Like her fellow Oscar-nominated colleagues, costume designer Trish Summerville had the rare opportunity of working in black-and-white on David Fincher’s “Mank,” which meticulously recaptured the Golden Age of Hollywood in the ’30s.
But their work was made easier by the monochromatic settings on their iPhones, allowing them to instantly translate the proper color tones.
This way, the look of Summerville’s wardrobes would be in sync with the sets and decor.
It was all part of strategic plan to create an authentic-looking monochromatic world.“I had conversations with [production designer] Don Burt about what his color palettes would be so we wouldn’t have the rooms be so colorful,” Summerville said.
“We wanted to have the tones blend.
For us in costumes, it was more burgundies, purples, navies, blacks.
And you could pump up from there to gowns with muted lilacs or dusty roses, which came in as nice light grays.
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