Fashion People Podcast: "Costume Drama" (Jan 2, 2026)

Host: Lauren Sherman (Puck, Line Sheet)

Guest: Stacy Batat (Costume Designer: "Priscilla," "The Better Sister," "On the Rocks," etc.)

Episode Overview

In this episode, Lauren Sherman sits down for an in-depth conversation with critically acclaimed costume designer Stacy Batat. They take listeners behind the scenes of Batat's career, from her early Marc Jacobs shopgirl days to her long-standing creative partnership with Sofia Coppola, and her recent work on television, including "The Better Sister." The conversation offers a unique look at the artistry and logistics of costume design—for both period pieces and contemporary projects—as well as industry insider perspectives on collaboration, actor relationships, and how to authentically dress "fashion people" onscreen.

Key Discussion Points & Insights

1. Stacy's Path to Costume Design

• Origins: Marc Jacobs Shopgirl

  • Stacy started her fashion career working retail at Marc Jacobs’ iconic Mercer Street store in NYC.
  • "I worked in his shop on Mercer Street...It wasn't like working at a retail store where there's a pressure to meet a certain quota or whatever...You got free clothes." (07:01)
  • The shop was a “hangout” for creative types, including Sofia Coppola and Zoe Cassavetes, both of whom would later collaborate with Stacy.

• Transition to Costume Design

  • While at Marc Jacobs, friendships and serendipitous encounters led Batat to her first film work.
  • "Zoe said to me...I'm writing a movie. When I make my movie, I want you to do the costumes." (15:30)
  • Assisted Alex White and began working in editorial/fashion styling before moving into costume design for film.

2. Insights into the World of Costume Design

• Creativity and Character Building

  • Costume design isn’t just about clothes—it’s about collaborative storytelling, using wardrobe to signal character traits.
  • "We're the visual representation of who they are...a combination of costume, hair and makeup is a visual representation of who somebody is." (19:04)
  • Fashion training is helpful, but understanding character, psychology and narrative comes first.

• Differentiating Film and TV Workflows

  • TV and film demand different timeframes and processes. TV moves faster, requires more on-the-spot decisions, and actors generally have more say in their wardrobes.
  • "TV moves too fast. On film, you have...a second to, like, you can see something in movement before a mistake is made." (44:38)

• Organizational Tactics

  • Costume supervisors manage continuity and logistics, particularly across different locales (the role differs in New York vs. LA).
  • "In LA, they do the budget, and in New York, they don't. And that's the big difference." (37:22)

3. The Coppola Connection

• Working with Sofia Coppola

  • Stacy and Sofia have collaborated for fifteen years, working on films like "Priscilla," "The Beguiled," and "On the Rocks."
  • Their shared "visual lexicon" streamlines the creative process:
    • "One of the things that I find different about working with Sofia...is how easily we understand each other...We can just work in a way that's harmonious." (23:23)

• Approaching Period Pieces vs. Contemporary Stories

  • Research is fundamental (especially trips to the Met Textile Library).
  • "You can make an appointment at the Met Textile Library, and you can look at all the textiles from whatever period..." (25:15)
  • Period costume: Focus on historical accuracy, color palettes, and finding subtle ways to make the characters feel modern and relatable.
    • "When you do a period film...to bring in period-appropriate but modern flections...does help to make those characters more relatable to a modern viewer." (31:01)

4. Industry Wisdom: Relationships, Actors & Collaboration

• Working with Actors

  • The key is trust and openness to collaboration, balancing the actor's comfort with the needs of the character.
  • "Hopefully, that [trust] happens in the beginning stages...Whenever an actor has had an idea for their costume, it's always made my original idea better." (34:44)

• Relationship with Hair/Makeup & Other Departments

  • Early alignment is essential, usually via lookbooks and joint planning sessions.
  • "If you can work well with hair and makeup...everybody goes and does their thing. I wish I had time to go in the hair and makeup trailer every morning." (35:57)

• The Importance of Getting Fashion "Right" Onscreen

  • Batat and Sherman discuss why authenticity matters, especially when portraying the "fashion elite" or specific wealthy subcultures.
  • "The thing that I think...If you...don't have to get everything exactly right...but that is so specific...if it's not right, the fashion people will know." (50:18)

