There are few black romantic movies with depth, believability, near-perfect leads, and an emotionally gripping plot. When we expect of legendary cult classics, we expect of , and. Whether you must imagine it or not, the costume designs in each of those movies enshrine them in our memories and the film canon, especially in America. In addition to the universal message, world-constructing and lyrical scenarios, the clothing also speaks loudly. This is where directed by Nate Edwards is available in. Newly released by Andscape and Hulu, it enters the canon of dark romantic comedies. Its strength lies within the strong banter between the titular characters of Mali, played by Arsema Thomas and Frank (Darrell Britt-Gibson). However, the extent of care that went into lead costume designer Fernando Legadoé’s work can’t be neglected. The film brilliantly shows its capabilities.

Fern has previously worked on costumes for movies, including the Oscar-winning film directed by Barry Jenkins, and was the creative producer and costume designer for the film. It is value noting that he was also the costume designer for the next TV show: and .

Legadoé skillfully juxtaposed a Type A profession woman with an artist-actor. Characteristically, Mali and Frank were opposites. However, Legadoé managed to tie their wardrobes together, showing how their lives ultimately got here together through the love that blossomed between them. The structured appearance of Cult Gaia, Simkhai and ALC was a part of the modus operandi of a very powerful moments in Mali. “It’s a classic love story that we wanted to add to and give people a new, classic, fresh love story,” Legadoé shared on Zoom. “For me, when I get into a script, it’s like building a map, delving into these characters and finding color palettes.”

As a result, Thomas, who was a sports agent for many of the film, created an elegant and striking wardrobe. Her character didn’t hold back from expressing herself vocally – and her wardrobe completely reflected that. Strong, well-tailored jackets and flattering silhouettes were the essence of Mali’s outfits. Deep green was a part of her clothing initially of the film, while softer shades corresponding to mint green were introduced later. About a 12 months passed as Mali struggled with the illness she was coping with in her relationship with Frank. Her attire has develop into more casual, indicating what Fern calls the shedding of her “armor.”

To reflect the at all times dreamy Frank, who was played beautifully by Britt-Gibson, Legadoé tells me he focused on vintage pieces by Dries Van Noten, Junya Watanabe and even Marni. It expressed the budding actor’s sense of fearlessness while, in line with Fern, emphasizing the liberty that got here along with his personal style. The costume designer noted that the character’s clothes were intended to offer the impression that he had rolled off the bed and made quick outfit decisions while someway still remaining stylish.

The culmination of costumes created in line with Nate Edward’s idea perfectly fit into the film’s plot. Legadoé explains that he didn’t need to overshadow the intimate shots and touching moments filmed. While he sometimes took daring risks, many of the clothes he and his assistant costume designer Quinton Jaxon selected allowed the story to flow easily.

“I think when you watch it, you’re so absorbed in who they are as a couple,” he said. He allowed Nate’s vision to guide him while writing stylistic moments that reflected Arsema and Darrell’s emotions and communication styles. Legadoé adds that to attain this, he had to search out a balance in order that all the things could be well received: thoughtful clothing, striking cinematography and a loving script.

Below, ESSENCE sits down with Fern Legadoé to debate costume design on his costume journey and what he hopes will occur when fans watch the Nate Edwards-directed film.

ESSENCE.com: What would you want those that do not know your work to know?

Fern Legadoé: I began [my fashion career] working [on shoots for] [and] . I used to be a stylist’s assistant who was also a fancy dress designer. That’s right, Danny Santiago. That’s why now, when working in film, I can mix styling with film, because I come from the editorial world and I do know how one can do it. [fuse these worlds]. Finding a balance between fashion but in addition realism. What is the narrative? I believe that is where I’m [most] capable. It’s also about storytelling.

Whether it is a movie or a fashion show, people say, “I never would have thought to put these together.” But I believe you may have to have a particular eye to know how one can put things together. AND [worked on the set of]. I believe I fell in love with the world constructing process. And then the probabilities that fall under that umbrella, where you may take fashion, you need to use storytelling, as I discussed, to attach worlds. I believe it’s just fascinating.

What was it like working with Arsema Thomas, who played for Mali?

Arsema is solely stunning. Everything we placed on it was easy. Being capable of play along with her and there have been different silhouettes and I like giving Nate the chance to see if we now have options like, “Everything is great. What are we doing?” Because even then, every decision, all the things, depending on what we elect, is a narrative, whether it starts with black or starts, as we do, with green. Because this was also a conversation about how can we start and where can we end?

