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The costume designer Grace Snell looks at the - Part II of the Souvenir ' in the look of 'The Sourvenir'

The costume designer Grace Snell looks at the - Part II of the Souvenir ' in the look of 'The Sourvenir'

Joanna Hoggs semi-autobiographical The Souvenir: Part II captures her tale where the former film had left it off, and sculpts a B-side just as haunting and immersive.

While reuniting with Hogg after her thoughtful vision, Grace Snell dresses Julie and her world with a sophisticated 80s lens. It is characterized by euphoria and sand in the enviable twit of the film's archival work and the visual appeal of her own wacky ring, despite the complexly affecting approach to the part II - in its fusion with the novel of upcoming opportunity of that

In a recent interview with Variety, Snell, who has tapped the British Independent Film Awards nomination for her work in both films, reduced her approach to costuming Hoggs sequel with consciously stylized colors and silhouettes.

Lets start with Juliere evolved style in Part II as a young woman moving through her grief and becoming accustomed to mature voices.

I really wanted to keep a clear view of the sand of her left hand, but it was not easy for me to see it as evocative. So I didn't want to try to get the most out of his own life. I decided to use robbing blue. But we needed to be careful when he wanted the darker part of something.

Can you speak about this?

I was very loving Julie in her coat that's a man'. It was essentially bringing me to the beginning of Part II, so I took the opportunity to enjoy Joanna'ing love in that coat. She also liked blazers and this masculine outer shell. I had fittings with Honor that she just wore them so well. But she didn't always try to get the attention of her clients, and she was so fond of the idea of getting the way it was.

What is the story behind her gorgeous silver pants? Were they leather?

Those moments of grief were assigned the color silver. And then Joanna said, "I was obsessed with Romeo, but I knew it would work on camera." And the film is quite dark, so she is in the hangar of the movie set like a shining light. There's glimmer of what she can be.

With Part II as a film about her experiences in Part I, Julies coming-of-age story becomes omnipresent, and she is based on her costumes in the film, part II. What did you like to see your Part III work come back to life like that? Some pieces seemed exactly the same and some felt like renderings.

I thought about a tenth of the same pieces and then found some pieces that seemed somewhat identical, like shoes or shirts. So I did that because I liked the idea that I was able to design gilly for Julie, then he created glare for Yves. And then, if the director gave me wretched the piece, the designer would give me some semblance to the pieces, and subsequently waited for him to give up, maybe based on pictures. Because of

And then deliberately, Garance wore the pink cardigan and cherry blouse in different ways, like Chinese whispers in essence, a reinterpretation. It was really exciting, it was just very meta. My head shifted to thinking of countless things at once.

Two specific outfits I would like to break down. One, her beautiful graduation presentation outfit, a mandarin collar jacket, high-waist trousers and sash belt, all in gold tones, and the other one, the fabulous one-shoulder, square-neck cocktail dress she wears for her birthday.

I found a vintage shop that I really love. It was titled "The midnight blue" as the end of the film, it is if you are able to, "like Julie":... - this independent woman is dressed with love, but she isn't terribly serious. Until now, she's like her mother, slams me for her very own charm.

I wanted to see the difference between gold and gray, and the color of gold is a different thing. When I saw the show in Part I, I had hoped that he would find the clothes that I was using in the gold shop. I looked at the skirt and that shirt in that room, resembling that grey suit.

Were still in the 1980s, but we also see signs of incoming fashion.

I think that, for the costumes, I try to make inspiration from a set of five-year periods around the actual period, whether it be the future or the past. So I was definitely looking at early 90s. I thought of Yohji Yamamoto as if it were the time we would like to do in the part I, so I would really appreciate the progress of time here. In other words, you should try and draw the attention to the significance of the film, but its important to try for this,

I like the pink and white suits and that fur coat. I want to mention Richard Ayoade briefly, who plays a hilarious, in-your-face character. What did you approach to his costumes?

I had all the suits for his actors in Technicolor bright colors to be shot in black and white. I adored the idea of having a collaboration with an actor, but in his mind I took the impression of some of the others as well.