A Conversation with Shirley Kurata
Photograph: Jimmy Marble for the New York Times
In OM’s dedicated issue to Oscar-winning film, Everything, Everywhere, All At Once, Shirley Kurata offers some insight into styling and designing for the movie. She speaks of her own experiences as an Asian-American and how that has supported her vision for the film’s various looks. Having worked in the industry for over 20 years, Kurata recalls her journey from studying fashion design in Paris to working with the Daniels — even lending a few words of wisdom for those wanting to break into the fashion scene.
To start off, do you think you could tell us a little about your career and what you do?
So I took sewing lessons - first, my mom taught me how to sew and then I took sewing lessons in high school and then I wanted to study fashion so I went to Paris for fashion school and did fashion for three years. I realised though, I wanted to come back to LA, since I was born and raised in LA. It wasn’t really the best fashion scene at that time so, I thought well, we have Hollywood so why don’t I get into costuming in TV and film?
So I basically started off like, interning and working on smaller jobs as an assistant costumer. Basically, whatever I could get my hands on. I worked for years and eventually was able to start, you know, keying the jobs - working on music videos, short films, commercials as well as fashion shoots and everything. Kind of like a mixed bag of things.
Eventually though, after spending many years doing that, I started missing the world of filmmaking and working on movie sets and stuff. So, I started working on the set of more indie films.
I had worked with Jonathan Wong before , the producer for Everything, Everywhere, on commercials with another director. It’s funny because people have been trying to get me to work with the Daniels and I’ve wanted to and they wanted me to work with them as well but like, it just never happened! With all these schedule conflicts and stuff, you know? But they basically reached out to Jonathan saying that we’re looking for a costume designer and he said, “I have the perfect person for you. I’m going to set up this meeting” and that’s how it happened. That’s how I got the job. Which I'm so grateful for. And yeah, that’s kind of how this all led to that.
But yeah, I’ve been in the business for like 20 years.
There’s just some costume designers who’ve only like, worked on TV and film, right? Or there’s like, stylists who only do commercials or they only do red carpet. Personally, I just liked dipping my toes into different areas and doing a little bit of everything. And I do think that all those things I learned from doing all this totally helped me on this movie because we were dealing with a limited budget. My experience with styling musicians and finding crazier get-ups also really helped in styling Jobu’s looks. Even when I’m doing commercials with families and making it look real, that was helpful in getting the normal clothes for Michelle, Ke and Jamie.
That’s really interesting because well, I’m in fashion school right now, and it’s just interesting to see the difference in fashion on film rather than fashion on the runway. How would you say they differ? Is there a difference?
Yeah, there is a difference but they’re kind of - they’re all kind of connected. I’ve been working with Rodarte for many many seasons and the way they approach their runway shows. Since they’re such big fans of cinema and film, they approach it like they’re telling a story, they want the runway show to tell a story. For example, this last runway collection, the story was of gothic fairies. Every component of that and the progression of the looks, they wanted it to evoke that story. But not all fashion designers do that. Some just want a fun runway look and it’s not so much like a cinematic experience.
Photograph: Sean Zanni for Getty Images
I think though, in terms of filmmaking, styling fashion or musicians or whatever is more about the talent or the brand. In filmmaking, it's about the character. Obviously, you want to have a conversation with the actor about the character but it's still not about the actor but about the character they are portraying. So, I think that’s where it becomes more specific in terms of filmmaking.
What was the process in coming up with these costumes in the film? Did you feel like you were staying true to the character in the film or rather, the story? How did the story embed in what they were wearing on screen?
With this one, it was really challenging because there were so many different worlds. I only had about 6 weeks to prep the movie which, is very short. I mean, we shot in 38 days so it was pretty -
Oh wow
Yeah! There were a lot of challenges, you know? Time, money and things like that so I had to find, shop, borrow and build things but I had to do it in a way that was economical. For example, the Alphaverse, I had to source a bunch of vintage military gear and we worked those pieces into something new instead of just buying fabrics from the store because that just gets more expensive.
I had to figure out, what can I do? In terms of the everyday looks, I like to just imagine myself as that character and consider, where would this person shop? Where would they get their clothes? So that’s why I went to Chinatown and shopped for Gong Gong, Evelyn and Waymond ‘cause I thought that’s where they would go. And there’s definitely a specific style in the clothes from Chinatown that is different from, say, you went to Macy’s or something. It’s definitely distinct, so I did that for them. I just went to the little shops where, you know, things are really cheap there, right? It was very inexpensive and they (the characters) didn’t have a lot of money so… it felt real to me. I also studied and people-watched in Chinatown. Daniel Kwan had like, sent me pictures of his mom and how she dressed. I also looked at my mom and how she dressed. It was funny because I remember when I was trying to think of looks for Michelle, I looked at pictures of my mom and she was wearing a little vest.
Photograph: Courtesy of A24 from Everything, Everywhere, All At Once
Haha and that’s a standard mom - like an Asian mom outfit isn’t it?