Initially when she arrived she was sweet as may be, just super soft and exquisite, and there was an easy bond. As a fancy dress designer, I tell my actors this on a regular basis [that] “I’m a tool, so don’t ever think you may be forced to wear something. This is cooperation. I’m here to offer you coverage. I do know the look, I do know what the director wants creatively, artistically and fashion sensible, so be at liberty to share your opinion. By creating this secure space, I allow them to share, give feedback and feel it because I need them to feel comfortable. This is how they find this character. If they do not feel comfortable, in the event that they don’t love something, I at all times open an area for cooperation.

What did Arsema Thomas wear during many of the movie?

Mali’s major brand was Cult Gaia. Quinton [my assistant costume designer] he had a contact at Cult Gaia in Los Angeles. Many of the items she wore got here from the Cult of Gaia and were outside the archives. But this [all consisted of] excellent structure, [and were] quite feminine, but at the identical time strong in silhouette. I hear people just like the jeans set she wore. There was enough structure, still color, still felt soft. It wasn’t very on the nose.

What were you trying to attain when designing Arsema Thomas’s costumes?

The most vital thing that I needed to determine throughout her journey as a personality from start to complete was that I believe we desired to make sure that when and the way we began to introduce softness into the character, starting with the long coat and pants. At first it was all very organized, but as time went on and with Nate we said, “We don’t want it to get doom and gloom because it’s sad.” Because it wasn’t that narrative. So here we modified the shades and went to mint green.

Can you explain to me why Mali wore a good Simkhai dress when Frank met her parents?

Knowing who Mali is, who may be very organized, and it may very well be real. This was one among them: is it fitted, is it sexy, is it relaxed? Because it is a moment and he or she’s also going through quite a bit mentally. So it is not nearly meeting my parents, it’s about where she is at psychologically and mentally. He’s going through this journey with cancer.

I like twiddling with silhouettes. I do not think we have seen her in something soft but completely covered. So it wasn’t like she was attempting to be sexy. I didn’t want to point out my cleavage, I didn’t want to point out my legs. Again, it is often about balance and the way much is enough. That’s why I began navigating towards this silhouette.

So it was only a matter of finding enough softness, but still [being] delicious. I believe so far as the colour, that brown on her, I put it on her, tone by tone, it becomes difficult, but that shade of brown, it just looked beautiful on her. She immediately put it on and all of us went, “Wow.” It checked all of the boxes.

With Darrell Britt-Gibson’s character, was there anything particularly about him that you just absolutely desired to see?

I believe with Frank the goal was to make sure that all the things looked effortless and never forced. Because sometimes, especially with guys, it could feel such as you’re doing an excessive amount of. So again, finding the balance should feel like he just woke up and threw it at himself. Of course, whenever you saw what his room is like, all the things is in all places, so he should give it a vibe of, oh, he woke up, put this on, and someway all the things matches together, or someway looks good. But he didn’t sit there and take half-hour to place together an outfit.

And it also shows that all the things he has is nice, because if he desires to catch something and still get high, he’s principally a man who was aware enough [and] he has a watch. We made sure they were vintage. That’s why we found a showroom in Los Angeles. Many of his works are archives, like Marni, Dries [Van Noten]. As a personality, to make it seem realistic, he probably likes to get monetary savings. This is the story we gave him. He’ll probably go on Sunday, take a walk, go to the market, find a chunk and spend an adult jacket. He doesn’t necessarily go to the mall.

Did you utilize specific color palettes to convey specific messages in She Taught Love?

Instead of getting dark and sad and following a narrative path with darker shades, [I thought] let’s loosen it up because she desires to live. So she went to Frank and said, “Fuck it, let’s go on this date.” I believe that was a signal to actually proceed to have a good time and keep it casual. I believe that was the major focus.

Because even the dress [Cinq A Sept] the dress with the jacket she wore [work] Since it’s black, it was also a crucial decision because we don’t need Mali to wear black. But because I used to be capable of present and show that the sparks were showing a grid of palettes, it helped with the storytelling, though there’s something there, there is a spark. I believe it was a pleasant fabric that might go well with denim. And that is why I went into the world of mint and lighter greens, attempting to keep it airy and soft. The consistency is just not too heavy.

Even when she was wearing a brown leather dress, it was like a halter neck dress for her to point out a lot skin since it says quite a bit. I feel like as an individual we get up and depending on how we feel, we elect what to wear. That’s why I at all times attempt to introduce this element in these signs.

Overall, what are you hoping for by way of costume design within the film?

I believe so [I’d like viewers to think of] timelessness. I’m very proud. Nate said that is the goal [for] individuals who will watch it in 10 years and still feel relevant. And also for me, as a buyer and a stylist, this challenge was great since you shop with a special eye. Because how do you understand what’s timeless? We are still twiddling with shapes and styles. This doesn’t necessarily mean it should be too easy.