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- [00:01]
Lauren Sherman
This episode is sponsored by Macy's. Macy's fashion experts are always keeping a pulse on what's shaping the season, and right now it's all about soft color, light layers and expressive details. Introducing Pastel Dream, a trend curated at Macy's to feel elevated, wearable and perfectly in step with spring. Pastel Dream isn't about dressing head to toe in pale shades. It's about soft, enchanting, elegant style with intense tension. Think delicate florals that pair effortlessly with favorite denim, layered necklaces that add dimension to simple silhouettes and romantic details like lace ruffles and sheer fabrics that bring texture and a touch of high fashion energy. Tailored pastel sets and flowy dresses make standout choices for spring occasions, from Easter gatherings to weddings and garden parties. It's the kind of trend designed to turn heads while still feeling refined and approachable. And the Pastel mood doesn't stop at fashion. Bring the look home with whimsical pastel accents in housewares and place settings or textured bedding that softens a space with subtle spring coated patterns. Find Pastel Dream styles and silhouettes@macy's.com or in store now. Have you heard of this thing called Bilt? With Bilt, every rent payment earns you points that can be used towards flights, hotels, Lyft rides, Amazon.com purchases and so much more. And here's something I'm really excited about. Bilt members can earn points on mortgage payments for the first time ever. You can get rewarded wherever you live and unlock exclusive benefits with more than 45,000 restaurants, fitness studios, pharmacies and other neighborhood partners. Personally, I do all that stuff. I go work out, I go out to eat, I go pick up prescriptions. But I am going to be redeeming my points for Amazon. Obviously it's simple. Paying rent is better with build. Owning a home will be better with build too. Earn rewards and get something back wherever you live. Join the loyalty program for renters at joinbuilt.com fashion that's J-O-I-N-B-I-L-T.com fashion make sure to use our URL so they know we sent you foreign hello and welcome to Fashion People. I'm Lauren Sherman, writer of Puck's Fashion and Beauty Memo Line Sheet and today with me on the show is costume designer Miyako Belizzi. We're talking Marty supreme, her unorthodox path in fashion and plenty more. Before we get going, I wanted to remind you that if you like this podcast, you'll Definitely love Puck, where I send an email called Line Sheet. If you're a fashion person, you get that reference. It's an original look at what's really going on inside the fashion and beauty industries. Line Sheet is scoopy, analytical and above all, fun. Along with me, a subscription to Puck gains you access to an unmatched roster of experts reporting on powerful people and companies in entertainment, media, sports, politics, finance, the art world and much more. If you're interested listeners of Fashion People get a discount. You're just go to Puck News slash Fashion People to join Puck or start a free trial. Happy Friday everyone. Hope you had a great week. Mine was really good. I saw a lot of friends. I went to a show at the hotel, drew the auction. You know, me being in Paris for a while is going to be super annoying with all the pronunciation. I'm going to get better at it, I promise. It's an auction house. You might have heard of it. You may own the app, you may use the app. All the works were selected by Judith Tui Tu, the formerly APC artistic director. I'm sure you've heard of her. She's married to Jeanne Tuitu, the founder of apc. Anyway, she's very cool and there is a lot of incredible stuff on display including like Matisse and like all these beautiful paintings by Frank famous artist. But then also she found this amazing unknown sculptor, Anna Barris, whose work is featured in the front like very prominently. On its own it was pretty amazing. It's on next week too, so if you're in Paris, be sure to check it out. I am headed to London next week for a couple of days but otherwise going to try to enjoy the weekend and watch the rest of Love Story this week in Line Sheet. I did a deep dive on the situation at the Lombang Group. You should also check out Malik Morris's look at Lululemon founder Chip Wilson's turn as an activist investor. He does not like the term activist investor, but you know, I think it's okay to describe him as one. He, he, he pushes back on that. But I think as you read Malik's piece, you'll see why, why people are calling him that. It's very interesting story. He's an interesting guy. Let's get going with Miyako, one of my all time favorite fashion people. Miyako Belizzi. Welcome to Fashion People.
- [05:22]
Miyako Belizzi
Thank you so much. How are you?
- [05:24]
Lauren Sherman
I'm good, thanks. Did I pronounce your name right?
- [05:27]
Miyako Belizzi
Yeah, you did. You did a great job.
- [05:29]
Lauren Sherman
Oh, great. Okay.
- [05:30]
Miyako Belizzi
Yeah.
- [05:31]
Lauren Sherman
What'd you have for breakfast this morning?
- [05:34]
Miyako Belizzi
Well, it's LA right now, so. What time is it? Like eight. I haven't had breakfast. I just.
- [05:41]
Lauren Sherman
This.
- [05:41]
Miyako Belizzi
My coffee. I just went out and got a coffee around the corner. Haven't had breakfast yet.
- [05:47]
Lauren Sherman
Do you have a place in LA or do you stay at a friend's or in a hotel?
