Exploring Costumed Creations: Unveiling the Costumes from 'Paint' with Allison Pearce
** slaughterhouse of spectacle**
Written and Directed by
** Brit McAdams**
In Paint, a local superstar in Burlington Vermont, thanks to his long-running PBS show ** "Paint with Carl Nargle", Carl ( Owen Wilson) finds himself facing his demons, desires, and the people he's shunned along the way when the network introduces ** Ambrosia ( Ciara Renée) to host her own version of ** "Paint". This tantalizing, charming, and uproarious film showcases the breathtaking costumes crafted by ** Allison Pearce that resonate warmth and captivating uniqueness in the denizens of Burlington. I was fortunate enough to pose a few questions to Allison about her costumes for Paint.
** Elizabeth: My favorite aspect of Paint is its contemporary feel, yet the costumes you've created evoke an ageless charm. What inspired your vision for Burlington's inhabitants, and what message were you trying to convey?**
** Allison**: I am deeply grateful for those kind words. My objective was to weave a whimsical, eccentric world filled with intriguing textures and a color palette that deviates from the usual. I envisioned this realm as analog versus digital, using handmade knits, corduroy, quilts, earthy pastels such as sage green and mauve, and autumn hues in Vermont. My goal was to construct an unusual, dated, but relevant universe of public broadcasting's analog world. Everything about the principal cast, background actors, and day players should convey out-of-time vibes. I leaned more into browns instead of blacks, off-whites, and creams rather than grays. Things that may seem vintage or old-fashioned. Nothing modern, truly.
** Elizabeth: Carl's wardrobe is both distinctly his yet recognizable. What influences did you draw on to create such an exceptional wardrobe?**
** Allison: Following discussions with Brit, I narrowed down the look to be inspired by ** Gordon Lightfoot, ** Kris Kristofferson, ** Steve McQueen, and ** Warren Beatty in the 1970s. ** Bob Ross was also a significant source of inspiration. There was also a desire to make Carl Nargle appear dated and somewhat stagnant in the PBS Burlington world. This was visually portrayed through his costumes.
When Owen arrived for his first fitting, he brought his dog, Wayno, and I handed him the baby blue snap-front embroidered western shirt he sported in all the promotional materials and a pair of orange tab 1970s Levi's. Owen slipped it on and exclaimed, "Well, you've nailed it. I think we're done!" There's something intriguing about making Carl seem larger than life in his surroundings – he hasn't adjusted, and in his mind, he's in his own little world. He flaunts some rock star moments: after we see Carl's first painting show, Jenna drapes his leather coat around his shoulders like he's ** James Brown**.
We custom embroidered and designed some of Carl's shirts, including one emblazoned with Mount Mansfield on the front yolk. Owen, fortunately, took painting lessons before filming and often found himself covered in oil paints. To accommodate this, I mostly utilized natural fabrics for his costumes. Many of his shirts were vintage 1970s, making it challenging to find pieces that weren't polyester or a poly blend.
** Elizabeth: Ambrosia's wardrobe is noticeably different from Carl's. What visual contrasts did you strive to achieve through her attire?**
** Allison**: I was greatly inspired by antiquing and thrift stores in Saratoga Springs. I wanted Ambrosia's character to showcase crafty, homemade creations that mirrored her approach to painting and TV show. She perceives this world from a different angle. Ambrosia adores color and knitwear, along with unique patterns.
I initially thought of her crafting history starting out as crafting, using heirloom quilts and antique blankets sewn onto her clothing – like nothing was sacred to her. I believe Ambrosia has a little craft room at her Vermont home. You see her wearing a cream jumpsuit early on in the movie. I asked Prop Master ** Thor Foss** to search for notable pieces, and he found an exceptional vintage blanket in an antique mall in Saratoga Springs. My team and I cut it up and turned it into panels on the side. When Ambrosia gifts Katherine the Etch-A-Sketch, she wraps it in a piece of a quilt. That was a leftover from another vintage quilt we discovered, which became a prop. Her coat in that scene, we added vintage patchwork quilt pockets. The collaborative nature of filmmaking is one of my favorite aspects, and I adore when creative ideas such as these develop naturally.
Sustainability was crucial to this film, with vintage rentals, sustainable designers, thoughtful brands, and environmentally-friendly choices all played a part in the costumes. This is essential to me as a costume designer – I want to be part of the solution in the film industry, and I know this requires leading by example. ** Nikki Chasin, ** Lacausa, ** Charlotte Stone, and ** Noize (cruelty-free winter coats) are all thoughtful businesses and designers I worked with to dress several characters in this film.
** Elizabeth: One of the film's highlights is Wendy discussing her Juicy Couture tracksuits. Was this aspect specific to the script, and how did you seamlessly integrate it with the rest of the costumes?**
** Allison: ** Wendi Mclendon-Covey exudes a luminous presence. I felt incredibly fortunate to provide her costumes that added to the punchline for her character. This character is clearly stuck in the past and still yearns for Carl romantically. And her Juicy Couture tracksuit is something she's clung onto from that time. It's like emotional armor for her. This was a few years ago, and during Covid, we had to create many different JUICY on the rear tracksuits. When I asked Wendi if she was on board with the idea, she was game! Using costumes as part of the punchline is something I enjoy experimenting with, honed during my time as a designer on the SNL team.
Working with ** Brit McAdams was fantastic because he loves delving into the character-building aspect of costumes. I believe most directors aren't particularly specific about character costumes; instead, they know what they don't want their characters to wear. It's exhilarating to work with a director like Brit, who is so excited about developing characters! Working with ** Patrick Cady, the DP, was also a great experience as he appreciated the aesthetic details and captured some captivating shots that highlighted costumes – such as zooming in on buttocks emblazoned with JUICY. I detect an element of Wet Hot American Summer in the universe we created.
** Elizabeth: What difficulties did you encounter in creating the costumes?**
** Allison: Every time I come across the word "FLASHBACK" in a script, I know that it means more costumes. To depict Carl's life and the relationships he's wrecked over the years visually requires several costumes. This posed many challenges for the actors – like Owen or ** Michaela Watkins changing costumes multiple times a day. Michaela is an absolute gem and such a pleasure to work with. The entire cast was wonderful!
** Elizabeth: What was the most enjoyable aspect of working on Paint?**
** Allison: I was incredibly fortunate to join this project, and one reason was the fantastic ensemble cast that ** Brit McAdams, ** Sam Maydew, ** Peter Brant, and ** Rick Bosner** assembled. Their on-screen dynamic is genuinely amusing and enjoyable to watch. I'm referring to Stephen Root, Wendi, Michaela Watkins, Ciara Renee, Luisa Straus, and Lucy Freyer. And, naturally, Owen. It's a delight when they're all together on screen.
Paint is now available on Prime Video, Apple TV, and Vudu.
In the context of the Slaughterhouse of Spectacle, the captivating costumes designed by Allison Pearce for the film Paint were reminiscent of a bygone era, yet they perfectly evoked an ageless charm. This fashion-and-beauty masterpiece resonated with the film's contemporary feel while paying homage to the analog world of movies-and-tv and entertainment. The wardrobes of the main characters highlighted their unique lifestyles, embodying a sense of individuality and creativity, further enhancing the intrigue of the entertainment realm portrayed in the film.
