Observer: A designer of costumes for musical theater for nearly thirty years, Paul Tazewell, recently nominated for an Oscar for his work on West Side Story, understands how fabric moves. From Ariana DeBose’s swirling yellow swing dress in West Side Story, to the flying white tailcoats in Hamilton, Tazewell has a personal and sensual feel for clothing that is meant to be danced in.
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One component of costume design this article explains is the need for character analysis when developing a wardrobe for characters. I find this interesting because it seems costume designers must follow a similar journey as the actor playing that role since they have to decide what outfit that character may have chosen to wear that day or what they would be drawn to when buying something in a store. It is amazing how much goes on behind the scenes for movies such as West Side Story since the attention to detail is so important. This is an interesting comparison to the theatre industry because most of the audience watching a theatre piece aren’t close enough to the characters to see the exact fabric pattern, but when you add cameras, everything changes. This also brings up the concept of theatrical pieces now releasing professional filmed versions of their production for streaming services and how those allow all audience members to notice every detail that has been put into a costume you may not have seen otherwise.
I recently watched the new West Side Story movie. I remember the lights coming up and immediately saying “ Wow the costumes were absolutely amazing.” Before that, I had never actually seen a version of West Side Story including the original movie and a live musical version. Although, because of how popular a piece of media it is and the cult following I was aware of just how iconic the costumes are. Maria has her beautiful white dress and I knew the general vibe of both the Jets and the Sharks. All that is to say that Paul Tazewell had a lot to take on when designing a remake of such an iconic show. He really did do it justice. While I did put a lot of focus on the costumes, they really were just a part of each character rather than a distraction. I also love the emphasis on movement which is vital because due to all of the amazing dance sequences.
I have unfortunately not seen the movie yet, but based on the trailers and photographs of the film, the costumes are absolutely extraordinary. I think the visual distinction of the colors between the two gangs helps guide the character’s narratives. Tazewell uses the color palette to reflect the gang’s racial relationship to the city: the Jets are in blues and grays - they look like the city - indicating how they feel at ease within the city whereas the Sharks are in vibrant island colors, reflecting their newcomer status. I adore the fact that this production included tributes to the original designs. Like some other commenters said, it is important to know the difference between plagiarizing as design versus paying tribute to it as the line is blurry. I’m also glad to hear that Spielberg deviated from his usual designers. While it may be comfortable to continue with those you have worked with before, adding new voices allows the inclusion of those who may be more qualified for a piece.
I think that clothes are such an important part in constructing the world of the play because of all the pieces of design in the process, it is the one the character has the most personal control over. The set, lighting, sound, and other elements are all outside factors that the character is affected by, however, the costumes are the only thing in the play the character often has control over. I respect Tazewell’s philosophy in costumes. I really appreciate the sensitivity he has when clothing his characters, especially those of not his culture. It is so easy to pull from bias and stereotypes in our design, however, he was not only able to clothes his characters with care, but also pull inspiration from his own life. I thought it was amazing how he was able to keep some of his creative integrity while still being able to accurately portray the people of that time.
I am so glad that this article appeared on the list of the newsquiz articles for this week because I remember being floored by the same yellow dress Anita wore in the movie that the author of this article seems particularly focused on. After reading it, I have become quite excited about Paul Tazewell’s career beyond West Side Story as it seems that his design process is unique in the same way that steven spieldburg’s vision as a director is unique. Based on West Side story, it's clear that he isn’t afraid of dirt and grime and period accuracy, but it is always mixed with lush colors and storytelling that create a nostalgic image and an element of whimsy. I remember watching another film he designed, Harriett, and remarking at the consistency and development of clothing into travel-worn garments as the film follows Harriet Tubman throughout her life, as well as the exploration of her character based on the clothes that she chooses when she is in the North and isn’t trekking through the woods.
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