- [05:50]
Miyako Belizzi
Oh, lately. I mean, it depends. I would prefer to stay with friends. I have lots of friends here, but I. With everything going on, I'm kind of been bouncing around at lots of different hotels. I'm in a new one this week, so. It's fun, though. It's fun to stay in different new hotels around LA that I've never stayed in before.
- [06:11]
Lauren Sherman
Have you ever lived in la?
- [06:14]
Miyako Belizzi
I. For short periods of time, for work. I will say I've probably like. I've prepped a film. It's probably the longest I've looked here. I was here for four months prepping a film that never came out.
- [06:27]
Lauren Sherman
Oh, wow. Four months of prep and it never came out.
- [06:31]
Miyako Belizzi
Yeah, it would have been the biggest film, I think pre Marty of my career was Akira. Wow. Yeah. And so I lived here then and that was pre. Covid. 2018 or something. 2019 and then. But I mean, I'm here all the time. I. Yeah, but I haven't been here much lately. Well, I have been here a lot lately, but in the last, like, five years. Yeah, haven't. But over the years. I'm from California, so it does feel part.
- [07:05]
Lauren Sherman
Where are you from in California?
- [07:07]
Miyako Belizzi
I'm from San Francisco. I'm from up north, so it's. It's a little different.
- [07:12]
Lauren Sherman
But is your family still there?
- [07:15]
Miyako Belizzi
Mm, my family's still there. My mom and my brother.
- [07:20]
Lauren Sherman
What do you think about the way it's transformed in the last 15 years?
- [07:29]
Miyako Belizzi
You know, I mean, it's sad. I. I don't love going home because of how it used to be this, like, this mystical, beautiful, open place full of just like, weirdo artists and progressive activists. But now it's changed a lot. So I have a hard time going home, to be honest. And so the. The magic has kind of dissipated from the city, so. But I still love it. It's so beautiful.
- [08:03]
Lauren Sherman
It is, to me, the most. My mom lived there from like 05 to 2012 or something like that. She lived in Mill Valley type area, that area. But I. So I started spending a lot of time there and then my husband worked out there a lot. So we would go like a week, a month for many years. When we lived in New York and it still. There's a. There's a line in Angels in America where it's like, basically about San Francisco being heaven or. And it's still, to me, like, the Marin Headlands is the most beautiful place in the world. And like, there is something magical about it. But I. I have always found that. And maybe because of the time that I've spent out there, like, it's just more and more challenging from a people perspective and like. But it is such a special place. There's nowhere in the world like it. From the sort of.
- [09:09]
Miyako Belizzi
I agree. I think it's the most beautiful place. I think about one day going back and kind of reclaiming the city that I grew up in. I had a really magical upbringing there. And so. And I feel like it's a part of it. It's very much part of my. Who I am today. It's because of being raised there. And so it's, yeah, super special. There's nowhere else like it. And it's so beautiful and so connected to nature and also so free and the people, you know, there's just a lot. It's very. The spirit of the city is very special, so.
- [09:49]
Lauren Sherman
It really, really is. Well, how did you. How did you end up in fashion? Were you interested growing up or how did you.
- [09:57]
Miyako Belizzi
Yeah, I was. You know, I think too, I've been reflecting a lot about this week and, you know, even this weekend coming up and kind of where it all started, you know, And I have been thinking a lot about home and what. Some of the factors of how I even got here, you know, And I mean, yes, I was into fashion for sure. I. I didn't really know what I wanted to do. I was never necessarily into film, though. That's. It's an interesting thing because I. I wasn't like. I guess I just didn't even know that this was really a career. I liked films, but I didn't really. I don't know. And I knew who Edith Head was. I remember being like, big fan because I loved all of the fif. Like Audrey Hepburn films. That's kind of what got me into it in high school and like the 60s, like, I was really into like 50s and 60s films in high school, so I guess I was kind of into film. But my fashion sense, I think comes from my mom and my grandmother because both of them were. My family's from New York and when my grandmother moved to San Francisco, probably when I was in junior high from New York and just to be closer to us And I remember because I'm the only grandchild and I'm the eldest that was into clothes and she had all this stuff and it was like kind of my opening into that and my mom's clothes, but like into vintage and 50s, the era of 50s. So, you know, and like I, she was like, I don't need any of this, you know, I take anything you want. And so. And she's the one that taught me how to sew. And so I like kind of used. I lived with her for a while and so I feel like that was like a big eye opener to even just living in New York, moving to New York, hearing stories about it, the era. Yeah. Vintage clothes. Yeah. So that's kind of what got me into it.
- [11:54]
Lauren Sherman
Did you know you wanted to be a fashion editor or did you. What did you want to be when you moved to New York?
