Overview of Miyako Supreme
This episode of Fashion People (hosted by Sherman Royale, Puck) features costume designer Miyako Balajzie (referred to in the episode as Miyako). Conversation covers her unconventional fashion-to-film trajectory, close collaborations with directors (notably Josh Safdie), creative process for character wardrobes, the challenge of period work, and her personal style and vintage sourcing. The episode also touches on industry trends—how social media and celebrity influence have reshaped fashion—and highlights Miyako’s approach to making clothes feel emotionally truthful on screen.
Key topics and takeaways
- Miyako’s route: magazine assistant → Vice fashion editor → early video work → costume design for indie films and major projects.
- Costume design is driven by people: casting, actors’ real insecurities, and a designer’s observation of everyday life are central to her process.
- Close director relationships (e.g., long collaboration with Josh Safdie) change the way costumes are conceived and integrated into a film.
- Period work requires balancing historical authenticity with emotional truth and cultural relevance.
- Miyako favors vintage and “real” clothes that reveal character—she aims for raw, human details rather than polished perfection.
- The fashion industry’s corporatization and celebrity focus frustrate her; film offers more creative freedom.
Guest background and career highlights
- Early career: Details magazine, assistant roles, then fashion editor at Vice (early video era).
- First film work: small student film (Diamond Souls), then a succession of features leading to her full-time career in costume design.
- Notable collaborations and projects mentioned:
- Multiple films with Josh Safdie (including Uncut Gems and Good Time era projects).
- Scenes from a Marriage (Hagai Levy project; contemporary, emotionally raw wardrobe work).
- Marty Supreme (the large period project discussed at length).
- The History of Sound (period piece set between 1917–1927).
- Frequent collaborator: Daniel Lopatin (composer) — Miyako describes a close, band-like rapport with key department heads during press tours.
Process & approach to costume design
- Research + people-first method: Miyako emphasizes meeting actors, learning their insecurities and daily rhythms, and using fittings to discover character-specific details.
- Casting drives costume choices: the actor often redefines wardrobe plans; costumes come alive after casting.
- Collaboration model:
- Very close, iterative relationship with certain directors (e.g., long-term friendship and trust with Josh Safdie).
- Constant communication with casting, hair & makeup, and other departments to align a unified character presentation.
- Making period work feel contemporary:
- Authenticity to era combined with human details that resonate with modern audiences.
- Small touches (e.g., a secretary’s red lip) chosen for emotional effect and era appropriateness.
- Preference for non-professional or less-experienced actors in some projects because their rawness can produce more truthful characters.
Notable insights & memorable quotes
- “I always feel this sense of rejection from the fashion industry.” — on feeling outside the narrow view of contemporary fashion.
- “I’m an observer of the world…constantly studying the everyday life of people.” — describing how she mines reality for characterization.
- “Sometimes it’s okay for something to run for one season and then it’s over.” — reflecting on creative cycles in fashion (applied to shows, designers, and collections).
- On team dynamics: the core creative departments (costume, music, production) can function like a touring band—deeply collaborative and influential on the film’s tone.
Period vs. contemporary dressing (how she makes clothes tell the story)
- Period films: require balance—historical accuracy can’t eclipse the character’s human truth. Miyako aims for period authenticity that still communicates the character’s inner life to contemporary viewers.
- Contemporary/“normal” clothes: she focuses on revealing quirks and insecurities—small, believable choices that make characters empathic and exposed.
- The wardrobe’s goal is emotional clarity rather than fashion statements.
Personal style & sourcing
- Miyako prefers vintage and real-worn pieces rather than label-centric dressing; she tries not to broadcast designers in her personal wardrobe.
- Loves 40s–50s vintage and shops both in LA and other locations (mentions Scout, Squamville, and Desert Vintage shopping experiences).
- Recently re-engaged with high fashion (e.g., Chanel, Versace) for specific friendships and moments but remains primarily vintage-focused.
Practical recommendations / action items
- For aspiring costume designers:
- Focus on people and character study as much as research and historical accuracy.
- Build close relationships with casting and directors; early collaboration is key.
- Treat fittings as diagnostic sessions—discover actor vulnerabilities and incorporate them into costume choices.
- Keep vintage-sourcing skills sharp; authentic pieces can ground a character more effectively than new garments.
- For fashion/film enthusiasts:
- Watch the films referenced to study Miyako’s work: Uncut Gems, Good Time, Scenes from a Marriage, The History of Sound, and Marty Supreme (as discussed).
- Pay attention to small wardrobe details (shoes, lip color, wear patterns) that signal character and time.
Episode details, sponsors & credits
- Host: Sherman Royale (Puck, Fashion People).
- Guest: Miyako Balajzie (costume designer).
- Production: Fashion People presented by Odyssey in partnership with Puck; produced/edited by Molly Nugent; thanks to Puck staff and Odyssey team.
- Sponsors mentioned in episode: Progressive Insurance, The Home Depot, Shark Glam (Shark Beauty), Priceline, Too Good & Co coffee creamers.
Final note
Miyako’s central creative thesis: costume work is not about fashion-as-fashion but about revealing people—their vulnerabilities, histories, and behaviors—through carefully curated, realistic clothing. Her work blends vintage authenticity with human detail to make period and contemporary characters feel immediate and emotionally true.