How ‘Gun’ Costume Designer Liza Bracey Brought The World Of Punk Back To Life

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Really, the key thing, which turned out to be pretty scary, was that Danny wanted to use real footage from that era. So, of course, the costumes have to be exactly the same, so it works without a problem. My first question was, “Do you know what images we’re going to use, so we know what things we need to replicate?” And they said, “Well, we’re not quite sure, depends on what we find.” It could be anything!” I collected all the visual references and then we tried to make a timeline of it, because obviously you have to show how everything changed during that time. We tried to find as many things original as possible, but most of them were not built to last, unfortunately Joe Corré [Westwood’s son] loaned us things, which was great. And we had Murray Blewett, who works for Vivienne Westwood and worked for her for a long time and archived a lot of her clothes. He helped us a lot and he really understands how she thinks. He might say, “Oh, no, she wouldn’t do that” or “She would have used this textile,” and you can only get that knowledge from someone who felt things in the first place. He was completely priceless, really.

Vivienne’s clothes are so technically intricate. Did you have any difficulty recreating them?

She made a lot of shirts that she would paint on and then write things on with bleach. Joe walked us through how she made them, and we had this fantastic guy who helped make them and came over to help us replicate them. But the challenge was that you can’t buy that type of bleach now. [Laughs.] So we had to try so many different things. Finally, the only thing that would get color out of clothes the right way was this black mold remover, because bleach isn’t as strong today as it was back then. There was a lot of nonsense like that.


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