Unveiling the Creations: Exploring the Wardrobe of Sofia Coppola's Priscilla
Discover the enchanting world of Sofia Coppola's Priscilla, a vibrant biopic delving into the personal lives of Elvis and Priscilla Presley Unveiling the magical art of costume design, Stacey Battat masterfully recreates the iconic, fashion-forward outfits that defined this legendary couple
Priscilla and Elvis Presley were a trendsetting couple long before the likes of Kim and Kanye or Posh and Becks. Their relationship, which was known for its unique style, began when a 14-year-old Priscilla was introduced to the 24-year-old Elvis at a party in his house in Bad Nauheim, Germany, where he was serving in the military in 1959. They remained together for over ten years, eventually starting a family before divorcing in 1973.
In 1967, there was a surprise Las Vegas wedding that showcased Priscilla's captivating pearl-embellished white shift dress, accompanied by a 3-foot-long tulle veil, while Elvis donned a custom black paisley tuxedo. Additionally, a remarkable family portrait was captured in 1970, where meticulous poses highlighted their imposing attire - Elvis wore a two-toned blue taffeta suit with an exaggerated high collar, while Priscilla sported a lilac shirred puff-sleeve shirt and matching purple trousers. Even their 2-year-old daughter, Lisa Marie, experienced a change of wardrobe. She was photographed in both a delightful polka dot summer dress and a miniature white fur coat during the session.
Only a handful of the costumes in the film, such as this recreation of that 1970 family photoshoot, are historically accurate.
Sabrina Lantos/Courtesy A24
Costume designer, Stacey Battat, found these significant moments to be vital historical references while dressing director Sofia Coppola's most recent film, "Priscilla". This candy-colored biopic delves into the private lives of the couple, with Jacob Elordi portraying Elvis and Cailee Spaeny in the lead role.
The remarkable transformation of clothing into a potent storytelling instrument in "Euphoria".
"That's how our journey began, and then we proceeded to fill in the missing pieces," explained Battat during a video call from Los Angeles. "To create a seamless timeline that felt natural, we meticulously examined magazines and other references to craft the intermediate looks—the outfits bridging the milestones." (Priscilla, despite being credited as an executive producer, played a minimal role in the costume department.)
Having previously collaborated with Coppola on "The Bling Ring" (2013) and "The Beguiled" (2017), Battat confronted the typical constraints of independent filmmaking, including a strict budget and a tight 30-day shooting schedule. With resourcefulness in mind, items were occasionally shared among characters, and Coppola's connections in the fashion industry were fully utilized.
The wedding gown worn by Cailee Spaeny in the film was custom made by Chanel.
Chanel collaborated with Philippe Le Sourd/Courtesy A24 to create a new version of Priscilla's wedding dress. Coppola, who has been an ambassador for Chanel since 2019, also previously interned at the fashion house in 1986. Valentino played a significant role in Elvis's iconic style, particularly his famous knitwear pieces. Today, replicas of the funnel-neck cable knit sweater he wore in the 1957 film "Jailhouse Rock" are still available for purchase.
Power dressing
"It was the greatest gift the movie could have received," said Battat regarding the collaboration. "Crafting knitted garments is a challenging endeavor, as any costume designer would attest. Asking a handful of skilled handknitters to produce 10 sweaters within a six-week timeframe is simply not feasible." Instead, Battat provided the Valentino design team with reference photos and a color palette, who then created a mini collection specifically for the film. "It was incredibly rewarding to collaborate with such imaginative individuals and witness the end result become these astonishingly beautiful garments... I promise you, whenever someone felt overwhelmed, they found solace in caressing the sweaters."
In "Priscilla," the focus is on the couples' extensive wardrobes and their shared passion for self-presentation. They viewed their clothing choices as deliberate and strategic. For instance, after the birth of their daughter Lisa Marie in 1968, Priscilla would welcome paparazzi with a regal attitude, clad in a vibrant pink wool dress with a collar and a meticulously styled black beehive hairstyle, showcasing perfection from head to toe. In the early 1970s, Elvis sported flamboyant rhinestone jumpsuits, a calculated move to appeal to a new audience, reclaim his prowess as a performer, and distance himself from the more rigid suits of the previous decade. "He is attempting to redefine his image," remarked Battat. "Their clothing serves as both protection and a representation of who they are."
However, power dressing is not always as effortless as it appears. Coppola's portrayal unveils a slightly bashful Elvis during a jumpsuit fitting, confessing to Priscilla that he feels foolish. But his wife, who is now thrust into the public eye and acutely aware of the insecurities clothing can evoke, assures him with unwavering confidence that he looks fantastic.
Another historical anchor for Battat was the hot pink collared dress worn by Priscilla after giving birth to Lisa Marie.
The cracks in Priscilla and Elvis' relationship are first seen through their approach to clothing. Inspired by Priscilla's autobiography "Elvis and Me," Coppola's film highlights the significant influence that the pop icon had over his young wife and her public image. As Priscilla, still a schoolgirl, moves into Graceland, she undergoes a complete makeover. In a department store dressing room, Elvis and his entourage observe as she tries on various shift dresses and matching sets. She expresses admiration for a chocolate-colored dress, but Elvis dismisses it immediately, stating his distaste for the color due to its association with the army. Through subtle guidance ("You're petite, avoid prints, baby"), suggestions, and even demands ("Dye your hair black and wear heavier eye makeup"), Priscilla loses all control over her own appearance.
Costumes in Sofia Coppola's films serve as powerful tools for expressing the complex emotions experienced by young women navigating love, sexuality, and power. In her directorial debut, "The Virgin Suicides" (1999), Lux Lisbon, one of the characters, defaces her underwear with her crush's name, hiding this act beneath the suffocating and sexless nightgown imposed upon her by her puritanical mother. Another poignant scene occurs in "Marie Antoinette" (2006), where the 14-year-old soon-to-be Queen, upon crossing the Austrian-French border, is compelled to remove her country's attire in the middle of the woods and don the fashion of Versailles.
Sofia Coppola's Archive boasts a collection of rare photographs featuring Kirsten Dunst, Emma Watson, and Elle Fanning.
In "Priscilla," Elordi and Spaeny collaborated with Battat to explore the psychological influences behind each character's aesthetic. "They were highly collaborative," she noted about the actors. "Cailee asked me if Priscilla's insecurity about Ann-Margret affects her choice of clothing." (Ann-Margret, a starlet from the Golden Age of film, co-starred with Elvis in the 1964 film "Viva Las Vegas." There were widespread rumors of an affair between the two.) "And I responded, 'Actually, it likely does. Because she is so eager to please him, she may wish to emulate Ann-Margret.'"
The pink dress worn as Priscilla reads tabloid gossip about her husband's oft-alleged dalliances was inspired by a historical Ann-Margret look.
Sabrina Lantos/Courtesy A24
Battat discovered a pink dress that closely resembled the one worn by the actor in an old photo. This dress makes an appearance in a scene of the movie where Priscilla, while going through the latest rumors about her husband, torments herself. In one of the tabloids on the cover, there is a picture of Ann-Margret and Elvis hugging intimately. Priscilla, dressed in a pink dress and sitting with her legs crossed on the sofa, carefully examines the magazine, imitating the other woman. "No one will recognize that it's Ann-Margret's pink dress," Battat said. "But it is significant for us."
