Transcript

Commercial Announcer (0:00)

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Podcast Host 1 (0:28)

and ways to save Bon Jono Milano. We are throwing Fits, the self proclaimed only podcast that matters. And tonight we are joined by a costume designer who you might know from the films Good Time, Uncut Gems and we cannot forget her Oscar nominated work in Marty Supreme.

Miyako Belize (0:51)

Thank you. Hey, this on? Yeah, it's on here.

Podcast Host 1 (0:55)

To disperse her infinite wisdom and dignity into the Armani Archivio project with all of us, please give it up again for Miyako Belize. Miyako.

Miyako Belize (1:04)

Hi, everyone. How are you? Can you hear me? Okay.

Podcast Host 1 (1:07)

Okay, first, Belize. That's an Italian name.

Miyako Belize (1:10)

Yes, it is.

Podcast Host 1 (1:11)

How does your Italian side jump out as soon as you touch down in Italia?

Miyako Belize (1:16)

I mean, many ways. I mean already I speak with my hands, but I feel like here more so. But I don't know. But I think also in the way I dress. Yeah, yeah. Do you guys dress differently when you come to a new place?

Commercial Announcer (1:27)

Hello.

Podcast Host 1 (1:28)

Yeah.

Miyako Belize (1:29)

There's something about coming to Italy that you want to just kind of present in this different way.

Podcast Host 1 (1:33)

You have to splash out a little bit.

Podcast Host 2 (1:34)

Did you pack differently?

Miyako Belize (1:35)

Yes, I packed differently for how so? Just it. Shoes especially. Because in New York we have to see. I don't know, you have to be prepared to be running around all day. I mean here you're running around all day. Yes, but I'm on a lime scooter all day. Yeah, same. I'm in a. I'm on a bag.

Summary

Throwing Fits: The Miyako Bellizzi Interview

Date: April 29, 2026

Overview

In this engaging episode, the Throwing Fits hosts sit down with acclaimed costume designer Miyako Bellizzi, best known for her work on "Good Time," "Uncut Gems," and her Oscar-nominated contributions to "Marty Supreme." Speaking live in Milan at the Armani Archivio event, Miyako shares insights into her design process, the cultural resonance of classic Armani, the challenges of period-accurate costuming, and what it's like to watch her characters become viral style icons.

Key Discussion Points & Insights

1. Personal Connection to Italy and Fashion

Miyako discusses how her Italian heritage influences her, both in gesture (speaking with her hands) and in sensibility, especially when dressing in Italy.
On packing for Milan: "Shoes especially. Because in New York...you have to be prepared to be running around all day. I mean here, you're running around all day. Yes, but I'm on a lime scooter all day." (01:35)

2. The Enduring Relevance of Armani

Miyako and the hosts reflect on why classic Armani images and clothing continue to feel fresh and influential in current menswear.
- Miyako: "We're all kind of looking back at...classic pieces and what kind of translates over generations in time." (02:41)
- Armani’s clothing is cited as timeless—photos from decades ago could have been taken yesterday.

3. Costume Design Philosophy

The hosts ask about Armani's philosophy of restraint and how that applies to costume design.
- Miyako: "Restraint is almost the hardest thing because you have to pull back...you put [all your ideas] on the table, then you figure out...what do we really want to say? And then you...take away through each fitting." (05:41)
- She sees Armani as a world-builder: "Giorgio Armani is a costume designer in my head...he builds worlds and he builds characters." (06:15)

4. Crafting Believable Characters Through Clothing

Miyako explains that sometimes making a character "look bad" is harder than making them look good. (07:24)
Her process always starts with place and historical context, then moves to character specifics:
- "It starts with place. And then the story...what's happening in the script." (08:12)

5. The Research Rabbit Hole

On the detail and depth of her research: She’ll spend days on something as specific as shoe salesmen in 1950s New York.
- "You could do research for an entire day on shoe salesmen...shoe design stores of 1950." (09:35)

6. Virality and Costume Design as Culture

Discussing characters becoming viral style icons:
- "The first time it happened was 'Good Time.' That was wild." (10:14)
- “Honestly, it’s the streets...I would say the streets [make me prouder than an Oscar nomination].” (10:41)
- On virality: "That’s how I know that I...did it." (10:58)
- She doesn’t design for internet fame, but considers it a validation of authenticity.