5. Real Life in the Industry: Anecdotes & Observations

• On Trends, Watches & Accessories

  • Fun asides about the Cartier Panthère watch, Dries Van Noten pants, and decisions about bags.
  • "I like my basic bee Panthère, too. I think it's great." (43:30)

• Letting Go of Perfection

  • In TV, things can move too fast to control every detail—sometimes you have to make peace with small mistakes.
  • "I've learned to let go...There are moments where, like, somebody doesn't want to wear what they were supposed to wear, or they're like, oh, shit..." (40:48)

• LA vs. NYC: The Joy of the Walkable City

  • Discussion on what makes LA and NYC unique to live and work in, including the luxury of never having to leave your neighborhood in LA, and the contrasting accessibility of NYC.
  • "The luxury in Los Angeles...is not having to leave your area. That's the thing. That's the only reason to live here..." (52:27)

6. AI, The Future, and the Irreplaceable Human Touch

• Thoughts on AI in Costume Design
  • Both agree: AI won’t replace human costume designers—taste, nuance, and on-set realities are irreplaceable.
  • "AI is never going to understand texture...movement...the light and the shot." – Stacy Batat (57:33)

Notable Quotes & Timestamps

• On Marc Jacobs:

  • "I'm still very intimidated by [Marc Jacobs]...he was the god of all gods." – Stacy Batat (06:23)

• On Collaboration with Sofia Coppola:

  • "We have a similar visual lexicon." – Stacy Batat (24:20)
  • "Being friends for 20, 25 years probably helps with that." – Lauren Sherman (24:27)

• On Why Period Research Matters:

  • "Those color palettes are also so much about what makes period feel...period." – Stacy Batat (27:39)

• On Actor Collaboration:

  • "You have to gain their trust but also allow for collaboration...whenever an actor has had an idea for their costume, it's always made my original idea better." – Stacy Batat (34:44)

• On the Limits of AI:

  • "AI is never going to understand texture. It's never going to understand movement. It's never going to understand the light and the shot." – Stacy Batat (57:33)

Timestamps for Key Segments

| Segment / Topic | Timestamp | |---------------------------------------------------|:----------:| | Introductions/Breakfast/LA life | 03:16–06:19| | Marc Jacobs days & meeting Sofia Coppola | 06:19–09:42| | Path to Costume Design | 15:19–17:15| | The Art of Costume Design: Process & Philosophy | 17:15–20:35| | Working with Sofia Coppola | 23:23–24:38| | Period Research & Met Textile Library | 24:59–27:39| | Developing Color Palettes for Period Pieces | 27:40–28:41| | Creating "Real" Modern Characters | 28:42–31:01| | Working with Actors and Directors | 32:28–34:44| | Department Collaboration (costume/hair/makeup) | 34:44–37:22| | TV vs. Film: Process & Challenges | 38:56–44:38| | The "Better Sister": Details & Authenticity | 44:07–49:08| | Getting Fashion/Wealth Onscreen Right | 49:35–51:54| | LA vs. NYC Lifestyle | 52:27–54:48| | Upcoming Project: "No One Cares" (J. Eisenberg) | 55:31–57:00| | The Limits of AI in Creative Professions | 57:02–57:51|

Memorable Moments

• The delightful Marc Jacobs retail anecdotes and the “free clothes” perk (07:34).
• In-depth discussion of color and textiles from the Met and surprising period costume details like orange and purple dye in the 1860s (26:10).
• Candid confessions about managing tricky TV wardrobe mishaps—down to which bag Jessica Biel carries in a courtroom scene (40:35).
• Shared mutual affection for basic-but-cool Cartier watches (43:30).

Tone & Language

The episode is intimate, witty, and insider-y, with a laid-back “fashion people talking shop” vibe. Lauren Sherman and Stacy Batat’s candidness—about career anxieties, creative obsessions, and the realities of industry collaboration—offers a refreshing, authentic window into the intersection of fashion, film, and pop culture.

Useful For:
Anyone interested in fashion, film, TV, costuming, or simply fans of Lauren Sherman’s sharp, personable industry coverage. This episode is packed with actionable creative wisdom, real-world examples, and a healthy dose of glamour, relatability, and humor.