“Fight Night: The Million Dollar Heist” And “say nothing” both take place during “me” -t decade, but in very different worlds. Peacock’s “Fight Night” develops in Atlanta in 1970, when Muhammad Ali flew into the city and won his comeback struggle after a three-year box ban, while the country’s most powerful figures in Black Mafia were robbed at a party that celebrated that victory. Over the Atlantic and up through the Irish Sea to Belfast is FX’s “Say Nothing”, which chronicles the problems in Northern Ireland, which begins in the early 70s. On one side: Suave Gangsters under the direction of Samuel L. Jackson’s Frank “The Black Godfather” Moten. On the other hand: working -class members in the paramilitary Irish Republican Army fighting for a united republic free of British soldiers. Here we dive into both limited series.
Fight Night: The Million Dollar Heist
Frank “The Black Godfather” Moten and Richard “Cadillac” Wheeler
The show does not get too serious-dess tagline is “based on any crap that really happened”-so costume designer Ernesto Martinez felt free to press beyond funky, orange-brown 70’s archetypes and blax plloity images. “I wanted it to look like an elegant 1970s, not for Dolemit but really cool,” he said. “I wanted to make Atlanta cool and the gangsters in it cool, but I made a more British vibe, like a British Dandy.”
The tailor -made, sophisticated look is most evident in Jackson’s character, which spends the series looking for local players who were stupid enough to rob him. He is always impeccably dressed in blues, burgundies and browns. Here he wears a double -breasted suit that Martinez and his team made by Silk Mohair bought in London.
“We did everything for all the main players,” he said. “They are all big names and picky about wardrobe, so if you take vintage suits they don’t fit right. I did four of each (outfit) because they make many stunts. There are many shootings, a lot of murder.” According to Martinez, Jackson liked his threads so much that he held most of them. “I think he said,” I want my clothes in my contract, “said the costume designer and laughed.” Samuel was a lot of fun. He just knew how to wear his clothes. ”
For Terrence Howard’s ambitious criminals, Cadillac, Martinez gave him a slightly younger, less polished look that would not compete with Farrah Fawcet-like hair piece he wears. “The crazy wig. He was dead on the wig,” the designer said. “It’s a fun piece in the movie, and I said,” If I give him too much suit, it will just go over the top. “
Gordon “Chicken Man” Williams
Kevin Hart plays a future Atlanta gangster who organizes the Post-Ali Fight Party for Moten and the other bigwigs but has nothing to do with the armed robbery. He is nowhere near the boss level, so Martinez dressed him more randomly in lots of denim and leather and integrated styles from Richard Roundtree’s iconic John Shaft character, plus legendary musicians such as Sly Stone, Earth, Jimi Hendrix and Earth, Wind & Fire.
“I just thought this guy would mimic rock stars,” Martinez said. “I remember seeing Jimi Hendrix in a Python jacket and I said:” It would be good for chicken man to go to the fight, like, put on his big dog-and-pony show. “” The team made the jacket from Python-printed leather cutting just like that. “(We needed) to make Kevin not look as good as he really does,” Martinez said. “He’s really buff, and I wanted to hide it, because chicken man can’t be so.”
Vivian Thomas
Chicken Man’s Whip-Smart Mistress (played by Taraji P. Henson) is a former sex worker who wants to be rich by launching his own number game. “I wanted her to still have one I don’t know what, So her wardrobe was pretty cool: Halter dresses, turbans and pants in suede, “said Martinez. He designed her fantastic leopard print Jumpsuit in Silk Jersey after seeing a similar Bob Mackie Vintage-bit.
For the disastrous party, he made a red silky dress which was a reinterpretation of a Halston number that the model Karin Bjornson’s famous bar. “I had to create a dress that she could easily take off to dance in her lingerie,” Martinez said. (One of the robbers forces her to strip.) When it comes to Silk Chiffon Bolero, “The jacket was an add-on at the last minute-as” here, sew this up! “We had to cover her a little so we didn’t give away the disclosure.”
