In Joker: Folie à Deux, the titular alter ego of failed comic Arthur Fleck (Joaquin Phoenix) and the enigmatic Lee Quinzel (Girl Gaga) develop a harmful bond as inmates within the infamous Arkham State Hospital, a bond they specific by means of elaborate track and dance numbers. (“Folie à deux” refers to a medical time period for a shared psychosis.) However are these fantastical, usually foreboding musical sequences simply in Arthur’s head, or in some way a deeper connection between the 2? That’s as much as audiences to resolve. Behind the scenes, although, dance events frequently went down in Gaga’s costume, hair and make-up trailer, which even had a nickname.
“‘Camp Lee’ was unbelievable,” says Arianne Phillips. “It was a lot enjoyable.”
From pre-production by means of filming, the three-time Oscar-nominated costume designer meticulously plotted Lee’s journey, together with Gaga (whom Phillips refers to by the star’s start title, Stefani), Frederic Aspiras (Gaga’s hairstylist) and make-up artist Sarah Tanno. The staff took the character from an inpatient on the bleak psychiatric facility to her daring self-actualization as mercurial antihero Harley Quinn.
“What’s distinctive about Stefani is that she actually understands costume, hair, and make-up — and she or he understands character,” says Phillips, who took over as costume designer from Joker’s Mark Bridges (who acquired an Oscar nod for that movie).
The sequel is ready within the early Eighties, and the costume aesthetic emphasizes a dirty, gritty realism. Phillips took inspiration from genuine sources, from ‘70s downtown New York Metropolis hallmarks to the golden age of Hollywood to Girl Gaga herself.
“She was actually trustworthy and really beneficiant with sharing a few of her personal private expertise that she felt associated to Lee, and that these have been actually morsels that I might soak up,” says Phillips. She retains the precise particulars near her vest, merely sharing: “You’ll be able to see it all through the entire movie.”
Forward, Phillips discusses Lee’s custom-designed wardrobe evolution by means of three completely different worlds: Arkham, the courtroom, and a fantastical wedding ceremony.
Lee’s “Cozy Sweaters” At Arkham State Hospital
As he awaits trial for mass homicide in high-risk block E of the corrupt Gotham psychiatric facility, Arthur ventures into the minimum-security B ward. The world slows down for a second when he spots Lee outdoors a music class: Swaddled in an outsized marigold mohair cardigan over her hospital-issue white scrubs, she meets his eye and makes a finger gun gesture to her head.
Like many headline-grabbing mass murderers earlier than him, Arthur’s the topic of a TV film, which an enamored Lee has watched numerous instances. “She’s this little avenue urchin,” says Phillips. “She actually made herself small so as to get his consideration… That is actually a love story, and we wished to create a vulnerability together with her on this establishment.”
Lee’s “cozy sweaters” — her trusty mustard one, and a two-tone blue cardigan — set a backstory for the character, based on the costume designer: “The concept is that possibly she discovered it in a thrift retailer or it belonged to her father.” (For the Superman-level vision-enhanced viewer, Phillips additionally wove refined, foreshadowing diamond patterns into each cardis.)
A candy, dainty bow on the neckline of Lee’s tank and her scruffy ballet slippers (a reference to Amy Winehouse — who sported a visibly worn-in pair on multiple event — and director Todd Phillips’ thought) additionally convey vulnerability. And an origin story.
“There’s a bit of infantilizing of her to start with,” says Phillips. “She has this bravado — a fearlessness that you simply actually expertise in a teen — and then you definitely see her as her dedication grows over time.”
Lee’s Downtown NYC-Influenced Courtroom Outfits
Out of Arkham, Lee regularly reveals her help of (or fixation on?) Arthur and his Joker persona by transferring up the gallery to take a seat entrance row at his trial. Her courtroom attire endure a development, too, beginning with a floaty, mild blue floral mini earlier than evolving to a sheer black tunic with velvet diamond shapes and a navy, flower-print “church”-type gown with an exaggerated Peter Pan collar.
“[The early ‘80s] was the time when the East Village scene and CBGB on the Bowery have been beginning up,” says Phillips in regards to the inspiration for Lee’s supposedly thrifted, ‘70s “babydoll, [designer] Biba-esque attire” worn with discordant oversize cardigans and chunky punk rock outerwear. “She has a pretend fur jacket and a thrift retailer males’s sweater. She would have cobbled these appears collectively, however, nonetheless, there’s a vulnerability and weird innocence — she’s this sycophant who’s obsessive about Joker. That blend, to me, reveals that.”
On the ultimate day of Arthur’s trial, Lee strides into courtroom in full Harley Quinn regalia: a crimson blazer with raised diamond patterns and pleated ruffle cuffs, a theatrical corset and graphic tights.
“Together with [embracing] her dedication, she has taken on this persona impressed by Joker,” says Phillips. She imagines that Lee thrifted the crimson jacket from an outdated circus uniform, ripped the muslin and ruffle-trimmed corset off a interval costume robe, and possibly copped the leather-based mini from the Gotham outpost of Trash and Vaudeville. “You see the diamond sample all through,” she provides.
Lee’s Showstopping Fantasy Seems to be
Throughout a particularly tense trial second, Arthur dissociates into one in all his most heightened musical sequences: a marriage.
Lee walks down the aisle towards Joker in a V-neck mini gown with a fragile diamond trapunto sample and gleaming ribbons streaming down the shoulders — “enjoying into what Arthur could be drawn to,” says Phillips. “In her fantasy, and his fantasy, what would that seem like?”
Phillips referenced ‘60s icons like Jacqueline Kennedy Onassis for the block-heel Mary Janes, plus Physician Zhivago-era Julie Christie and the late ‘60s/‘70s silhouettes of Ossie Clark and Biba. “[The dress is] fairly impressed by my aunt, who obtained married within the ‘70s,” she provides. “I used to be a flower woman.”
The nuptials transition right into a raucous jazz efficiency on the ill-fated (and ominously named) Pogo’s comedy membership. Lee smashes the keys on a child grand as she belts out a banger, sporting a silver metallic mesh gown that sways together with her bombastic actions, bringing to thoughts…properly, Girl Gaga.
Phillips — who’s designed six world excursions for Madonna — collaborated with Michael Schmidt (a go-to for the likes of Dua Lipa, Sabrina Carpenter and Olivia Rodrigo) on the sparkly stage-wear. “I made a diamond-shaped collar that simply gave a sure power to that scene,” she says.
The costume designer additionally labored with Girl Gaga’s sister, Natali Germanotta, and her atelier, Topo Studio, which constructed the white bias-cut robe for a rooftop dance quantity straight out of a silver display basic.
“Completely Ginger Rogers and Fred Astaire,” says Phillips, “and [the dress inspiration] was within the script, so I leaned into that.”
She additionally sketched and designed the glossy, fluid robe to permit for Gaga and Phoenix’s upbeat choreography. For an additional bit, a putting marigold two-piece set with a smattering of delicate beading references Bob Mackie’s work for Cher.
“The great thing about this film is that there’s a lot realism,” she says, “but we get to be in Arthur’s thoughts, the place we blur actuality and fantasy.”
Joker: Folie à Deux is out in theaters on October 4.
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