- [12:03]
Miyako Belizzi
You know, when I first moved to New York I thought I wanted to be a fashion editor. I wanted to work for a magazine and I wanted to do editorial and be an editor. That was what I was really interested in, I think. And then, you know, I think the more like journalistic approach came to be when I started the New York Times when I started. And I thought that was so interesting. The kind of, just to be able to, you know, the relevance of like news and journalism and photography. I'm really into photography. I always wanted to be either a photographer or a stylist. I wasn't sure which one to be. My dad's a photographer and I. And so I think that's kind of like where I was always kind of on the fence about doing. Do I want to do photos. I loved photography, uh, but mostly like street photography and like photojournalism and that and like kind of depicting this world and that kind of makes more sense. I think once I geared to that is when I kind of realized that maybe it's less about fashion, but I love style and clothing. So it's like how do I kind of combine the worlds? I didn't feel. I never felt like I belonged in the fashion world. I still don't really feel that way. I feel like I'm always, not to say rejected, but I just, I always feel this sense of rejection from the fashion industry they don't understand. Which I find very interesting because it's very narrow minded, the view. And I always felt like you need to have a bigger picture of the. I don't know, you know, I find that really interesting to me because.
- [13:46]
Lauren Sherman
Interesting to me because you seem like such A fashion editor to me, like such a fashion person and like that you really understand clothes and you understand the history of fashion. And I think of you as almost like a fashion editor who does costume design which is so it's in what, what about the fashion industry do you feel is, is too closed off?
- [14:13]
Miyako Belizzi
I don't know. I think it's just maybe in my experience of the view of how people see like where you could take references from. I think not designers specifically, not the designer themselves, but I think everyone else that's like surrounded by the fashion and even you know, I think it's fashion week right now. Right. For example, it's like. And they think about the people who are involved and what is making the money in kind of the influence of celebrity right now. And I really think about this because I don't know, I just find it fascinating and where the money's going, it's all about money. Right. And like who's popular and the celebrities that are coming in and how that has influenced the business of fashion. Right. And like who are those people of influence in our generation, in our time right now and how that's shaping the industry? So yeah, I mean I think about, I, yeah, I have lots to say about that kind of stuff but maybe it's always been like this and maybe it's like every era has that. But I think social media, I think
- [15:23]
Lauren Sherman
in the last 20 years the industry has just changed a lot and it's not really about, it's not for a fashion enthusiast, it's, it became for consumers more broadly. And yeah, the celebrity part of it is they spend so much money on that element and I think it's moving towards. There's an almost a bifurcation of the industry where some of the brands will be more for enthusiasts, some of them will be more broad reaching and that even the bigger brands are trying to reach the enthusiasts again. Which is exciting because it's, it's almost like the business is too, it's so consolidated that there's only, the only thing they can do now is manage it. There's not really more room for growth.
- [16:12]
Miyako Belizzi
So.
- [16:13]
Lauren Sherman
But yeah, I, I, I know what you mean. It's definitely not the, the thing that we grew up seeing and thinking it was going to be. It's, it's something much more corporatized.
- [16:28]
Miyako Belizzi
Yeah. And maybe that's what it is. There's this sense of like loss of freedom and this sense that it's not about creating. And I think in film what I find so exciting is that it does none of that matters. The money of it. The. I guess the money. You're not selling clothes, it's. It's a very different business. But you're selling a story and. But the story can be told any way you'd like it. As the storyteller and as a designer working for a house like, you kind of. You're so limited to just what is going to sell and who's going to buy it and all of those things. And like, you really have to think about that in that way. So it limits you to how free you can be creatively, I think because it's so corporate and so, I don't know, it's just something, you know, I've never, I've always. It's maybe it's always been like that because I remember when I got out of. I kind of was learning what fashion was after I moved to New York kind of in. In the business of it all. And I was like, I don't know. I don't know if this is for me. You know, I just remember being like, this isn't really my sty. I'm from the Bay. Like, I don't care about this. You know, Like, I think I've thought about like, who I am as a person and going back to being from Northern California specifically. And like, like, you know, I like people. I love people in the same way It's. Jen, I have so much empathy towards, like people and like their lived stories and what about how they dress and who they. It's who they are. And that is what inspires me. Not. I mean, I love fashion and clothes, but I Only if it's inspired in a way, which right now I don't feel very inspired in that. In the fashion industry. Yeah.
- [18:19]
Lauren Sherman
So anyway, yeah, I know you liked. I know you like the new Versace. You've been wearing it a lot. And they did a dinner with you in la, which I was sad to not be in town for. But what is it about Daria Vitale and what he did at Versace for that one amazing collection that you liked and felt connected to?