7. Actor Collaboration and Costume Process

Miyako typically leads the vision, but some actors (notably Oscar Isaac and Timothée Chalamet) are more involved and enthusiastic about fittings.
- "Most of the time, they let you do your thing." (13:49)
- "Timothée...was very excited for Marty...we did so many fittings." (14:43)
- "Not so much with the men, with the women, more so [bring their own ideas]." (15:57)

8. Sourcing and Creating the Wardrobe

On handling thousands of costumes, from leads to extras:
- "For characters like 1 through 20...90% of that is made. But...background...thousands of people. Those are all sourced." (19:18)
- Miyako is deeply hands-on, often doing her own sourcing, even collecting period-correct T-shirts and underwear: "All had to be from 1952 or earlier...found them deadstock from a collector." (20:04)
- "Period correct undergarments...especially for women...because the way that clothes were made." (21:20)

9. The Challenges of Large Productions

Logistics of dressing 3,500+ people for "Marty Supreme," including sourcing, storing, and laundering period clothing.
- "Japan scene was a thousand people...Wembley was a thousand...another 1,500." (21:52)
- Costume warehousing in abandoned WeWork spaces—a detail as chaotic as a Safdie film: "We work at a closed down WeWork in midtown." (22:55)

10. Period Authenticity vs. Futurism

Miyako chooses projects based on interest in setting, era, and character, but is open to futuristic projects (Blade Runner, etc.), though she was critical of the "Blade Runner 2049" wardrobe’s authenticity. (23:30–23:45)

11. Personal Style & Evolution

Her style is ever-changing, currently shifting from classic menswear inspiration to a slightly more feminine approach, but always with a New York edge and a focus on shoes. (27:53)
"I have an entire closet just for shoes." (28:28)
She admits to cringing at some past style phases: "I think we all feel that way...when you're younger and you're...experimenting." (28:54)

12. Oscar-Night Realities (Bonus Tidbit)

No food at the Oscars; guests survive on a small bag of Skinny Pop. "There's no food...open bar...but you leave for the Oscars around 12:30, it's not over until 9pm." (26:30–27:03)

13. Most Coveted Armani Piece

When asked which piece she’d beg to keep from the Armani Archivio, Miyako picks the jacket she's wearing, which she says is based on 1950s men's workwear. (29:28)

Notable Quotes & Memorable Moments

On why Armani resonates today:
"We're all kind of looking back at...classic pieces and what translates over generations in time." (02:41) — Miyako
On restraint in design:
"Restraint is almost the hardest thing because you have to pull back...and then you figure out how—okay, this is too much, we're saying too many things—what do we really want to say?" (05:41) — Miyako
On cultural impact:
"Honestly, it's the streets...I would say the streets [make me prouder than an Oscar nomination]." (10:41) — Miyako
On sourcing period-correct garments:
"All the T-shirts had to be from 1952 or earlier...I went to everyone’s archive." (20:04) — Miyako
On actor collaboration:
"Most of the time, they let you do your thing." (13:49) — Miyako
On her personal style:
"It’s always changing...I guess it's like grit...[and] shoes are very important." (27:53, 28:35) — Miyako
On Oscar night food:
"There's no food...They give you one...skinny popcorn." (26:30) — Miyako

Timestamps for Key Segments

Italian Roots & Dressing for Milan: 01:11–01:33
Armani’s Timelessness: 02:19–03:37
Restraint in Design: 05:41–06:29
Designing Authentic “Bad” Outfits: 07:02–07:24
Crafting for Character, Place, and Script: 07:46–08:38
Costuming Going Viral (“Good Time”/“Howie Bling”): 10:14–10:58
Robert Pattinson’s Tracksuit Meme: 11:22–12:54
Oscar Isaac as Style Icon For Husbands: 13:02–13:42
Period Correct Sourcing and “Marty Supreme” Logistics: 19:00–22:55
Critical Take on "Blade Runner 2049" Costumes: 23:30–23:45
Oscar Night Skinny Pop: 26:30–27:03
Personal Style Evolution: 27:53–28:54
Favorite Armani Piece: 29:28–29:48

Takeaways

Miyako Bellizzi blends obsessive attention to historical detail with a deep understanding of how costume shapes character and cultural perception. She's as likely to be found trawling archives for 1950s tank tops as she is to be influencing millions through on-screen style moments and viral memes. With her grounding in both art and utility, Miyako embodies the spirit of Armani—timeless, restrained, and quietly revolutionary.

Recommended for anyone interested in:

The intersection of film, fashion, and pop culture
The details (and chaos) of creating award-worthy costumes
How timeless design influences contemporary style

For further insights, see Throwing Fits on Patreon or explore the Armani Archivio project discussed in this episode.

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The Miyako Bellizzi Interview with Throwing Fits