(Photographed by Robert Elswit)
Blow Costume Designer:
Mark Bridges

How did you get involved with Blow?

My agent gave me the script and I loved it immediately. Then I met with the director, Ted Demme and we had a similar vision about what Blow could be and his excitement for the project was contagious. I wanted to do the film and the producers wanted me to do it and that was that.

What about this script enticed you to work on the project?

I was attracted to Blow because of the real opportunity to tell a story through the language of the clothes. Starting the story in the early 1950's shows where George came from and the late 60's was an incredible time of change socially that opened the door for George's first work in drug smuggling. Telling the Story of a characters personal and economic rise and fall through clothes was an exciting opportunity.

What kind of design research is involved in preparing to design for a film like Blow?

The way I work I read the script, break down the characters, the time periods and dramatic events. I then research the specific clothing from the period and decide a specific look for each character using the period research.

My period research for George Jung (played by Johnny Depp) included everything from using actual photographs from George Jung's family album to Sears catalogs and Life Magazines from the 1950s to the 1990's. I looked at films from all the periods-things like The Graduate and Love Story for the late 60's, to look at how simple the fashions were and get the fit and the proportions in my head. It also helps to have lived through those periods and remember what was cool. That was an enormous help in Boogie Nights and helped during Blow as well. I also look at photographers' work of the period. Richard Avedon's work in the 60's was incredible for getting the real feel for the late 60's. Fashion magazines only give you a glossy unreal feel of the period so I like to use real photos of real people as much as I can to see what was really happening and how people really wore their clothes during that period.

Can you describe the process you went through when designing / finding all the amazing costumes for the film? How did you source your material?

I pulled from all the costume rental houses in Los Angeles and called vintage sources throughout the country. We shopped locally in thrift store, vintage clothing stores, designer resale shops, and even searched basements of downtown stores that have unsold stock from the time period, always looking for specific sizes and interesting styles and the right period colors in good condition. Ultimately, what we could not find we made from scratch.

Did you have free reign or did you work closely with the cast and the production designer?

Costume design is always a collaborative effort. I designed the show with what the director and I had talked about using my knowledge of period clothing to tell the story and chose things to emphasize the year of the action and the dramatic content of the scene.

I consulted with the production designer about the different color palettes we were planning to use for each of the different cities and countries in which the film takes place. In all I used five different palettes to help clarify where we were geographically throughout the film; cool tones for Boston and the east coast, ice cream pastels for Miami, strong colors for Columbia, trendy earth tones for California and purples, pinks and blues for Caribbean countries like Antigua and Panama.

Once the actor arrives another collaboration takes place. We talk about character and whether the costume I designed feels right for the character they are portraying and for the dramatics for the scene.

What were your challenges that you had with the wardrobe from Blow?

The biggest challenge was finding the enormous amounts of clothes needed for a film this size. In the script that we shot Johnny's character had 100 costume changes over a 30-year period. We had over 2000 extras, all in various weddings, beach parties, New Years Eve parties all spanning three decades.

What design did you enjoy creating the most from Blow?

I think figuring out what would be the best stewardess look for 1968. It was a period of transition in airline fashions and I decided to go with a more 60's look to really emphasize the conservative / naïve era that George began selling marijuana.

I found an interesting design in an actual garment from 1967, found vintage double knit wool from New York and Los Angeles and crated out own uniform look, accessorized with white gloves and conservative pumps to complete the look for Barbara's drug trafficking disguise.

Did you have a design from the film that was your favorite? Could you tell us a little about the creation of it?

I think the wedding dress and headpiece at the Colombian wedding was one of my favorite costumes, and it was an example of the magic we sometimes have to do as a result of budget and time.

While doing research I found a headdress in a vintage bridal magazine that featured large gold leaves as the decoration. It seemed so perfect for a Colombian cocaine cartel wedding. It was simple yet had period accuracy and subtle emphasis of what was happening in the scene.

The wedding dress was found at a second hand store and we transformed it by trimming it with gold beads and fringe to make it truly outrageous. I think the result is perfect for the scene, executed very simply and inexpensively.

What other films have you worked on, and is there anyone you would love to work with in the future?

Some of my films were Boogie Nights, Blast From the Past, Magnolia, Deep Blue Sea and Can't Hardly Wait.

I can't specifically name one person that I would love to work with but I always look forward to working with a director or actor that has a solid vision of the film we are making, a collaborative spirit and respect for the contribution that the costume designer makes to the final product.

Have you always been a costume designer? How did you get into the business? Can you share a little bit of your professional history with us?

I guess I have always been a costume designer in one way or another. I was involved in costumes in the little theater in Niagara Falls where I grew up. My first professional job was designing an original play off off off Broadway in New York City in 1983 while I was a theater major in college on Long Island. I then worked on Broadway as a wardrobe supervisor for five years and during that time I was getting my master degree in costume design at the New York University Tech School of the Arts. After Graduating I knew I wanted to work in films and through a friend, began working as an assistant designer for a talented designer Richard Hornung. I ended up being assistant designer on 10 films with Richards. Films like The Grifters, Barton Fink, Natural Born Killers, and Nixon. Between those jobs I was doing my own low budget projects and one of those was Hard Eight Paul Thomas Anderson's first feature.

Is there an ideal film (genre/cast) that you would love to work on?

I love to do period films. Anything from ancient Egypt to the 1950's. It would all be exciting to me provided the script had some "juice" to it.

Who are your favorite designers?

In contemporary film I admire the work of costume designer Milena Cananero, Sandy Powell and James Acheson. Milena has exquisite taste and meticulous feeling for period. Sandy Powell in Velvet Goldmine blew me away and the lushness of Acheson's The Last Emperor and Restoration is truly something to aspire to.

I am also a great fan of classic Hollywood designers like Travis Banton, Jean Louis and Adrian for the timeless fantastic creations they did in the 30's and 40's.

Back to Auction Home