- [18:40]
Miyako Belizzi
You know, I felt connected to him and I. Well, also because he's a friend, but I think almost. Not that it was an act of defiance. I don't even want to say it like that, but I love the idea of the like one and done where like he did something and it was actually like. And I remember when I first saw it, I was like a little taken aback and it made me think, think about it. And the fact that it was so different and what he did and he had a point of view. I just, like, that is what the industry needs. And I know that they rejected it. And maybe because of that feeling of, like, not that he was rejected, but kind of, I feel the same way. And maybe it's that sort of, like, punk attitude of just like, whatever, I'm gonna do what I want to do and then be like, take it or leave it kind of thing. I just thought was really cool in punk, and no one's doing that. And, yeah, I feel like that's what the industry needs is more point of view. Like, people who have point of views that maybe not everyone likes and, like. But that's okay, you know? I don't know. I think it's. A lot of people had a lot to say about that collection, but I thought that it was really smart, so.
- [19:55]
Lauren Sherman
Yeah, totally.
- [19:57]
Miyako Belizzi
I agree.
- [19:57]
Lauren Sherman
And I also think that sometimes. I was talking about this. I had Derek Blasberg on last week, and we were talking about Peter Muhlie at Alaia being over, and he wishes it was. Not everything wasn't so short. But what I said was, like, sometimes it's okay. Like, yes, this is a goofy situation. But also, that was an amazing one collection. And whatever Daario does next is gonna be awesome. And it's so legendary. Like, it made him a legend in one collection. And I think, like, there's something just wild and fun about, like, not everything needs to. They're not everything needs to last 15 years or 40 years or even five years. Like, sometimes having something. And this is, I think, like, more like television, sometimes it's better for something to just run for one season and then it's over and you will never forget it.
- [21:01]
Miyako Belizzi
But.
- [21:01]
Lauren Sherman
But I think it's magical what happened with Dario.
- [21:05]
Miyako Belizzi
Like, I think so.
- [21:06]
Lauren Sherman
Sure, it was traumatic for certain people, but it's kind of awesome.
- [21:11]
Miyako Belizzi
I know. I agree with that. And I think that not everyone. I mean, you get stuck. You gotta change things up. I'm like, feel like I'm the queen of that. You gotta just, like, you know, keep evolving and moving where, like, you know, you get stagnant, we get stagnant. And then it's also, like, I don't know, he has this opportunity now to do something completely different. It's. For me, that's how I feel about film. It's like you do a movie and then you move on and you do something completely. You're not, like, stuck doing a TV show for 10 years. You know what I'm saying? Like that's just totally yes, my vibe. And I think that's when you can get stagnant in the industry and I think that's what's happening. And then we're just recycling designers, moving them around.
- [21:56]
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- [23:12]
Susie Welch
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- [23:45]
Lauren Sherman
So tell me so what were you doing at the New York Times and how did you end up getting into film? Like how did you end. What was your first film that you worked on?
- [23:54]
Miyako Belizzi
So I was an okay, so I started at Details magazine and then my friend got a job at the New York Times as an associate men's editor. Jason Ryder. And he was at tmag and because we were both at Details together and moved over and I became his assistant. I was just an assistant. I was there for a while, a few years because I, I like I was in the men's department because I was at Details doing men's I started in Men's Guard, so it wasn't until. Well, okay, so my whole trajectory is that. Then I went, moved over to Vice, and I was. Became. I worked fashion editor advice. And that was like, before, you know, that's like. And now not a lot of people remember that, but it was a good time. I don't know. It was a good era, too. It's advised before hbo. And I think that's kind of when my. That's kind of when I started working in more video, because I remember we had noisy. I was doing the TV shows. Like, we're doing dressing people for this. There was, like, I was just doing everything kind of. Because it was small. It wasn't like, a big thing. And, yeah, I feel like that's kind of what jumped it off. I remember when I left Vice, I. I got asked to do a film, and it was kind of like a student film. It was terrible film called Diamond Souls, and it was all in New York. I remember my friends were in it. I used all my own clothes. I wasn't getting paid, and that was, like, the first movie I did. But I remember experiencing that for the first time and being like, wow, I love this. You know, Like, I just. I loved it. And then from there, I did maybe four films in a row. I was just like. I kept doing them, doing them. I got really into it. And so kind of just. Was it, like, this whole thing that happened. What.
- [25:46]
Lauren Sherman
What was it about costume design that was, like, satisfying to you versus being a fashion editor?
- [25:55]
Miyako Belizzi
I think it was the people. I remember very vividly one of the first days on set of the movie being like, wow, I'm surrounded by people on set who are all interesting, and they're all interested in their own respected fields, and they're, like, nerds. Like, I just remember being like, wow, I'm, like, around. I, like, love being around camera nerds. Like, I would prefer after. After kind of years of being in, like, fashion and around. It's just a different group of people that Then just being around kind of, like, normal. You know, like, normal people or, like, different departments and, like, learning about someone who's, like, really into the art department and what they're working on and, you know, someone who's building sets and then someone who's building a camera and, like. And just being able to have normal conversations with all these different types of people. I. I really enjoyed that. On top of the actors who are normal people also, you know, like, to me, I just had. I was inspired, I think, by the People, more than anything that I was surrounded by this knows.
