The craft: legacy is an impressive act to follow. While the magic of the original '90s classic is unmatched, the latest addition is too The craft The film series is a modern version of the teenage witch story. Director Zoe Lister-Jones' sequel explores not only how to embrace personal power and step into femininity, but also intersectionality and elemental magic – which is reflected in the contemporary style of the coven, that of costume designer Avery Plewes was created.
"I think it's a spiritual process for a lot of people," said Plewes POPSUGAR when asked what magic means to them. "Magic is about absorbing your power and getting in touch with your desires." Plewes loved The craft Grew up believing that Lister-Jones "did a really good job creating unique characters that are individuals in their own right".
"In Hollywood, you often see archetypes of young girls repeating themselves over and over again," she said. "The original art was one of the first teen films to feature an all-girl cast who really had different personality types. Zoe Lister-Jones (the director) expanded that and created four new characters that are completely different but also share the same basic principles as the original cast, like the moral compass in many ways. The original was about these four types of outcasts who find each other and form a group together. In this case, it's more about four people who are very, very different who accept the fact that they are different from and united in the status quo. "
"This case is more about four people who are very, very different and who accept the fact that they are different from the status quo and are united in it."
Plewes referenced the original film by dressing Lily (Cailee Spaeny), Tabby (Lovie Simone), Lourdes (Zoey Luna) and Frankie (Gideon Adlon) in chokers, witch lace-up boots and leather jackets – previously with Sarah (Robin) Tunney) , Nancy (Fairuza Balk), Bonnie (Neve Campbell) and Rochelle (Rachel True). But The craft: legacy Here Plewes has the opportunity to translate the elements – earth, air, fire, water – into the individual costume of each witch.
"Lily's element is water, so the pearls she wears represent water, she wears mostly blue and her crystal is aquamarine. Tabby is fire so her main color was orange and a lot of color blocking. She also wears a lot of copper, and there are some Flame motifs in her costumes. I think the first day of school she wears a flame shirt and another day she has flaming socks. And then every girl had a crystal, so tabby was a sunstone. Lourdes is earth. So her main color was green, malachite was her crystal, and she wore a lot of plaid and velvet to represent the earth. "
"Frankie is air and her color is purple," Plewes continued. "Her crystal is amethyst and there is a fair amount of white in her closet. The fringed jacket at the end of the film is a hint of air. When you think of air, a lot of people would be ethereal and kind of very dreamy, but I wanted that it feels really messy with her closet. And so she doesn't wear a lot of jewelry because she already has tattoos on her fingers, and I thought that was kind of enough. "
In addition to the four elements, the wardrobe of our new circle also touched on the intersectional experiences of women. Lourdes, a trans witch, confidently affirms that "trans girls have their own magic too". As a black witch, Tabby has a more honest dialogue about the race than Rochelle in the first film, sharing with her otherwise white coven that she wishes she had more black friends. With Lily, at the center of the film, we see her play with the expression of gender through her style, which Plewes says is inspired by shaved head photos of shaved heads like Winona Ryder and Cate Blanchett.
"For (Lily), I looked at a lot of people who dress androgynous," Plewes said. "The first time I met Zoe (the director), we talked about how, as a young girl, you are discovering that your body is changing, that you are in high school, trying to figure out who you are, your closet is changing very and developing. Sometimes he is very masculine, sometimes he is very feminine, sometimes he is very androgynous. I also often find in Hollywood that you see very one-dimensional young women as archetypes. And so it was very important to me that we've seen this young woman who finds her powers in the story. You also see it visually by exploring different silhouettes. That was really my biggest inspiration, just the young teenage girl trying to find herself. "