Yeah, it definitely is! I remember being really nervous at the fitting with Michelle and hoping she’s not expecting designer clothes ‘cause I’m like haha this is definitely very “mom”. But when she saw it she was like, “no no this is perfect, this is Evelyn!” She really understood.
I loved it though! It just felt very normal and that’s the whole point of the film. She’s a normal person in very extraordinary circumstances.
Exactly.
Can I ask how many costumes there were in total?
You know, I don’t know the exact number… But I think in the hundreds. Maybe like, 300 or somewhere around there. I think Stephanie and Michelle together, there were probably at least 70. But then you throw in all the extras and other characters and there’s probably like… yeah, there’s quite a few. I never did the whole count though.
There were definitely a lot though…
Yeah, there were some looks that were cut and there were like, scenes with extras that we did dress but you don’t really see them.
Did you have a favourite costume that you made or designed?
Yeah, it’s funny because I get asked that a lot and I’m like hmm maybe I should just switch it up.
You don’t have to say you have one!
Haha yeah but I always say it’s the bagel universe but maybe let’s just switch it up a little bit. Let’s see… I do really like the ‘goth Jobu’ look, the black one. That’s also one of my favourites.
Photograph: Courtesy of Shirley Kurata from The Hollywood Reporter
Did you take inspiration from anything when styling? Like K-pop or Harajuku… I think I saw the Elvis outfit, the makeup, in particular, the pearls on Jobu.
The pearls were on the bagel universe one! The Elvis one was the rhinestones, yeah. But definitely, from K-pop and Fruits magazine. I have the book and it’s sort of like a bible for me because of the way they mix the fashion. It’s so much fun and so, there’s definitely Harajuku inspiration with Jobu’s looks. Also anime because I feel like the goth look is very anime-style and K-pop itself is also a mix of Harajuku and traditional K-pop. I definitely used pop culture references for her (Jobu).
credit: Shirley Kurata
On a more serious note, why do you think this movie resonates with an Asian audience? What’s your opinion on that?
There’s very few films that tell that sort of Asian - I’m going to say more Asian-American experience because you do have Parasite and others that have surfaced recently. However, when it comes to the Asian-American/ Asian immigrant story, there are very few films about that experience but there are so many of us that have gone through it. I think it's difficult navigating a world where you aren’t entirely accepted in the country you are in - so America or wherever else. But, you’re also not entirely accepted in your mother country so there’s also that.
I think for me, there’s like a language barrier, you know? My parents speak Japanese but I speak English and we sort of communicate in both. Very much like in the movie. I rarely ever see movies which are like that, you know what I mean? So, it felt so real to me. With that though, there’s maybe some sort of generational traumas or differences in how we understand each other. This doesn’t only apply to Asians but with all immigrant children. I think we’ve all experienced this type of… I guess, generational trauma and the disconnect with our parents. I think that’s why this message of “we have problems understanding each other but the love is there or the love is important” brings meaning into the world. And it’s a beautiful message. So.. yeah, I think that’s why it resonated with so many people.
Photography: Courtesy of A24 from Everything, Everywhere, All At Once
Do you think that this story is being told too much? I mean that, in a sense, do you think we need to keep telling stories that question, “do we belong here? Or do we belong there?” Or expand from this narrative a bit more.
I think there should just be more stories haha. More unique stories of different experiences, you know? It’s just nice to be heard and have more stories like this. We need more about the Asian experiences and I believe it always lends to better cinema.
Can you lend any inspiring words to any young, aspiring Asian designers out there right now?
Do the projects you feel you are committed to. Do what you love. As long as you try to work hard at achieving and being successful in whatever you want to do, it will come to you. Sometimes, it might not always happen immediately, you know, I’ve been doing it for years and years! I think what’s most important is to work on projects you feel most passionate about because they’re so much more fulfilling. These might not always be the ‘money’ jobs as well! Often, there’s not a lot of money involved but you gotta do what you gotta do to pay the bills so, try to find that balance of doing jobs that pay the bills but also - given the choice, at some point in your life, to decide well, “I could do a really ‘cushy’ job that’s not that creative but makes a lot of money. Or, I could do a job that is not going to pay me a lot but is super creative and something I feel passionate about.” If you have that privilege to choose that, it’s always better to pick the ones you are passionate about because those are always fulfilling.
I completely agree with that. Getting into the industry is very hard nowadays…
It really is. It took me a long time too but I always say, reach out to people you really want to work with and intern. Even if you have another job like a full-time job, just say, “hey, on the weekends I’m free! I would just love to come in and help and observe.” Gain experience that way. That’s kind of how I did it and eventually, you start learning the trade and learning things you need to get into this business.
Thank you for that. I think I’ve reached my last question now and it's what’s next for you? Are you working on anything right now? Or taking a break?
What’s next for me is I have to do my taxes haha. I have some projects kind of lined up but again, with scheduling, especially on movies, it’s really hard. There’s a couple projects that got pushed that have to deal with in terms of funding and schedules and all that stuff. But I do hope to continue to work with Daniels and work with more interesting, creative people.
I’m really excited to see that!