- [27:08]
Lauren Sherman
Okay, so let's talk about your process of building out these wardrobes for these actors. And how closely do you work with the direct? I mean, I'm sure you work very closely with the director. But, like, are your relationships with directors different then? Depending on the director? Like, what is your. At this point, you just did Marty Supreme Giant movie that obviously, I don't know if that was the biggest undertaking you've ever done, but, like, what is your process like to build out? Because the work that you do, I mean, this movie and then the Safdie brothers movies prior, I mean, they're just so. The people that are cast. We were just talking about the casting director, Jen. Like, it's so personal. And so the clothes have to be very personal, too. But I assume your process is like that. Cause you did. You did the HBO remake of the
- [28:10]
Miyako Belizzi
Scenes from a Marriage.
- [28:11]
Lauren Sherman
Ingmar. Yes. Scenes from a Marriage, which, like, the clothes in that were so. I mean, Oscar Isaac's clothes in that are like. It hit too close to home. It was like, triggering. I never watched that show.
- [28:27]
Miyako Belizzi
Oh, you did. Honestly, that. It triggers me, too.
- [28:32]
Lauren Sherman
It's like, well, I don't like depressing stuff, but, like, his clothes are like my husband. That's how my husband dresses.
- [28:38]
Miyako Belizzi
I was like, I can't watch this movie.
- [28:41]
Lauren Sherman
But they looked great. But I was definitely send this to him. I was like, you should definitely get this pair of New Balance versus the other ones that you have.
- [28:48]
Miyako Belizzi
But.
- [28:49]
Lauren Sherman
But the point being that, like, that was a million questions in one. What is your process for creating these characters through their wardrobes?
- [28:59]
Miyako Belizzi
Yeah, I mean. Well, I will say every project is very different because of. I mean, all the factors. I mean, it seems from marriage, it's a very different approach than Marty. And I think that it just varies. Some filmmakers, some directors, like, want you to have free creative control. Some. But some are. You know, I speak to Josh, like, for example. I mean, I'll talk about Marty supreme just because that's. That's why we're here, I feel like. And Josh is very particular, but also him and I have kind of grown together over the years. It's. We've been working together for over 10 years and close friends. So it's. We have a different relationship that is almost like purse. It's like, very personal. You know, it's like, so. And it's a blessing and a curse sometimes because we're almost. We're almost too close. But, you know, so it's a Different than if I seem from marriage. It's like, I didn't know Hagai Levy was that the director. And it's like, it's professional, you know, like, there's boundaries. I don't want to say that, but, like, yeah, you know, like, it's a different working relationships, so. But with Josh, I mean, he so deeply cares and he's also such a. Like, we just all care so deeply about the characters. So the process feels like we just have to understand them in such a human way. And I think that's why we work so closely together. Josh, Jen and I just. In casting process, because it starts there. I mean, the characters come alive through the casting, right? Like, you can read someone on paper when you first read the script and have an idea. But for me, I mean, I think most costume designers, like, they come alive. You have no idea because you always get thrown for a loop. I think that's the thing. You kind of can't. You can research some, but. But until you know who it is, it really changes everything. Point being, scenes from a marriage. Sometimes casting changes very last minute. I mean, and so you have this whole plan and idea and then it goes to shit, basically days before you start shooting someone and you have to start over. And so I've. Not that I've learned my lesson with that, but I just kind of. It's almost like you can't hold onto someone's. Your idea of someone until you really know that they're there, that they are real. So for me, that's a big part of the process, I think, is kind of. Obviously there's the. The research of everything and having the understanding this one was so massive, but I kind of didn't. You know, it's a. It is the biggest film that I've done, but it's not like I. When Josh and I first started talking about this film, I guess, you know, I just didn't realize how big it was gonna be, you know, Like, I honestly was like, this is just like. It's like uncut gems or like good Time. Like, I kind of approached it in the same way as that. I just felt. But period. So I was like, I knew it was going to be a little bit bigger. I didn't know how much money it was going to. You know, I didn't really know. But knowing how kind of scrappy we are, like, I was like, we're going to make it work. I'm just going to get some vintage clothes and figure it out and like, whatever. And then I think that you know, like in the beginning. Beginning. And I kind of didn't realize until I read the script because I would get updates from Josh and I in little bits of the script. But I. Over the years. But I don't think it was until I read the full thing. Then I was like, oh, this is like. It's a big. I think that I'm like, josh, how much better? Like, how big is this movie gonna be? You know, I. I didn't really have no. Until I got an idea about the budget that I was like, okay, this is going to be a lot of. This is a lot of people. There's.
- [33:19]
Lauren Sherman
There's a lot of people.
- [33:21]
Miyako Belizzi
This is so. Yeah, that's when it kind of changed. But I know period piece.
- [33:27]
Lauren Sherman
And I want to talk about that element of it. But the. Obviously the music is 80s. Like a lot of 80s. Not all, but I love the soundtrack so much. That guy got robbed who did not get, like, best score. Whatever I did. This is completely.
