Photo: Hedi Stanton, Courtesy of Pandora
Every Safdie movie, from Good Time to Uncut Gems to the most recent entry, Marty Supreme, has crafted an individual aesthetic so strong it’s one of the main takeaways from the film. One thing all these have in common? Costume director and Oscars nominee Miyako Bellizzi.
Bellizzi is a longtime collaborator with the Safdies, and as a fellow New Yorker, she matches the directors’ love of character-driven work. She’s also extremely talented when it comes to menswear. Remember those viral photos of Oscar Isaac on the set of Scenes from a Marriage in 2021? That was Bellizzi. This year proved to be a major milestone for her, though: She was nominated for her first Oscar for her work on Marty Supreme, and though she didn’t take home the trophy, she was one of the best-dressed nominees in attendance, wearing a vintage look from Christian Dior’s spring-summer 1999 show and custom Pandora jewelry. Below, she talks to The Cut about what inspires her style and where she looks for inspiration.
You’re calling hours after the Oscars. What was it like to be in that room? Were you nervous?
We had the BAFTAs a few weeks ago, which was nice, because I had something to go off of where I knew a little bit what to expect. But the Academy is on a different level. It’s like turning it up 30 notches. I was so nervous, but once you get there, you’re like, Okay, I’m fine. It did feel a bit surreal because you grow up watching it on TV, and this is the first time I’ve been there in person. The best part, and maybe most girls feel this way, was getting ready. I got ready with Odessa A’zion before, and that was really special, because she and I got really close on the film. It’s tough when you’re at these events. You’re seeing all these people, saying “hi,” but it’s nice to have a minute with someone you care about before.
Tell me about your look.
I was on the fence about what to wear. I’m such a vintage girl, so I was like, Either I wear vintage or wear a young designer. I saw the dress posted months ago, before all of this. I remember sending it to my friends, like, “This is my dream dress,” but it was so expensive and then I forgot about it. Months later, I was like, I’m just gonna try it on. And then I put it on, and it was one of those magical moments where I was like, Fuck, it’s perfect. What am I going to do now? For me, the dress and the jewelry go hand in hand. I have a lot of piercings, and accessories are very important to me. It feels like part of me — it’s like an armor or something — and it was really incredible to work with Pandora on this because it felt like me but elevated. You just have to follow your intuition, and that’s kind of even when dressing characters in film. It’s that gut feeling of what intuitively feels right.
What originally inspired you to become a costume designer?
It’s funny, because I never really aspired to be a costume designer. I just kind of did it. I was styling a lot, but I never really felt connected to doing fashion shoots in the same way that I feel connected to characters in film. As soon as I started working in film, it was the most informative, incredible experience I’ve ever had. I feel like the universe sometimes has plans for you, and you just have to go again with that gut feeling, like, I like where this is going. I’m going to keep doing it because I enjoy it. It was about doing something I enjoyed and realizing I really enjoyed it.
Is there someone who has served as a muse for your work?
It varies with every project, and it also depends on the character. I’ve always prided myself on menswear and working with guys. Odessa and Gwyneth on Marty Supreme were my muses just as much as Marty, and they were all so different.
How do you put your signature on costume design?
There is some sort of, like, Miyako thing, and I can’t really pinpoint it, but people are always telling me about it. Maybe it’s the combination of details and silhouettes, but it’s subconscious. I know what’s going on in the world, and I have this cultural Zeitgeist of what is going on in the world, and I pride myself on studying people. I’m not a traditional costume designer — my approach is very different. My work is deeply rooted in reality.
Is there a place you go to get inspired or creatively rejuvenated?
My No. 1, which is why I’ll never move away from New York, is New York. I love the people of New York City, and I think there’s something really special with the energy of the city that I feel really connected to; it grounds me. I’m such a midtown girl. It’s my new favorite place. I love the people. That’s the real New York to me. It’s my favorite place to people watch. It’s where people come to commute; that’s where people need to be. Then there are tourists, so there’s like this combination, but there’s real life, real people. Lower Manhattan is a fake world. It’s like everyone pretending to be fashion people, and that’s not what inspires me. What inspires me is real people who have interesting faces and cool styles. My dream is to be walking through midtown.
What do you do when you’re in a creative rut?
I take myself on a date once a week, and it has to be alone. I like to go to a museum or look at art, see a film, or go to a bookstore. Do something for yourself that you enjoy that will help you remember and appreciate art. When you’re creatively down in your spirit, you have to do those things to remember why you’re here.
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