JD Hudson
Don Cheadle, who plays the detectives who investigate the robbery and subsequent murder, have the most compulsive appearance of the characters. “The seventies snapped up, really nice guy, family man, detective-there is a template for him. I just copied what a detective would have worn from, as did Alexander’s department store or Gimbels,” Martinez said, referring to two popular interim dealers from the Eran. The team made this gray three -part suit in Wool Gabardine after trying a first polyester trial, but it “looked too cool” according to the designer. “So we went back to natural fabrics.”
Say nothing
Dolours and Marian Prize
Based on Patrick Radden Keefe’s nonfiction book of the same name, this limited series is more bound to the historic record than “Fight Night” while still leaving costume designer Jane Petrie Room for creative interpretation. “We made an honest version, but it wasn’t like making a Biopic,” she said. Early in the series, the sisters rob dolours (Lola Petticrew) and Marian Price (Hazel Doupe) a bank dressed as nuns, which their real counterparts successfully performed in 1972.
Petries Team rented the traditional black habits but made the white Cotton Wimples (main coatings) to ensure the correct fit. For the first four episodes, she held both characters in muted tones to reflect the war-proposed Belfast landscape. But when they travel to London to bomb the old Bailey court in section 5, it is as if a technicolor switch has been reversed.
“When they come to London, (they see) what their lives could have been, and it’s almost as if the world was in full color, because everything is available in London,” Petrie said. “I wanted to show some of the freedom that people had from the 60s counter culture that had a major impact in London but would not have reached Belfast. Especially with the religious (the aspects of the problems) there is a very conservative angle to their upbringing. And then they suddenly see this great world available.”
Technicolor traveling clothes
Dolour’s clothing is undergoing the biggest change. On the bombing day, she wears a light blue dike coat over a green sweater and yellow bell-bottom-a mixture of vintage finds and new garments made by Petries Team. It is the outfit she has when police catch her and Marian at the airport and arrest them before they can fly back to Ireland.
Dress for one’s day in court
When their trial begins, we see dolours in a burnt -out orange floral skirt and jacket made by Petries Team. She based the appearance of the work from the 70s British designer Ossie Clark and on styles found in teenage magazines that would have been available to the prize sisters in Belfast at that time: “Jackie” and “Honey”, not “Vogue” or “Cosmopolitan.”
“They were both really in fashion, and it was well documented that when they went to court they wore another outfit every day,” Petrie said. (At this time, the more reserved Marian HD has gone back to a muted palette of gray and blacks.)
Gerry Adams
In the series, Gerry Adams (Josh Finan) is a highly ranked commander for IRA, even though the real Adams deny that this day has ever been a member of the group. Petrie gave Twentysomething Adams a revolutionary socialist look with an academic bend.
“He says in the script that he wanted to go to university when it was over,” she said. “I looked at many Beatniks and other things he may have strived for. I liked that the book angle was blunt.” In the early 1980s, Adams had moved into politics (he was the leader of Sinn Féin Political Party for 34 years) and had adopted a more professorial appearance: clasp shirts under neat
Sweaters and corduroy jackets.
Brendan “The Dark” Hughes
Brendan Hughes (Anthony Boyle) was a more difficult assignment. Since “The Dark” was involved in some of IRA’s most top secret, dangerous activity, his father destroyed most of the images of his son to protect his identity.
But Petrie knew that Hughes had traveled in Merchant Navy and had lived a different life than most of his Belfast comrades. “We made him good looking and tried to show that he had had that discipline in Merchant Navy for a period of his life,” she said. “I had to gather something from the few photographs we have seen and mug shots. It felt like he would always be connected, no loose edges, only ready. “
This story first ran in the limited series/TV filmer edition of Thewrap’s Awards Magazine. Read more from the race begins issue here.
The post Dress in the 70s: The costumes in ‘Fight Night’ and ‘Say Nothing’ Was shown first The flap.