- [33:44]
Miyako Belizzi
I text him often because he. It makes me so upset. I think about him almost every day because he was. He's part of the. He's. I just feel. I feel like a part of Marty team is missing without him.
- [33:59]
Lauren Sherman
Especially being Daniel Lopatin. Is that how you pronounce?
- [34:03]
Miyako Belizzi
Yeah.
- [34:04]
Lauren Sherman
Daniel Lopatin is, like a genius. And the fact that he did not get nominated for an Oscar is, like, fraudulent. I'm so mad about it. So good.
- [34:14]
Miyako Belizzi
I'm so upset about it, too. I think that he was completely robbed. I thought for sure he had it in the bag. I. I thought it was me and Jen that were like, okay, we don't now, you know, Like, I didn't.
- [34:29]
Lauren Sherman
Please.
- [34:30]
Miyako Belizzi
Yeah, yeah. But like, I thought for sure, Dan, like, when we were. We were on this press store together, we were on call each time with the band. It was like, me, him, Jen, you know, it's all the department heads, because Josh and Timmy, like, they're on their own press tour. But we were on our own press tour one month and we were on the road together, and we always just. We were like a band. And so we were like. It was so fun, and we spent a lot of time together, and every night we would do these Q and A's and. And we would fly all over the world, and it was just so fun. And I. I just.
- [35:04]
Lauren Sherman
I.
- [35:04]
Miyako Belizzi
He's so special. He's also someone that I've known since Good Time. We've been working together for 10 years, so even also throughout the process. I think that's why we're so intertwined. I think Josh is really good at putting everyone together. And we're all friends and we work together. And even while we're shooting, I'm talking to Dan. He's coming to set. Like, we all kind of have this symbiotic relationship that I think also makes the film so special. Like, he understands or like we talked about, even there's a. A song or how he would play. Like, even when he was editing, and that's when Timmy's running down the streets on the Lower east side. Like, he would play me this music that I'd be like, oh. He's like, this is how I feel when I watch this. Like, how do you feel? You know? And it would be. I don't know. It's just. Yeah, it makes me upset that he. It makes me really upset. We're really close.
- [35:58]
Lauren Sherman
He was robbed, but you weren't. And hopefully by the time this airs, you will have won. Won an Oscar. Why have I asked my h vac guy I found on angie.com to change my grandpa's trachea tube? Because I was so amazed by how quickly he replaced our air ducts. I knew I could trust him to change Pop Pop's tube while I was on vacation.
- [36:19]
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- [36:22]
Miyako Belizzi
Aw.
- [36:22]
Lauren Sherman
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- [36:37]
Miyako Belizzi
so good, so good, so good.
- [36:39]
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- [36:49]
Lauren Sherman
How did I not know Rack has Adidas? Why do we rack for the hottest deals? There's so many good brands.
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- [37:09]
Lauren Sherman
I think with costume design, the costume design category, it often is period that gets nominated or recognized. And for me, as a viewer, like, it's interesting because this is a period piece, but it feels so. It feels more than that of what you did. It doesn't just. It feels like, I don't know, more connected to culture in a way. And that's what I think is so interesting about your work. But I personally am always fascinated with the, like, normal clothes, wardrobes, and how do you make that Feel help tell the story when it's just contemporary times or whatever. Like the Oscar Isaac's New Balance in Scenes from a Marriage like that is. That cuts to the bone for people who are in their. In their 40s, you know, I don't know. There's just something, like, very personal about it. But have you done period before? And what was it like working with Josh and doing a period and period piece? And, like, how is it different from Uncut gems or. Or any of you've done. You've done a few with him, right? Mm.
- [38:25]
Miyako Belizzi
What I find so interesting, and it's something else I reflect about, is there's something about my relationship in the films that I do with Josh that have this, like, cultural relevancy that I can't really. I don't know if it's New York. I don't know if it's the characters. I don't know if it's story and how we combine our creative forces to. To make this film where it just. It feels very. It's. It's interesting to me. It's something to be studied. I think about it, you know, of. Like, why. Like, even in this one, it's a. It's a period. It's 1952. But it's also. Yeah. It has almost this nuance to it that's like. And I don't know, maybe it's me. I mean, maybe it's like how I do the details and, like, the. In how I create a character in these films. But I. I find that part really interesting to me that somehow there's, like, this cultural relevancy where it's, like in other costume films, you know, and I hadn't done. You know, you don't see it in the same way, like, in terms of other periods or films, but I did one period film right before Marty called the History of Sound with Paul Mesco and Josh o'. Connor. That her Some reason. I don't know why. I think it's a beautiful filming with Duquesne for it, and I don't know why it hasn't gotten a lot of love. I love that film. 1917 to 1927 was the time frame. So it was interesting for me to do that period right before Marty. So I did that in the spring. I did in the fall.
