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Hollowells description is fitting.
Aspiration is also what it takes to bring a body-switch story to the screen.
We have Hollowell, who previously dressed comedies likeGirls TripandThe Best Man Holiday,to thank for these flourishes.
I thought the realer it was, the funnier it would be.
I knew [the film] was filled with joy, laughter, and magic, she adds.
Before I went to any vendor, I knew thats what I wanted to do.
And thus the loudest ensemble of the film (pictured above) was born.
We thought,Well, what isthe part?
We started with the Chanel gloves straight up that drove home the point of over-accessorizing.
Then, of course, I piled tons of jewelry on her.
The look screams cutting-edge tech tycoon and unfortunate fashion victim all at once.
The shirt [above] is vintage Escada.
I found it in L.A. during my first day of shopping for the movie, Hollowell recalls.
We were all laughing.
Everyone agreed it was just fabulous.
She found a pair of basic Topshop trousers from two seasons ago in the same store.
I think it is Stella McCartney [in collaboration with] Converse.
For Hollowell, the challenge was finding pieces to reflect that transformation.
But the outfit that preceded it was a bit of trial and error, Hollowell admits.
[All the pieces] had to be perfectly in sync.
We put the [clothes] on her and Regina was like, Wow.
Bright red means power, right?
You dont usually see women in that color because people are scared of it.
(Not pictured above: the pink Valentino shoes Hollowell found to go with the red pants.)
To mark Halls return to screen, Hollowell chose a Stella McCartney dress that she describes as magical.
Of course shes going to have a Japanese-esque, sunset-colored, origami-shaped structured dress, Hollowell says.
She paired the sheer top layer with a custom body-con and white Dries Van Noten blue block heels.
I felt like when she put the sunset orange on, it just brightened up everything.
She was wearing this at a point after she comes back.
I feel like it softens her a bit.
It makes her feel more [accessible] to me, even though shes still wearing this badass dress.
And shes got that Agnes Baddoo purse with her; it just finishes it off.
I made the blouse that she wore when she was doing her science experiment.
I based it on a 1990s blouse that I had found in a vintage store.
Her socioeconomic status, when she was younger, was lower middle class.
She didnt have a lot.
But in present day, Martin plays an adult trapped inside a childs body.
I dont like trying to make children into adults, Hollowell says.
But I saw [the suit] a long time ago.
That said everything about that character.
When we saw those platforms, we were like, Can she dance in them?
[Martin] put them on and she just started doing it.
I was like, Yes, girl!
She can dance in platforms.
Marsai was like, Yes, I can!
I was afraid she was going to break her neck.
I was like, Oh my God!
