealing how even the smallest detail—a pin, fringe pattern, or an “A” on a handkerchief—can unlock an entire performance for an actor.

Summary

This episode provides an intimate, detailed look at the costume artistry behind Killers of the Flower Moon, emphasizing authenticity, collaboration, and respect. Jacqueline West brings to life the legacy and identity of the Osage Nation not just with historical accuracy but with emotional and cultural resonance, ensuring every garment tells its own story—woven into the fabric of the film and its community.