- [40:17]
Lauren Sherman
So.
- [40:19]
Miyako Belizzi
But before then, I hadn't done a period film because there's something that, you know, it's like you want to be authentic to the era, or you also want to create a character that feels real. I don't Know, for me, I think that's one of. Been my biggest issues with period films. You know, I mean, unless the goal is it for. Not it. Not to be historically accurate. You know, I mean, there's so much talk about Wuthering Heights. I haven't seen it yet, but I don't know what the answer to the question is.
- [40:58]
Lauren Sherman
But, like, really.
- [40:58]
Miyako Belizzi
I mean, just in terms of.
- [41:03]
Lauren Sherman
Yeah.
- [41:04]
Miyako Belizzi
I don't know. I was just thinking about period film in general and how it's just a choice that you make. And I guess for me, I mean, in the films I've done with Josh, it's. We have to. We're very. It's like we pride ourselves in being super authentic to the. To the period, the film, the time period. Even Uncut Gems was a period film that was shot in. It was supposed to be set in 2012, when we shot in 2018. So, yeah, you know, slight period.
- [41:40]
Lauren Sherman
Yeah. So how do you think you're able to sort of be authentic to the period, but make the film feel culturally relevant for now? Cause that's. I mean, that's obviously a lot of Josh, but, like, you also do it through the clothes, like, obviously Uncut Gems. There's something. So there's something very urgent about what you do. And I think the way you dress generally, like, I assume you wear a lot of vintage, but whenever I've seen you out, I saw you at. I was actually at Desert Vintage one day a few months ago, and you were shopping for an event or something. I think you bought, like, maybe an Alaia dress.
- [42:24]
Miyako Belizzi
Oh, you were there that day?
- [42:25]
Lauren Sherman
I was shopping in December with Lynette. Lynette was there. I was downstairs trying on coats.
- [42:31]
Miyako Belizzi
Oh, no way. Yeah, no, I. That was. I was shopping for the premiere. For the New York premiere. Oh, cool. Yeah. I would. Panicking. And I'm shopping with Lynette, who's, like, the best and worst because she makes you buy everything.
- [42:46]
Lauren Sherman
Enabler. But, like, how do you think? Like, what is it? I don't know if you could pinpoint this, but what is it that you do that you're able to sort of get to the bone of what, like, the human. No matter what the period film or what the period or what the time or whatever, like, what is it that you pinpoint in your research or the way you operate that you think is, like. Does kind of get to that, like, almost a little uncomfortable place, which is what all the Safdie films in particular are about anyway. But there's something, like, very exposing about the way you dress people in these movies.
- [43:34]
Miyako Belizzi
It's tough because that's what I always think about, like, why is it what makes my films. And a lot of people say that they look. It looks contemporary, but I think it's only because of how I dress them to be. Even though they aren't all in full vintage, maybe because I wear full vintage all the time. I think that maybe. I don't know. I'm kind of an observer of the world, and I'm an observer and I travel a lot, and I constantly am studying just, like, the everyday life of people. And I think something I always trying to implement in my characters is just this kind of, like, rawness or realness that makes someone real in that sense of, like, you know, not everyone's perfect and everyone has isms. And how do we reflect those isms into how they're dressed? Because every. No one's normal. And, like, I think that I. I love finding those little things about people and highlighting them to create, to make them real, because I think that's what makes you have empathy towards a person, is that you understand that they're not this thing that you think about. And I remember specifically for Timmy that he was a challenging character for me only because it was tough to find those things that make him. That give you. Especially with his character. I wanted to make sure that we have empathy. Like, how can you have some sort of, like, empathy for this character and make him feel like, this rawness that you don't feel like when you see him? You know, I just think about even him day to day and, like, how we view celebrity culture and actors. But for me, like, I see them as people, and I. I wanted the world or the audience to also feel that way, that he's just a kid. Like, he's just this, like, you know, and that he's. He has. He's, you know, and I don't know. I think people put actors on pedestals, and I don't really understand it because to me, they're my co workers. Like, they're very much like, hey, hey, how's it going? Like, they're like my co workers. And so I've never really. We just have different jobs, and theirs are just in front of the camera and mine is not. And so I. But I find. And maybe once I work with people, I kind of start understanding who they are as people, and I try to. Yeah, I think it's mostly like, personality, finding those little things about who they are because I meet them. It's really interesting, Jen. I Meet. I meet these actors or non actors. I prefer non actors. I prefer people who don't have a lot of experience because they're more raw and real and they're. They have their. They put their kind of heart and their insecurities on their shoulder. It's like they come and they meet me, and I'm like, what are you most insecure about? Let's talk about it. Tell me about what you don't want people to know about you, and then let's talk about why we can. We can. Or, like, how we can put that as part of your character into this film and be. And so that. Those are kinds of things that I then report back to Josh, and I'm like, okay, this. Because he's like, how did the fitting go? What was. You know, how are they? I always have to report. I mean, I think that's a big part of. I report back to the directors always after the fittings. And, you know, I think it's just finding those things. Finding these, like, little elements about who they really are. Yeah.
- [47:12]
Lauren Sherman
No, I mean, there is a question that kind of comes in. Maybe this is hair and makeup and not costume, but, like, Nomi Fry, who. I obviously know the red lip that she wore in the film. Like, that's. She wears a red lip. And so I was curious, like, did they decide to give her a red lip because she's comfortable in a red lip, or was it something else? Like, it's just one small example, like, how that decision was made.
- [47:39]
Miyako Belizzi
Her red lip was based off of one. It's like, okay, we figured out that she's going to probably wear, like. She's a secretary. She's going to wear a darker suit. We talk about it for everyone, because after they see me, they go up to hair and makeup or vice versa, and they have a general idea if she's wearing a hat, which she was. If she have glasses, what are kind of all the contributions to her character? But I think for her specifically, I remember talking about this. It brightened up her face, but also because she's kind of in, like, these. You know, she's wearing black or she's wearing dark brown. I remember she had two suits. She actually had a few outfits. We had. We tried a bunch of stuff on her, and it's. You know, it's something that we're like, let's. In that era, that would have been appropriate. She probably would have had a lip on. Probably would do red. That. That was, you know, is era appropriate.
- [48:35]
Lauren Sherman
It looked like. And it looked like her and that, I mean, I guess that's like, comes back to this idea of, like, casting the right person. I think, I think my last question for you is, what are you excited about wearing right now? Like in your real life? Like, what, what brands are you seeking? What. What do you wear day to day that you. That makes you feel good?
- [49:01]
Miyako Belizzi
It's tough because I've been on this, like, press story. I'm looking at this rack of stuff I have, and I, you know, I've always. It's tough being such a fashion girly. I don't like to wear brands, which is an interesting thing. I don't like people to know that I'm wearing certain things. And so that's part of, like, my character personally, is that I don't like to. I mean, I think the Versace thing is a big one for me because it's the first time I've actually, like, kind of shown the world that I have a friend that I wear, a designer that it's a. You know, it's like. But I. I'm excited about and something that first popped in my head and I don't even. It's like, I don't even want to expose this, but I actually just saw the new Chanel collection and I was very excited.
- [49:50]
Lauren Sherman
I'm going.
- [49:50]
Miyako Belizzi
I'm going probably this morning to the Chanel store to buy up a new pair of shoes. So. And I never thought about that because I've been so anti Chanel my entire life. And I thought about this morning that I cannot believe him in a way. Go to the store and look at. And look at shoes.
- [50:06]
Lauren Sherman
I got a jacket.
- [50:08]
Miyako Belizzi
Yeah, yeah.
- [50:09]
Lauren Sherman
And I told them, I said, I said to them, Yeah, I said to them, I was like, I haven't bought something from Chanel in 15 years, so welcome me back. It's amazing.
- [50:23]
Miyako Belizzi
Yeah. Anyway, so that's something that I'm excited about, dare I say. Although, you know, I'm just thinking about there's a few sires, you know, that I'm excited. I'm actually excited that Peter's moving to Versace and very interested to. To see how. What he does there. That, to me, I find interesting. I'm curious about that and what he can do there, because that's cool to me. So, you know, I mean, I do think I'm in terms of big designers. Otherwise I'm in vintage. I just wear vintage clothes. I'm in LA right now.
- [50:59]
Lauren Sherman
I am curious. I'm curious. But, yeah. Do you go. Do you have other places? Other than Scout in la.
- [51:09]
Miyako Belizzi
Yes, for sure.
- [51:12]
Lauren Sherman
Maybe you could share them offline.
- [51:14]
Miyako Belizzi
Yeah. Scout is my favorite though. I just drove by it yesterday. It depends though, because I, you know, I think about all the different eras. I like finding, you know, real vintage. Real vintage is hard to find. Like 40s, 50s, like when I was prepping Star Day, you know, I think about, you know, like cute. There's so many cute vintage stores in LA that have like still the 40s, 50s stuff that I still love about my all my 50s dress on here.
- [51:43]
Lauren Sherman
So yeah, you're an inspiration. Miyako, thank you for being on Fashion People. It's so fun to chat with you and I look forward to your next project. And congrats on all this.
- [51:55]
Miyako Belizzi
Thank you so much. So nice chatting. It's so fun.
- [51:59]
Lauren Sherman
Fashion People is a presentation of Odyssey in partnership with Puck. The show is produced and edited by Molly Nugent. Special thanks to Puck co founder John Kelly, executive editor Ben Landy, producer Maya Tribbett and director of editorial operations Gabby Grossman. An additional thanks to the team at Odyssey, Kelly Turner and Bob Bob Tabador.
- [52:25]
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